Vivaldi: Concerti Doppi - L'Opera per cello, Vol. 2

In the early decades of the Eighteenth century the cello was still a very young musical instrument. Relatively little time had passed since some composers had discovered its potential as a solo instrument, redeeming the cello, which at the end of the Seventeenth century was relegated to the role of bass of the viola da braccio, from what appeared to be its only possible destiny: to accompany far more perfected instruments with greater virtuoso possibilities, being confined to the limiting practice of basso continuo. It is quite common that the work of composers is strictly connected to the development of the performers' abilities in a relationship of mutual influence. Between the Seventeenth and the Eighteenth century, the evolution of the cello from a mere accompaniment instrument to a means for virtuoso performances expressing a cantabile style would have probably followed a different path without the contribution of Giuseppe Maria Jacchini, the first real cello virtuoso who succeeded in drawing the attention of music lovers and, above all, of insiders to this instrument. Among them, obviously, there was Antonio Vivaldi, a violin and likely a cello virtuoso himself, as well as an indefatigable explorer of the possibilities of timbres and colours he could get out of any possible musical instrument.