Hey, it's Propp! First published in 1738 as part of the "Essercizi per Gravicembalo" collection, the Sonata K1 in D minor (Allegro) is a two-voice invention of utmost tournure and craftsmanship, in defiance of its simplicity. A strict binary form encompasses the melodic material, and as in most Scarlatti sonatas, divides the piece into two complementary sections, the former ending with the dominant (0:22), and the latter re-establishing the tonic key (1:19). Scarlatti was a real master of the gravicembalo and had a plethora of expedients at hand: it suffices noting the unique effect obtained by rapid ascending thirds e.g. at (0:10). The labor limae becomes even more indubitable when one considers the perspicacy with which, in the second section, the Maestro achieves a nontrivial return to the key of D minor: after restating one of the themes in the relative major key (also notice the absolutely avant garde exploit of the beautiful gmin7 chord) (0:55), the progression F-C-g-d-a-E-A at (0:58), manages, in just 3 measures, to bring back the dominant tonality, ready for the real Spannung of the invention. Climax which occurs at (1:03), during which I hazarded a rubato, hopefully without falling into abuse. As always, with this recording I confide upon having reached an at least acceptable interpretation ^_^.