Bitti’s twelve “Cambridge” sonatas, presented to Cardinal Ottoboni, represent the composer’s late, galant style, full of lovingly sculpted ornamental detail for the violin but with the same resourceful harmony and perfectly proportioned forms seen in earlier works. This second piece of the group — a classic sonata da camera consisting of a preludio, allemanda, corrente and giga — is particularly interesting for being an elaborate reworking of the seventh “London” sonata, in which silky written-out ornamentation and harmonic enrichment are wrapped round the “Doric columns” of the earlier version (published as HH334).