The 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 sixth sonata of the group, in four movements, is notably compact. Its second movement, is allemanda-like, its fourth movement gavotta-like; its two slow movements have the finely chiselled elegance that is Bitti’s hallmark.