There are a number of sonatas in Scarlatti’s vast output that can be categorised as ‘melo-bass sonata’. The combination in these of a monodic, figured bass and a highly linear upper part has had contemporary scholars look afresh and consider if these works were intended not for solo harpsichord but for a combination of keyboard and a high melodic instrument. These are delightful reconstructions of what ‘might have been’ and present these solo keyboard sonatas in a new light.

It is possible that Scarlatti knew Vivaldi’s concertos for viola d’amore, and some of Vivaldi’s techniques appear to have been appropriated by Scarlatti. His polyphonic writing makes full use of the instruments resonances and the writing certainly fits the viola d’amore very well – especially K88.