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Arcangelo Corelli - born the February 17th 1653, with Fusignano (close to Ravenne), died the January 8th 1713, with Rome - is a Violoniste and Italian Compositeur . It is one of the major type-setters of the period baroque.

Biography

Corelli was the fifth child of an easy family landowners. It probably accepted its first lessons of a local professor before leaving in 1666 to Bologna to learn there the Violon near two famous violonists Leonardo Brugnoli and Giovanni Benvenuti. In 1671, it goes to Rome and becomes violonist of the church of the French, Saint-Louis.

It could have travelled in Europe - in France, in Spain, Germany, but no document proves it truly - before settling definitively with Rome where it passed almost all the remainder of its life, leaving it only for one short voyage to Naples.

With Rome, it arrives to place under patronage of powerful guards - the queen Christine of Sweden, the cardinals Benedetto Pamphilj and Pietro Ottoboni, nephew of the reigning pope -, which enables him to carry out a life without money worries and to look after a rather reduced work particularly of many parts, but of very great quality and entirely dedicated to the Violon. It withdrew public life towards 1708. He enjoyed a solid abundance of cash then, had one collection of masterpieces but was generous towards its close relations.

Influence of Corelli

Its fame as a violonist and a Leader - it sometimes happened to him to direct more than 150 musicians - was very large, and more still, perhaps, than that of type-setter whose publication of works was however watched for impatiently in all the Europe.

Corelli was in liaison with many colleagues musicians: Bernardo Pasquini, Alessandro Scarlatti, etc Georg Muffat and Georg Friedrich Haendel made a point of meeting it when they made, one like the other, their voyage in Italy. It belonged to several learned societies: Academy of Bologna, Congregation of the virtuosos of Holy Cecile, Academy of Arcadie, where it took the pseudonym of “Arcomelo Erimanteo”.

Its influence was very large, at the same time in the diffusion of new forms - Sonate and Concerto grosso - and in the technique of the violin. This radiation was exerted largely beyond the Italian borders, and, for example, Bach and Couperin admired it much. The first borrowed to him a topic of its Sonate COp 3 n° 4 for its Fugue of organ in so minor (BWV 579) . The second made some, for the Italian music, during the EC what was Lully for the French music: he dedicated to him, as with this one, a “Apotheosis” in music, and endeavoured to imitate his style in the sonatas known as “of the joined together tastes”.

Corelli in addition had many disciples violonists and type-setters who essaimèrent in various countries: Geminiani, Somis, Locatelli, Gasparini… One generally considers that Corelli is the initiator of the modern technology of the violin, although it was not tried by pure virtuosity. It is completely representative of the style Italian baroque, characterized by the use of a rich ornamentation - which will be taken again later by Jean-Sebastien Bach -, of a Continuo composed of several instrumentalists - Clavecin, Violoncelle, Théorbe, Guitare baroque - as attest it several contemporary paintings, and to a dynamic and rhythmic contrast important separating each movement - as testified Georg Muffat in its writings.

Work

The work published of alive sound is relatively thin but irreproachable - because it took there the greatest care - 5 numbers of opus for which it is necessary to add the opus 6 qu ' it could not finish and which was published after its death - although he was played since 1682. They are collections of twelve works each one:

  • Opus 1: 12 sonatas da chiesa (of church) in trio (Rome, 1681)

  • Opus 2: 12 sonatas da camera (of room) in trio (Rome, 1685)
  • Opus 3: 12 sonatas da chiesa (of church) in trio (Rome, 1689)
  • Opus 4: 12 sonatas da camera (of room) in trio (Rome, 1694)
  • Opus 5: 12 sonatas for solo violin and continuo - N°1-6 da chiesa and N°7-12 da camera; the twelfth sonata exploits the topic of “Folia” (Rome, 1700)
  • opus 6: 12 concerti enlarged: the most known work is celebrates it “concerto for the Christmas Eve”, published in a posthumous way. (Amsterdam, 1714)
  • Without opus: several sonatas in trio (1712)

The sonatas adopt the form sonata of church (Sonata da chiesa) or sonata of room (sonata da camera), and include, beside movement S noted with Italian, by their Tempo ( largo, long-lived, allegro , etc) of the movements inherited the Suite of dances.

Selective discography

  • Integral of the sonatas opus 3, Enrico Gatti, at Arcana

  • Integral of the sonatas opus 5, Enrico Gatti, at Arcana
  • Integral of the sonatas of room opus 2&4, Enrico Gatti, at Tactus
  • Integral of the concerti enlarged opus 6, Chiara Banchini and the Together 415, at Harmonia Mundi
  • Integral of the concerti enlarged opus 6, Fabio Biondi and the Gallant Europa Unit, at Opus 111
  • integral work, Pieter-Jan Belder and Musica Amphion, at Brilliant Classics
  • Corelli & Co, Daniel Cuiller and Stradivaria, at Cypress

Anecdotes

  • It is of one of its sonatas that Michel Magne extracted the four notes which are used as main theme with all the musics and sound illustrations of the film the Uncles flingueurs of Georges Lautner. Besides one of the scenes of film shows Fernand Naudin (Lino Ventura) dining by reading the small pocket on the 33 turns of the aforesaid sonatas.

Internal bonds

External bonds

  • W.Icking Files - Partitions of the Sonata Op.5 n°1 with the orementations of the edition of 1710 and the Sonata Op.V n°12 “Follia”

Simple: Arcangelo Corelli

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