In creating the basso continuo of the Six Sonatas op. 24, it was essential to consider the innovative spirit of Devienne: in its short existence it crossed the Ancien Régime, the French Revolution and finally the First Republic; born in the Enlightenment period, its art later knew the cultural movement of the Sturm und Drang, and reached the threshold of Romanticism. The freshness of his melodies spontaneously suggested the continuous dialogue between Bassoon and Piano, the latter not relegated to a pure accompanying instrument but an integral part of the Sonatas: in the “Allegro” his virtuosity, sometimes almost acrobatic, never appears intrusive but complementary to the solo part; as also in the “Adagio”, pervaded by melancholy, delicate and sometimes poignant lyricism, his phrasing moves discreetly, caressing the main voice by sharing its emotions.