As most of his admirers are aware, Scarlatti exhibited the influence of Spanish music styles in many of his keyboard sonatas, particularly in the later ones. This C major effort is such a work, bristling with energy and repeated notes, forging a lively, sun-filled world whose busy joy and infectious effervescence could transfer well to the guitar, an instrument closely associated with Spain, the composer's adopted country.

The Sonata opens with a colorful, lively fanfare, then launches into the main theme, a driving, motoric creation that seems to race along well ahead of its Allegro marking. The second subject also abounds in repeated notes and exhibits a strong Spanish character, too. As is the usual case with Scarlatti, the first half of the Sonata consists of two expository sections and the latter half, two statements of the material in developed form. Here, the development section takes on a somewhat more serious demeanor, the "busy joy" turning into an anxious scamper. The music eventually turns furious in an obsessively repeated motif, but then slows for a moment to catch its breath, after which it settles into the less harried lively mood from the first half. This colorful three-and-a-half minute work is one of Scarlatti's more appealing light sonatas.

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