“Nowadays, three hundred years after the autograph of Sei Solo a Violino senza Basso accompagnato, these solos are still a benchmark for the entire literature, not only for violin, but also for any other instrument used as a solo to shape a thought, gathering all its possibilities of sound, all its technical resources. A model and term of comparison for each composer, a trial and inspiration for any interpreter who will face Bach’s cosmos and have to discern and choose amongst the possible stylistic options emerged in three centuries, ranging from the management of vibrato to the type of instrument and bow to create a personal interpretation and shape it in the fleeting moment.” (Roberta Pedrotti)