Giuseppe Sarti (1729–1802), an Italian composer primarily known for his operatic works, also contributed significantly to instrumental music. His flute sonatas exemplify the elegance and refinement of late Baroque and early Classical styles. Sarti’s flute sonatas are characterized by their lyrical melodies, which reflect the in- fluence of vocal music, a hallmark of his operatic background. The sonatas typically follow the three-movement structure—fast-slow-fast—that was common in the 18th century. The first movements are often lively, with energetic, flowing lines for the flute, while the middle movements tend to be more expressive, allowing the instrument to display its capacity for emotional nuance. The final movements bring a spirited conclu- sion, often featuring dance-like rhythms. These sonatas were likely written for amateur musicians, given the rising popularity of the flute in domestic music-making circles of the time. As a result, they strike a balance between technical accessibility and artistic depth. Played by Giovanni Miszczyszyn (Traversiere flute, made by Luca Ripanti in Turin/ Italy 2023, after Carlo Alberto Felice Palanca around 1760), Valeria Brunelli (cello) and Giacomo Benedetti (harpsichord). Giovanni Miszczyszyn studied with Peter Lucas Graf, and followed Master Classes with Aurèle Nicolet and Jean Pierre Rampal. At the same time he specialized in Baroque flute in seminars and classes with Barthold Kuijken and Jean-Pierre Séchet.