Sonata K208: Adagio e Cantabile.

Whilst sharing many of the features of the other cantabile sonatas this work is
unique for the stark simplicity of its bass line. In essence it is an expressive
ornamented aria over a simple harmonic accompaniment. Cantabile may
suggest composition for piano, as discussed in Chapter 2. Of greatest interest
are the repeated bass notes of the opening bars and the left hands unchanging
rhythm, suggesting a simple harmonic accompaniment that is purely
supportive in its role. This bass line tends to sound clunky and awkward on the
harpsichordit is simply not typical harpsichord writing. On a piano the
player is able to stress and shape the individual notes and also play the
accompaniment at a softer level from the melody. The piano gives the
opportunity to project longer lines than on the harpsichord. At bar 13 the
acciaccatura chord in the bass can be played with a delicacy, adding harmonic
richness without bite. All voices drop down to the unison E at bar 14 and again
at bar 25, which I take to mean to play as softly as possible.
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In her notes for Linda Nicholsons recording mentioned above, Jane Clark
suggests that K208 could be the slow movement of a Venetian concerto. I
agree.