The musical richness of Scarlatti’s sonatas has already produced memorable performances at the harpsichord as well as at the piano, and both options will remain open for sure in the future. Eva Badura-Skoda, in her recent 2017 book The Eighteenth-Century Fortepiano Grand and Its Patrons, underlines once more the option to consider both the harpsichord and the piano, even the modern piano, as suitable instruments to play Domenico Scarlatti’s sonatas. Just like Johann Sebastian Bach’s works for keyboard, Scarlatti’s pieces, Badura-Skoda says, can sound convincing in any instrument, provided that each performer may have the training, the taste and the sensitivity to recreate the proper language, sound and aesthetic for that music. Alberto Urroz, one of the most brilliant pianists of his generation, faces in this recording the challenge to explore his own selection and version of some of Domenico Scarlatti’s sonatas, inviting us to enjoy a repertoire that is always attractive and inspiring, from which every great performer knows how to extract new nuances, subtleties and perspectives. (Maria Gembero-Ustárroz)