Arcangelo Corelli


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Corelli, Arcangelo

(ärkän`jālō kōrĕl`lē), 1653–1713, Italian composer and violinist. Famed for his virtuosity and his elegant style of composition, he spent most of his life in Rome, where he was court violinist to Cardinal Ottoboni. His violin technique was perpetuated by his many students and in his sonatas for violin with harpsichord, among which is the well-known set of variations on the air La Follia. He also helped to establish the typical form of the concerto grosso (see concertoconcerto
, musical composition usually for an orchestra and a soloist or a group of soloists. In the 16th cent. concertare and concertato implied an ensemble, either vocal or instrumental.
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).

Bibliography

See M. Pincherle, Corelli: His Life, His Work (tr., 1956).

Corelli, Arcangelo

 

Born Feb. 17, 1653, in Fusignano; died Jan. 8, 1713, in Rome. Italian violinist, composer, conductor, and teacher. Founder of the Italian school of violin.

Corelli wrote ensemble and solo works for violin, trio sonatas (four collections, published 1681–94), sonatas for violin and bass (published 1700), and concert grossi (published 1714). His sonatas were models for the concert violin style, and his concerti grossi played an important role in the formation of classical orchestral music. In his works, Corelli often drew upon folk dances and songs. His playing was characterized by contemporaries as brilliant and expressive. Corelli’s pupils included the Italian violinists P. Locatelli and G. Somis.

REFERENCES

Kuznetsov, K., and I. lampoPskii. A. Korelli. Moscow, 1953.
Rinaldi, M. A. Corelli. Milan, 1953.
Pincherle, M. Corelli et son temps. Paris, 1954.
References in periodicals archive ?
Handel and Arcangelo Corelli, plus one native Englishman, celebrated improviser William Babell.
A representative selection of the "ancient" music of composers such as Arcangelo Corelli, Ceorge Frideric Handel, and Francesco Geminiani was also a common component of the music collections of Anglo-Indians.
Beckmann's division of Walther's works is logical: the first volume contains the free works, preludes (and one toccata) and fugues (and the like), a set of variations on a basso continuo by Arcangelo Corelli, and one original concerto, together with fourteen of Walther's arrangements of concertos by others; the chorale settings are divided alphabetically over the remaining three volumes.
He collected, and presumably performed, or encouraged the performance of, the works of composers popular in England during the mid-eighteenth century, such as Arcangelo Corelli, Francesco Geminiani, Thomas Arne, Johann Christian Bach, William Felton, John Worgan, and Maurice Greene.
It will include compositions by James Oswald, Charles McLean, William McGibbon, Dario Castello, Arcangelo Corelli, Alexander Munro, Franceso Maria Veracini and J.
Moreover, he credits George Frideric Handel rather than Arcangelo Corelli with the standardization of the four movement - slow-fast-slow-fast - structure.
I certainly missed a discussion of such topics as the influence of Arcangelo Corelli in England, the dissemination of the concerto grosso among provincial orchestral societies, the development of a solo violin concerto repertory in London, the use of stringed instruments in parish church music, and, most important perhaps, the cultivation of the violin among the leisured classes - a topic for which Richard Leppert's Music and Image: Domesticity, Ideology and Socio-Cultural Formation in Eighteenth-Century England (Cambridge: Cambridge University Press, 1988) would have been useful reading.
In Sand's lecture and demonstration, he will compare the ornaments in the sonatas of famous Italian baroque violinist and composer Arcangelo Corelli with passage work found in "Zigeunerweisen" (1878) and other works of the celebrated 19th century Spanish composer and violin virtuoso Pablo Sarasate.
This is the first modern study of the life and works of Francesco Geminiani, a student of Arcangelo Corelli and London colleague of George Frideric Handel, who is well known by name but whose music has remained relatively little explored or performed in our times.
It was in its own way, and briefly, a classic period, whose foremost representative in the field of purely instrumental music, Arcangelo Corelli, was, in fact, regarded as a classic.
Thus in Accademia filarmonica one can find such legendary academicians as Arcangelo Corelli (p.