This four-movement sonata exemplifies Albicastro’s mastery of the Corellian style. The first is a composite (Adagio-Presto-Adagio), with a Corellian opening gambit (the opening phrase is repeated a fourth lower) and a central section with allemanda-like figuration. Next is a movement in suave Corellian counterpoint, followed by an extended 3/2-time slow movement of common type in Albicastro’s sonatas (similar ones are included in two of the other ‘London’ sonatas and in the composer’s Op. 5). The final movement is giga-like, notated in common time, but performed as if in compound time.