Playing Scarlatti on the piano unlocks an entirely different range of tone colors and expressive opportunities than offered by the harpsichord. Arguably, the plucky harpsichord can sound more guitar-like and Spanish (Scarlatti was born in the Naples, ruled at the time by Spain). But Yevgeny Sudbin rewrites the rulebook on what the piano can bring to the party. He embellishes Scarlatti’s melodies, reimagines textures, recalibrates phrase shapes, and applies a huge range of articulation and dynamic shading—taking full advantage of the orchestral sweep of a large, modern Steinway. It’s addictive listening because this isn’t just keyboard playing—it’s the essence of pianism. The Sonata in A Major, Kk. 208 exactly captures the sense of revelation. In one of Scarlatti’s rarer slow, less showy pieces, Subdin exploits the sustaining power of the piano to caress the curiously off-beat melody into an aria of soul-searching beauty, bedded on an enriched accompaniment of highly perfumed harmonies.