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. 153 In her notes for Linda Nicholsons recording mentioned above, J ane Clark suggests that K208 could be the slow movement of a Venetian concerto. I agree.