Orchestras first used the bassoon to reinforce the bass line, and as the bass of the double reed choir (oboes and taille). Baroque composer Jean-Baptiste Lully and his "Les Petits Violons" included oboes and bassoons along with the strings in the 16-piece (later 21-piece) ensemble, as one of the first orchestras to include the newly invented double reeds. Antonio Cesti included a bassoon in his 1668 opera "Il pomo d'oro" (The Golden Apple). However, use of bassoons in concert orchestras was sporadic until the late 17th century when double reeds began to make their way into standard instrumentation. This was largely due to the spread of the "hautbois" to countries outside France. Increasing use of the bassoon as a "basso continuo" instrument meant that it began to be included in opera orchestras, first in France and later in Italy, Germany and England. Meanwhile, composers such as Joseph Bodin de Boismortier, Michel Corrette, Johann Ernst Galliard, Jan Dismas Zelenka, Johann Friedrich Fasch and Telemann wrote demanding solo and ensemble music for the instrument. Antonio Vivaldi brought the bassoon to prominence by featuring it in 37 concerti for the instrument.