Corelli, Arcangelo

Corelli, Arcangelo , celebrated Italian composer, violinist, and teacher; b. Fusignano, Feb. 17, 1653; d. Rome, Jan. 8, 1713. He was born into a family of well-to-do landowners. After musical training in Faenza and Lugo, he went to Bologna in 1666 to pursue his studies in earnest. At the age of 17, he was made a member of Bologna’s Accademia Filarmonica. By 1675 he was in Rome, where he worked as a violinist in churches and theaters. He acquired a distinguished reputation, and soon found a patron in Queen Christina of Sweden, who made him a chamber musician in her service. His 12 trio sonatas, op.l (Rome, 1681), were dedicated to her. In 1684 Corelli became a regular performer in the Sunday academies of Cardinal Benedetto Pamphili given at his Palazzo al Corso, and was soon asked to assume their directorship. He also was made a member of the Congregazione dei Virtuosi de S. Cecilia in 1684, and he became director of the instrumental ensemble in 1700. Corelli dedicated his 12 chamber trios, op.2 (Rome, 1685), to Cardinal Pamphili, who made him his music master in 1687, where he took up his residence. His next set of 12 chamber trios, op.3 (Rome, 1689), were dedicated to Francesco II, the Duke of Modena. Corelli remained in Cardinal Pamphili’s service until 1690. He then found a new patron in Cardinal Pietro Ottoboni, in whose palace, the Cancelleria, he lived and oversaw the Monday academies and the opera performances. Cardinal Ottoboni became the dedicatee of Corelli’s 12 chamber trios, op.4 (Rome, 1694). His famous set of 12 violin sonatas, op.5 (Rome, 1700), were dedicated to Sophie Charlotte, the Electress of Brandenburg. In 1706 he was made a member of the Accademia dell’Arcadia, where he was given the name of Arcomelo Erimanteo. Corelli made his final public appearance in 1708, and then lived at the Cancelleria until settling in the Palazzetto Ermini in 1712. He died a famous and wealthy man, and was given interment in S. Maria della Rotonda, the Pantheon. His former pupil, Matteo Fornari, oversaw the publication of Corelli’s 12 Concerti grossi, op.6 (Amsterdam, 1714), which added luster to the composer’s renown. Corelli was one of the outstanding instrumental composers of his era. His sonatas and concerti grossi became paradigms of the Baroque era, being particularly esteemed for their assured command of counterpoint and harmony, and for their idiomatic string writing. His works were widely distributed and emulated. As a performing musician, he was also held in high regard. His influence as a violin teacher was profound, for he numbered among his students such native musicians as Carbonelli, Castrucci, Gasparini, Geminiani, and Somis, and such foreign musicians as Anet, Herrando, and Storl.

Works

(12) Sonate a ire for 2 Violins, Violone or Archlute, and Organ, op.l (Rome, 1681); (12) Sonate da camera a ire for 2 Violins and Violone or Harpsichord, op.2 (Rome, 1685); (12) Sonate a ire for 2 Violins, Violone or Archlute, and Organ, op.3 (Rome, 1689); (12) Sonate a ire for 2 Violins and Violone, op.4 (Rome, 1694); (12) Sonate for Violin and Violone or Harpsichord, op.5 (Rome, 1700); (12) Concerti grossi, op.6 (Amsterdam, 1714);(6) Sonate a ire for 2 Violins and Basso Continue, op.posthumous (Amsterdam, 1715). Also 2 sonatas for 2 Violins, Viola, and Bass (n.d.) and the overture to G. Lulier’s oratorio S. Beatrice d’Este (1689). See J. Joachim and F. Chrysander, eds., Les oeuvres de A. C., Denkmaler der Tonkunst, III (1871), and H. Marx et al. eds., A. C.: Historisch-kritische Gesamtausgabe der musikalischen Werke (Cologne, 1976 et seq.).

Bibliography

C. Piancastelli, In onore di A. C.: Fusignano ad A. C. nel secondo centenario dalla morte, 1913 (Bologna, 1914); M. Pincherle, C. (Paris, 1933; 2nd ed., rev. and enl., 1954 as C. et son temps; Eng. tr., 1956); M. Rinaldi, A. C. (Milan, 1954); Studi c.ani: l[00aa] congresso internazionale: Fusignano 1968 (Fusignano, 1968); Nuovi studi c.ani: 2[00aa] congresso internazionale: Fusignano 1974 (Fusignano, 1974); Nuovissimi studi c.ani: 3[00aa]congresso internazionale: Fusignano 1980 (Fusignano, 1980); G. Morelli, ed., L’invenzione del gusto: C. e Vivaldi: Mutazioni culturali, a Roma e Venezia, nel periodo post- barocco (Milan, 1982).

—Nicolas Slonimsky/Laura Kuhn/Dennis McIntire