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...