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 seventh sonata of the group, in five movements, comprises three well-contrasted quick movements between which two slow movements are inserted. In the opening movement the bass, as well as the violin, tests the performer’s ability. The final movement, marked ‘Allegrissimo’, has some deft humorous touches, parodying the kind of imitation practised in the stile antico.