This powerful sonata in D major is one of Bitti’s most Corelli-like creations. It opens with a composite movement alternating slow sections with cadenza like quick ones. Its second movement is what the English of the time called a ‘double-stopped’ fugue, in which the single violin mimics the contrapuntal interplay of the two violins in a trio sonata. There follows an almost comic movement beginning as an Adagio in which a walking bass partners deliberately mechanical scale progressions on the violin, before the movement suddenly transmutes into a sparkling perpetuum mobile. The final two movements are less surprising: a stately Adagio in a broad, sarabande-like style and a vigourous gigue-like Allegro.