There's always an electric jolt about Huggett's gut-stringed violin, and she needs every surge of energy for the virtuoso tricks of 17th-century Italian and Italianate chamber music. Some are modestly familiar pieces (Biber, Marini); others are largely unknown (the Venetian Dario Castello). Each composer plays his own game with the period's shifting conventions of harmony, tuning, form and fancy flourishes. Huggett's in the best company with nine spirited soloists from the Irish Baroque Orchestra.