|
ARCANGELO CORELLI (1653-1713) , See also: Italian See also: violin-player and composer, was See also: born on the 12th or 13th of See also: February 1653, at Fusignano near See also: Imola, and died in 1713
.
Of his See also: life little is known
.
His master on the violin was Bassani
.
Matteo Simonelli, the well-known See also: singer of the See also: pope's See also: chapel, taught him composition
.
His first decided success was gained in See also: Paris at the age of nineteen
.
To this he owed his See also: European reputation
.
From Paris Corelli went to See also: Germany
.
In 1681 he was in the service of the electoral See also: prince of See also: Bavaria; between 168o and 1685 he spent a considerable See also: time in the See also: house of his friend See also: Farinelli
.
In 1685 he was certainly in See also: Rome, where he led the festival performances of See also: music for See also: Queen Christine of Sweden and was also a favourite of See also: Cardinal Ottoboni
.
From 1689 to 1690 he was in See also: Modena, the duke of which city made him handsome presents
.
In 1708 he went once more to Rome, living in the palace of Cardinal Ottoboni
.
His visit to Naples, at the invitation of the See also: king, took place in the same
See also: year
.
The See also: style of execution introduced by Corelli and preserved by his pupils, such as Geminiani, Locatelli, and many others, has been of vital importance for the development of violin-playing, but he employed only a limited portion of his instrument's compass, as may be seen by his writings, wherein the parts for the violin never proceed above D on the first See also: string, the highest note in the third position; it is even said that he refused to See also: play, as impossible, a passage which extended to A in altissimo in the See also: overture to See also: Handel's Trionfo del Tempo, and took serious offence when the composer played the note in evidence of its practicability
.
His compositions for the instrument mark an epoch in the See also: history of chamber music; for his influence was not confined to his own country
.
' Even See also: Sebastian Bach submitted to it
.
Musical society in Rome owed much to Corelli
.
He was received in the highest circles of the aristocracy, and arranged and for a long time presided at the celebrated Monday concerts in the palace of Cardinal Ottoboni
.
Corelli died possessed of a sum of 120,000 marks and a valuable collection of pictures, the only luxury in which he had indulged
.
IIe See also: left both to his benefactor and friend, who, however, generously made over the See also: money to Corelli's relations
.
Corelli's compositions are distinguished by a beautiful flow of melody and by a masterly treatment of the accompanying parts, which he is justly said to have liberated from the strict rules of counterpoint
.
Six collections of concerti, sonatas and minor pieces for violin, with accompaniment of other See also: instruments, besides several concerted pieces for strings, are authentically ascribed to this composer
.
The most important of these is the XII
.
Suonati a violino e See also: viol one o eimbalo (Rome, 1700)
.
|
|
|
[back] AULUS CREMUTIUS CORDUS |
[next] MARIE CORELLI (1864- ) |
There are no comments yet for this article.
Do not copy, download, transfer, or otherwise replicate the site content in whole or in part.
Links to articles and home page are encouraged.