Archangelo Corelli's music was key in the development of the modern genres of
sonata and concerto, in establishing the preeminence of the violin, and as the first
coalescing of modern tonality and functional harmony. He was widely famous in his
era as both a composer and a violin virtuoso, and he influenced later composers
including Handel and Bach.
Corelli learned violin and composing in Bologna, then a musical cultural center.
He spent the remainder of his life in Rome. The style of execution introduced by
Corelli and preserved by his pupils, such as Francesco Geminiani, Pietro Locatelli,
and others, was of vital importance for the development of violin playing. It has been
said that the paths of all of the famous violinist-composers of 18th-century Italy led to
Corelli, who was their "iconic point of reference."
Corelli's compositions for violin mark an epoch in the history of chamber music.
His influence was not confined to his own country. Johann Sebastian Bach studied the
works of Corelli and based an organ fugue (BWV 579) on Corelli's Opus 3 of 1689.
Handel's Opus 6 Concerti Grossi take Corelli's Opus 6 Concerti as models, rather
than the later three-movement Venetian concerto of Antonio Vivaldi favored by Bach.
Musical society in Rome also owed much to Corelli. He was received in the highest
circles of the aristocracy, and for a long time presided at the celebrated Monday concerts
in the palace of Cardinal Ottoboni. Corelli died in Rome in possession of a fortune of
120,000 marks and a valuable collection of works of art and fine violins. Corelli is buried
in the Pantheon at Rome.
Published Works:
Opus 1: 12 sonate da chiesa (trio sonatas for 2 violins and continuo) (Rome 1681)
Opus 2: 12 sonate da camera (trio sonatas for 2 violins and continuo) (Rome 1685)
Opus 3: 12 sonate da chiesa (trio sonatas for 2 violins and continuo) (Rome 1689)
Opus 4: 12 sonate da camera (trio sonatas for 2 violins and continuo) (Rome 1694)
Opus 5: 12 Suonati a violino e violone o cimbalo (6 sonate da chiesa and 6 sonate da
camera for violin and continuo) (Rome 1700) The last sonata is a set of
variations on La Folia.
Opus 6: 12 concerti grossi (8 concerti da chiesa and 4 concerti da camera for concertino of
2 violins and cello, string ripieno, and continuo) (written in the 1680s, publ. posth.
Amsterdam 1714)
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6 sonate da chiesa & 6 sonate da camera for violin and continuo)
Violin Sonata opus 5. No. 12 "La Folia" (10:11)
La Folia (the follies) is a tune from the Renaissance that was reset to music by
numerous Baroque composers including, Jean-Baptiste Lully, Alexandro Scarlatti,
Corelli, Vivaldi, Bach and Handel.
Hiro Kurosaki, violin, Alberto Martínez Molina, harpsichord, Ruth Verona, cello
Hiro Kurosaki, violin, Alberto Martínez Molina, harpsichord, Ruth Verona, cello
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Trio Sonatas
Trio Sonata in D Major, Op. 3, No. 2 (1685)
Trio sonatas are two lead instruments and a basso continuo (two or more
Trio Sonatas
Trio Sonata in D Major, Op. 3, No. 2 (1685)
Trio sonatas are two lead instruments and a basso continuo (two or more
instruments playing the chords and bass line beneath the lead instruments)
Play Howard Goodall video on chord progressions (9:00)
These are some of the finest examples of the baroque-style concerti grossi, that is,
concertos for a concertino group, in these cases of a 1st violin, a 2nd violin and a cello,
and a ripieno group of 1st violins, 2nd violins, violas, cellos and continuo. They were the
model for the later publication in London, in 1739, of Handel's own collection of
twelve Opus 6 Concerti Grossi.
The first eight concerti are concerti da chiesa while the last four are concerti da camera.
Concerto Grosso, Op.6, No 4 in D Major (1714) (10:30)
The concertino (soloists) are 2 violins and a cello.
The structure of this concerto is unique compared to the other Op. 6 concerti
(which has 5+ short, fragmentary movements based on Italian Baroque dances)
because it has 4 well-developed movements, which resembles those of a typical
Play Howard Goodall video on chord progressions (9:00)
___________________________________________________________________________________________________________
Twelve Concerto Grossi, Op. 6 (1680s? - publ. 1714)
These are some of the finest examples of the baroque-style concerti grossi, that is,
concertos for a concertino group, in these cases of a 1st violin, a 2nd violin and a cello,
and a ripieno group of 1st violins, 2nd violins, violas, cellos and continuo. They were the
model for the later publication in London, in 1739, of Handel's own collection of
twelve Opus 6 Concerti Grossi.
The first eight concerti are concerti da chiesa while the last four are concerti da camera.
Concerto Grosso, Op.6, No 4 in D Major (1714) (10:30)
The concertino (soloists) are 2 violins and a cello.
The structure of this concerto is unique compared to the other Op. 6 concerti
(which has 5+ short, fragmentary movements based on Italian Baroque dances)
because it has 4 well-developed movements, which resembles those of a typical
Classical era symphony. This sort of structure is common among the sonate da
chiesa composed by Corelli.
The concerto is divided into four movements:
Enrico Onofri, Riccardo Minasi, violin, Balazs Mate, violoncello, Jordi Savall, conductor, viola da gamba
Corelli's Christmas Concerto (Concerto grosso in G minor, Op. 6, No. 8) is one
of his most famous pieces.
chiesa composed by Corelli.
The concerto is divided into four movements:
- Adagio - Allegro
- Adagio
- Vivace (Minuet)
- Allegro - Allegro
Enrico Onofri, Riccardo Minasi, violin, Balazs Mate, violoncello, Jordi Savall, conductor, viola da gamba
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Corelli's Christmas Concerto (Concerto grosso in G minor, Op. 6, No. 8) is one
of his most famous pieces.
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