Sonata 6, in B minor, is overall the strongest work in the set. Remarkably, its violin part shuns double-stopping altogether and descends no lower than E sharp above middle C, which has led to the suggestion that it was originally a work for alto recorder. Its second movement demonstrates Albinoni’s mastery of counterpoint, being a fugue in two parts very similar to the cavatas (aria-like settings of the closing lines of recitatives) found in his cantatas.
from notes by Michael Talbot © 1994
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