Indeed, if the better portion of Boismortier’s output can be linked to an ingot, then this Opus 51 stands out as an enviable nugget. These six sonatas, written specially for a transverse flute and a violin mostly playing chords, are quite unique in the general repertory and fine enough within Boismortier’s abundant body of work. But what is admirable above all in these sonatas is the quality of the writing for two different instruments, where the violin – in a remarkably unique fashion – takes the place of the obbligato basso continuo, thanks to its double and triple stops. The violin is actually acting like a harpsichord, while still indulging in melodic interplay with the flute. The brilliant timbres blend and complement each other, intertwining and combining to form a new and marvelous alloy with this gold of Boismortier’s.