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Bitti’s twelve ‘Cambridge’ sonatas, presented to Cardinal Ottoboni, represent the ‘late’, galant Bitti, full of lovingly sculpted ornamental detail for the violin but with the same resourceful harmony and perfectly proportioned forms as before. The fourth sonata of the group, in four movements, mixes ‘church’ and ‘chamber’ features: although they lack dance titles, the third and fourth movements have the character of a corrente and a giga, respectively. The general tone is elegant and melodious.