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Among the last trio sonatas ever composed are several sets by the Plà Brothers: José, Juan Bautista, and Manuel, Spanish oboists who flourished in Europe between the years 1750 and 1778. The present set of six was published in partbook format around 1765 by the firm of Miroglio in Paris. From that publication, I have chosen No. 2 in G minor to create a score and extract new parts. In addition, the unfigured bass has been realized.

This work abandons the sonata da chiesa entirely: one can trace its lineage completely from the partita. The initial movement is set in an expanded binary form, what has been called sonata form by many theorists. The central movement is cast in simple rounded binary form. The finale, on the other hand, is through composed but ends with multiple closing themes that tie it, also, to binary form. Taking my cue from Corelli, I took the liberty of repeating this short movement.

The publisher indicates that this work and its five sisters are to be played by pairs of violins, transverse flutes, or oboes over a continuo. It is clear, though, that the upper parts of this particular sonata are intended for oboe and violin respectively, since the second voice contains tremolo figuration. Compared to the Corelli and Purcell trio sonatas contained in this volume of the Double Reed Archaeologist, the harmonic language of the Plà sonata has the same rich flavor, but its harmonic rhythm is considerably slower.