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Tracing the origins of the violone, the direct ancestor of the double bass, is not an easy task. Because of its tessitura, it was probably used as part of the basso continuo together with the harpsichord. This fact, together with its confusing nomenclature, has given rise to a void in the specific work for this instrument. However, its register and flexibility allow it to cover from the ground to the baroque concerto. John Eccles (1668-1735) 00:00 Aria No. 5 (The Mad Lover)* Johann Sebastian Bach (1685 - 1750) 03:01 Invention No. 10 in G Major, BWV 781** Antonio Vivaldi (1678-1741) 04:10 Adagio, from Violin Concerto in G Major, RV 314a** Giovanni Girolamo Kapsberger (1580-1651) 07:30 Colascione, from Intavolatura di chitarrone, Book IV, No. 51* Antonio Vivaldi (1678-1741) 10:46 Allegro, from Concerto for strings in G Minor, RV 157 13:12 Allegro, from Cello Concerto in A Minor, RV 419 * arrangement / ** adaptation by Ismael Campanero Ismael Campanero, violone. Miriam Hontana and Sònia Benavent, baroque violin. Íñigo Aranzasti, baroque viola. Ramiro Morales, baroque guitar and archlute. Daniel Oyarzabal, positive organ and harpsichord. Concert (excerpt) from the series “Young Musicians“ 3 December 2023 Fundación Juan March, Madrid ______________ Concerts at Fundación Juan March: More videos at Instagram: X: Facebook: Medium: #IsmaelCampanero #Bach #MarchVivo
