Jacques Duphly was just getting started on his career as the popularity of his instrument, the harpsichord, was starting to be threatened by a new invention - the pianoforte. Duphly was one of the last representatives of the brilliant French harpsichord shool, which had been one of the most famous in Europe.

Duphly was born in Rouen, and came from a long line of keyboard players. In 1742 he left for Paris, and there he gained an outstanding reputation as a teacher. He died alone in his modest rooms in the Hôtel de Juign&eaccent; in Paris on 15 July, but his death passed totally unnoticed: on this Wednesday in mid-July, all attention in Paris was focused on the Bastille.

The titles and dedications of Duphly's pieces show him to have been a part of the inner circle of professional and aristocratic connoisseurs in Paris; yet he seems to have been unambitious and content with a simple life.

This is one of the most extraordinary, and most famous 'ghosts' of the violin-player's repertory. In fact, nobody really knows who composed it, though it has been attributed to the violinist Vitali (a northern Italian composer about whom very little is known other than his obvious skill as a performer and fame as a teacher amoungst his contemporary compatriots) since the 18th century.

The piece itself is based on the very simple repeating chaconne bass (usually consisting of 4 descending notes) but takes us on a long and convoluted journey through a most bizarre selection of unrelated tonalities. The effect is a wonderfully varied showcase of violinistic and compositional tricks which is guaranteed to keep you on the edge of your seat!

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The is one of only two surviving violin sonatas by J.S. Bach. The famous 'obbligato' sonatas which are more often performed are in fact duets for harpsichord and violin. This sonata is termed a 'continuo' sonata because the violin is the real soloist and is accompanied by the continuo instruments (usually harpsichord and 'cello)

With this wonderful little piece, Bach has created a perfect example of the baroque sonata with the four movements alternating slow-fast-slow- fast (like Corelli), and beautiful singing lines in the violin part.

Bach has, however added his own unmissable touch - an incredibly detailed and beautiful bass line. It is in this respect that he differs most from the 'average' baroque composer - one could almost listen to the bass part alone, it is so masterfully crafted.

In this extract from the first Adagio, you can see the 'figures' above the bass line. These indicate the different harmonies. Already in the first two bars he changes chord 15 times!