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This substantial trio sonata, the only one of its type that Mascitti published (and perhaps wrote) was included in his Op. 6 collection (Paris, 1722), where it was preceded by fourteen ordinary violin sonatas. It takes its place among a small but musically very distinguished group of late baroque sonatas for the same combination, which includes examples by Torelli, Vivaldi and Leclair. The constant dialoguing between high and middle registers that is inherent in the scoring produces a fascinating kaleidoscope of sound. The sonata has five movements, drawing equally from the chamber (da camera) and church (da chiesa) traditions. Though generally neo-Corellian in style, it pays homage to French taste in its third movement and to Vivaldi’s style in its second and fifth movements. It is the best possible advertisement for Mascitti’s musical invention and exquisite craftsmanship.
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Music example(pdf)