Of the 555 sonatas, not a single one is written down by himself. They all have came to us through the transcripts of the copyists of that time. • Why did Domenico Scarlatti write his sonatas in one for his time and style tradition distant tonal language?
Most of what has been written about Domenico Scarlatti is short-sighted and sets him up in the shadow of his father Alessandro. Domenico, however, occupies an absolutely special position in the art of music. The almost only thing that Domenico's sonator has in common with the baroque is their structure, the two-part form which he develops, however, and extends. In these, a motif is associated with a technical event, after which the whole the material is varied up to its entirety. He spices them up with countless rhythms, melodies and pointed harmonic sequences and combines beauty and joy with boldness and harshness. Often, in the middle of a festivity with a lively tempo in major key, an unexpected moment of reluctance can be heard but as soon to be dissolved again in a new outburst of joy. In the overall picture there is a freedom that can satisfy the one who has modern taste.
Accordion / bayan, a young instrument, heir to the accordion that has often been seen over the shoulder as a working class instrument and thus had to wait to take a seat within the sacred pavilions of art music. With accordion, (with melody bass), bellows players have been given the opportunity to stretch boundaries and engage in a repertoire that is unfeasible on a regular accordion. The melody base makes it possible to play what the pianist does with his left hand - individual notes, runs and chords over several octaves, as well as polyphonic playing. However, access to one's own repertoire has been limited (as in the case of guitarists, for example) that the practitioners were forced to look for playable material elsewhere, mainly from the classical piano literature.
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