These works contain some of Boismortier’s finest and most accomplished music. Written in the ‘Italian’ style, they are an extension of his sonata writing for one or two instruments and continuo, and yet their rigid adherence to a four-movement scheme that excludes dances and other movements in binary form (very unusual for Boismortier) suggests that with these works the composer sought to distance himself from the Corellian model that had inspired his earlier sonatas.