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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 tenth sonata of the group, in four movements, is classically ‘da chiesa’ in character. Its first movement (Largo) weaves fantastic arabesques in the violin part, while the second (Allegro) includes attractive contrapuntal interaction between violin and bass. The third movement (Adagio) has some of the qualities of the first, and the piece concludes with a vigorous, through-composed Allegro in corrente rhythm.