Details: There are often instances where an artist's genius is not truly recognized until well after their passing. This is often due to the circumstances during his or her lifetime not being conducive to his or her discovery or widespread appeal. Such is the case of Baroque composer Domenico Scarlatti, who has only in the past century begun to be recognized as one of the period's greatest composers. Guitarist Diego Barber discovered Scarlatti's music through his mentor, and celebrated guitarist, Riccardo Gallén, who had Barber rapt with attention in a performance of Scarlatti's Sonata No. 27. After hearing vocalist Theo Bleckmann performing a Schubert lieder with Uri Caine, Barber decided to adapt Scarlatti's sonatas for guitar and voice, thus birthing his new recording, Scarlatti Sonatas. Domenico Scarlatti grew up in the shadow of his famous father, Italian opera composer Alessandro Scarlatti. The younger Scarlatti found his muse in Queen Barbara of Braganza, for whom he was her Court harpsichord master and musical teacher. One of Scarlatti's duties was to write new sonatas weekly. In Barbara's charge, Scarlatti moved to Lisbon, Sevilla, and Madrid, absorbing Portugal and Spain's folkloric music. Though he never wrote for the guitar, Scarlatti likely heard music for the instrument's predecessors, including the lute. Famously, Scarlatti was gifted a guitar from the King and heard a lute-based ode to a dying royal. Scarlatti was prolific at writing for the harpsichord, writing 555 harpsichord sonatas that are richly woven with genius melodies and dynamic rhythms. After discovering Scarlatti's music, Barber became fascinated with his story and his connection to Spain and guitar-like instruments. Barber has become well known for incorporating his classical guitar playing into the improvising realm of jazz. It was his attraction to improvised music that led him to collaborations with masters like Craig Taborn, Mark Turner, Jeff Ballard, and Larry Grenadier. Barber never eschewed his classical leaning in his work, allowing space for his own sonatas and long form compositions along with jazz compositions. His interest in the juxtaposition of the two genres has led to his most successful collaborations. That is precisely why he approached Bleckmann, who has also managed to incorporate elements of jazz, classical, improv, and new music into a fascinating blend. After choosing the material, the duo were able to finally record in Auditorio San Francisco, a 13th century Gothic convent in Avila, Spain, in the heart of Castilla, capturing the magic of the music in the most appropriate environment. The recording presents a collection of fourteen of Scarlatti's sonatas, performed either as a vocal and guitar duo or for solo guitar. From the solo guitar performance of the difficult yet beautiful early sonata, "D Minor kk.1," to one of Scarlatti's final and most famous sonatas, "F Minor kk.466," done with poised intimacy in duo, the breadth of the program highlights Scarlatti's gorgeous writing from the beginning to end of his composing career. With every sonata having the same form, the interpretations of the pieces by Barber and Bleckmann are astonishingly fresh and emotive. "A Major kk.208" remains one of Scarlatti's most treasured sonatas and Barber and Bleckmann give the piece it's first vocal and guitar performance. "D Minor kk.9" remains a favorite of Barber's and the guitarist performs the piece's fantastic melody with assurance and zest. The meditative "B Minor kk.87" is a perfect vehicle for Bleckmann's heavenly voice, while "D Major kk.178" is a statement piece for Barber to showcase his dexterity and interpretative brilliance. Baroque composer Domenico Scarlatti has found able interpreters in guitarist Diego Barber and vocalist Theo Bleckmann. Together, the two musicians find new life in Scarlatti's masterful works on Scarlatti Sonatas.