This is the sixth volume in French harpsichordist Pierre Hantaï’s survey of Scarlatti’s c.555 keyboard sonatas, and it’s another cracker. There’s an argument that his sonatas sound best on the instrument for which they were intended and Hantaï makes that argument most persuasively here. But he also brings out Scarlatti’s Iberian idiom in such a way that if another instrument were chosen, it would have to be the classical guitar. There are enough recordings on both those instruments for listeners to decide for themselves. Here, we are only concerned...