... so through most of the century because unlike the bassoon it is a high ptched instrument whose tone, could approach the softness of the recorder and the brilliance of the trumpet at the same time giving an edge to the violin tone. The accompaniments can be divided into 2 main categories, those for continuo alone or in which strings play only in the ritornelli. The texture may be homophonic with violins 1 & 2 mostly in thirds. Violins in unison plus continuo were in fact, a very popular accompaniment in the late Baroque. The violin passages occur much more often in the works of the italianate Mozart than in those Germanic Haydn showing that Mozart was inspired by italian composers like Monteverdi, Who specialised in vocal music. Lully also used a similar idea of the continuo in opera and below is an example of Monteverdi, Mozart as was fond of ...

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