Nobody could challenge the fact that Vivaldi loved the Bassoon: his 39 concerts are the proof of it. There is no doubt that the mellow and warm resonance of the Bassoon, its technical elasticity, and its potential expressiveness come together harmoniously in these musical jewels. Was it due to the fashion of the time or the need to satisfy a patron that these were written and printed for the string instrument? It is difficult to say. However, we should never forget that authors such as Galliard, Boismortier, Corrette, etc. published their Sonatas with the captions: for cello and bassoon, for bassoon and cello, and for cello, viola, and bassoon. They would not limit their execution to one single instrument: the composition itself would leave the option open. The compositions of Geminani, Boccherini, Breval, and others would not allow this possibility: the constant use of chords and the range would impose the string instrument. In these six Sonatas by Vivaldi too, we find the use of some chords and bichords, but these seem to be added to justify the caption Sonatas for Cello rather than for a real musical necessity. Bassoonist Mauro Monguzzi beautifully performs these works alongside pianist Walter Mammarella Giordano.