Detail at: https://www.areditions.com/rr/rrc/c082.html Abstract: There is evidence to indicate that Pierre Gaviniés composed this collection of three violin sonatas, published in Paris in 1801, close to his death in 1800. Dedicated to his friend, the violinist Rudolph Kreutzer, these sonatas exhibit a greater inventiveness in the writing for the violin than is found in his earlier sonatas of opus 1 and opus 3, which appeared in 1760 and 1764, respectively. The opus posthumous sonatas demand a virtuosic technique comparable to that needed in Gaviniés¿s famous work, Les Vingt-quatre matinées, also composed in 1800. The bass line of the opus posthumous collection, unlike that in his earlier works, is unfigured and is not labeled as a basso continuo. In a Berlin edition of 1828, the bass line is published separately from the violin part, as a violoncello accompaniment ad libitum. The editor concludes that these sonatas could be performed in one of three ways: first, as a solo with basso continuo, the harmony supplied by a knowledgeable keyboard player supported by a cellist playing the bass line; second, as just an unaccompanied violin solo; or third, as a duo played by a violinist and cellist. Any choice of these options should produce a satisfactory and convincing interpretation of these sonatas.