A long period of obscurity (only since the 1980's has Valentini's music begun to receive critical attention) has left its mark on the records of this Italian Baroque composer: there is little information about him, and of what information there is, most is rather uncertain. Different sources, for example, list two different places of birth (Rome and Florence), two different dates of birth (1680 and 1681), two different places of death (Rome and Florence), and dates of death ranging from 1746 to 1753. Some information appears consistently over the different texts, though. For instance, multiple sources described him as a virtuoso violinist who "could play in the 6th position" (not an astonishing task nowadays, but very much so by Baroque standards). As a composer, he wrote not only instrumental music, but also operas, oratorios, and cantatas, although most of the vocal works have been lost. He published seven collections of instrumental compositions (op. 1- 8; op. 6 was never published), all between the years 1701 and 1714.

There apparently exists some ambiguity about the last of these works, from which tonight's sonata is taken. When published in Rome in 1714, it had the title XII Allettementi per camera a violino e violoncello o cembalo (12 Chamber sonatas for violin and cello or harpsichord), suggesting that it was meant for solo violin, accompanied by either cello or harpsichord. However, when republished in London around 1720, the title read XII Solos for the violin or violoncello with a thorough bass for the harpsichord, suggesting the cello as an alternate solo instrument. In any case, violin music in Italy at that time was also commonly performed on the cello.

The sonata consists of five movements. The first, marked Grave, begins with an ascending arpeggio in the keyboard, answered by a descending arpeggio in the cello. A calm, recitative-like dialogue between the two instruments ensues. The same descending arpeggio from the cello opening begins the fast and light-hearted second movement, marked by sixteenth note arpeggio figures in the cello. The piano occasionally transcends the role of mere accompaniment, providing sparkling interjections in the high registers. A charming dance-like third movement is followed by a slow and simple Largo, in which short melodic phrases are immediately followed by soft imitations, often an octave lower. The sonata's final movement, a virtuosic Allegro, is centered on a rhythmic figure presented in the cello at the movement's opening and ends in a charming cadenza.