ABSTRACT
Cavalier Giovanni Battista Buonamente had a fairly clear conception of the sinfonia as a genre it may reasonably be assumed that he had some tangible intention in mind in entitling his works 'sonata', and that this category bore an increasing significance for him. In Sonata 2 it is allotted a high level of thematic integration, but the exceptional Sonata 4 is treated more as a duo sonata for two violins with harmonic bass and this perhaps explains the increase of idiomatic antiphonal interplay between the two trebles in the first section. Unlike Sonata 2, the thematic material of 'La Mazzoratta' is not presented as a medley at the outset but introduced gradually during the course of the composition, although once more it is the opening idea, characterized harmonically by its false relation, which dominates and concludes the sonata.
