ARCANGELO See also:

• ARCANGELO CORELLI (1653-1713)
• CORELLI, MARIE (1864- )

CORELLI (1653-1713)  , See also:

• ITALIAN

Italian See also:

• VIOLIN

violin-player and composer, was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born on the 12th or 13th of See also:

• FEBRUARY

February 1653, at Fusignano near See also:

• IMOLA (anc. Forum Cornelii)

Imola, and died in 1713 . Of his See also:

• LIFE

life little is known . His See also:

• MASTER (Lat. magister, related to tnagis, more, as the corresponding minister is to minus, less; the English form is due partly to the O. Eng. maegister, and partly to O. Fr. maistre, mod. maitre; cf. Du. meester, Ger. Meister, Ital. maestro)

master on the violin was Bassani . Matteo Simonelli, the well-known See also:

• SINGER, SIMEON (1846-1906)

singer of the See also:

• POPE (Gr. irarraas, post-classical Lat. papa, father)
• POPE, ALEXANDER (1688–1744)
• POPE, ALEXANDER (1763-1835)
• POPE, JANE (1742-1818)
• POPE, JOHN (1822-1892)
• POPE, SIR THOMAS (c. 1507-1559)

pope's See also:

• CHAPEL

chapel, taught him See also:

• COMPOSITION
• COMPOSITION (Lat. compositio, from componere, to put together)

composition . His first decided success was gained in See also:

• PARIS
• PARIS (also called ALEXANDROS)
• PARIS, ALEXIS PAULIN (1800-x881)
• PARIS, BRUNO PAULIN GASTON (1839-1903)
• PARIS, FRANCOIS DE (169o-1727)
• PARIS, LOUIS PHILIPPE ALBERT
• PARIS, TREATIES OF (1814-1815)

Paris at the See also:

• AGE (Fr. age, through late Lat. aetaticum, from aetas)

age of nineteen . To this he owed his See also:

• EUROPEAN

European reputation . From Paris See also:

• CORELLI, ARCANGELO (1653-1713)
• CORELLI, MARIE (1864- )

Corelli went to See also:

• GERMANY
• GERMANY (Ger. Deutschland)

Germany . In 1681 he was in the service of the electoral See also:

• PRINCE
• PRINCE (Lat. princeps, from primus capio, " I am the first to take "; Ital. principe, Fr. prince)

prince of See also:

• BAVARIA (Ger. Bayern)

Bavaria; between 168o and 1685 he spent a considerable See also:

• TIME (0. Eng. Lima, cf. Icel. timi, Swed. timme, hour, Dan. time; from the root also seen in " tide," properly the time of between the flow and ebb of the sea, cf. O. Eng. getidan, to happen, " even-tide," &c.; it is not directly related to Lat. tempus)
• TIME, MEASUREMENT OF
• TIME, STANDARD

time in the See also:

• HOUSE
• HOUSE (O. Eng. hiss, a word common to Teutonic languages, cf. Dut. huis, Ger. Haus; in Gothic it is only found in gudhiss, a temple; it may be ultimately connected with the root of " hide," conceal)

house of his friend See also:

• FARINELLI (1705–1782)

Farinelli . In 1685 he was certainly in See also:

• ROME
• ROME (Roma)

Rome, where he led the festival performances of See also:

• MUSIC

music for See also:

• QUEEN
• QUEEN (O.E. cwen, wife, related to "quean," O.E. cwene, a hussy; cf. Gr. yvvi7: from root gan-, to produce; cf. genus, " kin," &c.)

Queen Christine of See also:

• SWEDEN
• SWEDEN [Sverige]
• SWEDEN, NORWAY AND

Sweden and was also a favourite of See also:

• CARDINAL (Lat. cardinalis)

Cardinal Ottoboni . From 1689 to 1690 he was in See also:

• MODENA (ancient Mutina)

Modena, the See also:

• DUKE (corresponding to Fr. duc, Ital. duca, Ger. Herzog)

duke of which See also:

• CITY (through Fr. cite, from Lat. civitas)

city made him handsome presents . In 1708 he went once more to Rome, living in the See also:

• PALACE (Lat. Palatium, the name given by Augustus to his residence on the Palatine Hill)

palace of Cardinal Ottoboni . His visit to See also:

• NAPLES
• NAPLES (Ital. Napoli, and Lat. Neapolis)
• NAPLES, KINGDOM OF

Naples, at the invitation of the See also:

• KING
• KING (O. Eng. cyning, abbreviated into cyng, cing; cf. O. H. G. chun- kuning, chun- kunig, M.H.G. kiinic, kiinec, kiinc, Mod. Ger. Konig, O. Norse konungr, kongr, Swed. konung, kung)
• KING [OF OCKHAM], PETER KING, 1ST BARON (1669-1734)
• KING, CHARLES WILLIAM (1818-1888)
• KING, CLARENCE (1842–1901)
• KING, EDWARD (1612–1637)
• KING, EDWARD (1829–1910)
• KING, HENRY (1591-1669)
• KING, RUFUS (1755–1827)
• KING, THOMAS (1730–1805)
• KING, WILLIAM (1650-1729)
• KING, WILLIAM (1663–1712)

king, took See also:

• PLACE (through Fr. from Lat. platea, street; Gr. IrAar6s, wide)

place in the same See also:

• YEAR

year .

The See also:

• STYLE
• STYLE (from Gr. a-6'1ms, a column; a different word from that used in literature, see below)

style of See also:

• EXECUTION (from Lat. ex-sequor, exsecutus, follow or carry out)

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 See also:

• INSTRUMENT (Lat. instrumentum, from insincere, to build up, furnish, arrange, prepare)

instrument's See also:

• COMPASS (Fr. corn pas, ultimately from Lat. cum, with, and passus, step)

compass, as may be seen by his writings, wherein the parts for the violin never proceed above D on the first See also:

• STRING

string, the highest See also:

• NOTE
• NOTE (Lat. nota, mark, sign, from noscere, to know)

note in the third position; it is even said that he refused to See also:

• PLAY

play, as impossible, a passage which extended to A in altissimo in the See also:

• OVERTURE (Fr. ouverture, opening)

overture to See also:

• HANDEL, GEORGE FREDERICK (1685–1759)

Handel's Trionfo del Tempo, and took serious offence when the composer played the note in See also:

• EVIDENCE (Lat. evidentia, evideri, to appear clearly)

evidence of its practicability . His compositions for the instrument See also:

• MARK
• MARK, CARL (1858– )
• MARK, GOSPEL OF ST
• MARK, ST

mark an See also:

• EPOCH (Gr. E7roxij, holding in suspense, a pause, from E1rxav, to hold up, to stop)

epoch in the See also:

• HISTORY

history of chamber music; for his See also:

• INFLUENCE (Late Lat. influentia, from influere, to flow in)

influence was not confined to his own See also:

• COUNTRY (from the Mid. Eng. contre or contrie, and O. Fr. cuntree; Late Lat. contrata, showing the derivation from contra, opposite, over against, thus the tract of land which fronts the sight, cf. Ger. Gegend, neighbourhood)

country . ' Even See also:

• SEBASTIAN
• SEBASTIAN, ST

Sebastian See also:

• BACH, JOHANN SEBASTIAN (1685–1750)
• BACH, KARL PHILIPP EMANUEL (1714-1788)

Bach submitted to it . Musical society in Rome owed much to Corelli . He was received in the highest circles of the See also:

• ARISTOCRACY (Gr. apuvror, best; «paria, government)

aristocracy, and arranged and for a See also:

• LONG, GEORGE (1800-1879)
• LONG, JOHN DAVIS (1838– )

long time presided at the celebrated See also:

• MONDAY (in O.E. Monandaeg, the moon's day, a translation of the Late Lat. Lunae dies, from which the French lundi is taken)

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

left both to his benefactor and friend, who, however, generously made over the See also:

• MONEY

money to Corelli's relations . Corelli's compositions are distinguished by a beautiful flow of See also:

• MELODY (Gr. ,ueXw3ia, a choral song, from name, tune, and gi6i, song)

melody and by a masterly treatment of the accompanying parts, which he is justly said to have liberated from the strict rules of See also:

• COUNTERPOINT (Lat. contrapunctus, " point counter point," " note against note ")

counterpoint . Six collections of concerti, sonatas and See also:

• MINOR
• MINOR (Lat. for smaller, lesser)
• MINOR, ROBERT CRANNELL (1839-1904)

minor pieces for violin, with See also:

• ACCOMPANIMENT (i.e. that which " accompanies ")

accompaniment of other See also:

• INSTRUMENTS

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

viol one o eimbalo (Rome, 1700) .