Scarlatti and dodecahedrons
On May 9, M. Paul Shore sent this note to me:
A belated thank-you for the April 22nd Galuppi (1706-1785) link*. I’d never heard of him. That whole Baroque-to-Classical transition phase is a fascinating and enjoyable but underappreciated one. The composers from that phase who get the most attention (and deservedly so) are two of J.S. Bach’s sons, J.C. and C.P.E.
*"A bridge between Baroque & Classical"
To my mind, it’s always a sunny day in Scarlatti-land: even the moments of particular seriousness or slight gloom are just the result of swiftly passing clouds.
What blew my mind away about the Scarlatti-Ross album covers is that they prominently feature the dodecahedron. That made me wonder why the cover designer chose that particular complex, abstract figure to illustrate the Scarlatti albums. Was it because of the geometricity or cosmogonic nature of Scarlatti's sonatas?
When I mentioned the dodecahedron to M. Paul, he replied:
Ah, the dodecahedron! I’ve known that cover design for decades (I have the full Scott Ross CD box set of the sonatas), but never gave the dodecahedron in it any fully conscious thought, let alone relate it to the extensive discussion of the shape on Language Log.
I think we will never be done with the dodecahedron. There's something mathematical and ethereal about it.
Selected readings
- "New revelations and declarations about dodecahedrons" (3/17/26)
- "Dallas Dodecahedron Daze Days" (1/28/26) — with many references to previous posts on dodecahedra



