This is the second post in a short series on Dario Castello, a virtuoso wind player in Venice in the early 17th century. Sonata 10 from book 1 (1621) is for two violins, bassoon, and continuo. Like sonata 7 that I discussed yesterday, it has eight sections. The first section closes with a scalar flourish after the cadence (another feature of soloistic music in this era). Note also the 3-1 cadence (circled) in the two violins—this realizes the "three-part rule" that I mentioned in the previous post: cadenza perfetta in the upper voices, root of the chord in the bass.
A triple-meter imitative section—similar to the one in sonata 7—does close in the upper register. Note the cadenza perfetta in the two upper voices, and the C# (as ^#3) rather than A (as ^1), breaking the cadence in order to supply a third for the final chord.
The ending of the sonata repeats the cadence of the first section and adds a block-chord adagio that is very likely to have been heavily embellished in performance, perhaps resulting in something that sounded similar to the written-out ending of sonata 7.
