While many renowned musicians of the late 17th and early 18th centuries received recognition and celebrity for their contributions to late Baroque music, Martino Bitti was initially overlooked. He was briefly mentioned in early biographic notes, criticised for lacking originality and innovativeness. Only recently has he received proper attention, particularly through Michael Talbot’s essays. A closer look at historical sources reveals Bitti’s integral role in the vibrant musical scene of the late 17th and early 18th centuries, particularly at the court of Prince Ferdinando de’ Medici (Florence 1663–1713), eldest son of the Grand Duke of Tuscany, Cosimo III de’ Medici. The recording of Bitti’s’ sonatas presented here is the result of extensive research, starting with studying early editions and experimenting with instruments of the time. This process has led to a historically accurate interpretation, shedding light on Bitti’s contribution to the music of his era.