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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 fifth sonata of the group, in four movements, is an example of a pure sonata da chiesa, none of the movements containing repeats or conforming to a recognizable dance-type. Its fast movements test the agility of the violinist, while the arabesques of the slow movements highlight lyrical expression.
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Descriptive leaflet (pdf)