Arcangelo Corelli

Arcangelo Corelli ( born February 17, 1653 Fusignano; † January 8, 1713 in Rome) was an Italian composer and violinist of the Baroque.

Corelli's works had far-reaching influence on the development of chamber music, church and chamber sonatas and the significant co-developed by Corelli genre of the concerto grosso. His virtuosic musical style became the foundation of modern violin technique of the 18th and 19th centuries and influenced many composers.

Life

Youth and Education

About Corelli's early years of life are very few reliable information have survived. He came from a wealthy landowner family from Fusignano. His father, also named Arcangelo died a month before Corelli's birth, so his mother Santa Corelli born Raffini had to take alone the education of their five children.

Corelli received his first music lessons from a priest in the neighboring town of Faenza, continued his studies in Lugo away, and walked in 1670 finally to Bologna, where he was probably taught by Giovanni Benvenuti and Leonardo Brugnoli. He may have been taken during his stay in Bologna in the local Accademia Filarmonica. Although his formal membership is not there vouched for by contemporary sources, as there are indications that he was present at the meetings of the Academy, in which even well-known musicians and composers such as Giovanni Battista Vitali and Pietro degli Antonii were present and these used for the exchange of musical ideas.

Establishment as a musician and composer in Rome

No later than 1675 Corelli came to Rome, where he soon became known under the nickname Il Bolognese as one of the leading violinists. Shortly after his arrival, he was involved in several concerts with the Chigi family, which he quickly gained access to the highest circles of the Roman nobility, establishing itself in one of the richest centers of musical patronage of that time. In the same year he also joined the services of the orchestra of the French National Church of San Luigi dei Francesi and played in the following years by numerous celebrations, oratorios and masses. 1682 he was appointed concertmaster, a position he held until 1708.

At this time, Corelli also received lessons in composition and counterpoint with Matteo Simonelli, a singer in the Papal Chapel, after which he began in 1677 to write his first compositions. In the same year he joined the orchestra of living in Rome, former Swedish Queen Christina, and wrote in the following years, numerous pieces for the academies founded by Christina. Your devoted Corelli and his first printed Opus, the Opus 1 ( 1681), which was a Europe-wide success and have been reprinted in numerous European cities and Corelli far beyond Italy procured 12 church sonatas great reputation. In the preface to this work he thanked the " più valorosi professori musici di Roma ", which included certainly the violinist Carlo Mannelli and Carlo Ambrogio Lonati.

Corelli, the (later: Accademia Nazionale di Santa Cecilia ) as all the musicians of Rome, a member of the Musicians Guild Congregation of Santa Cecilia was, was finally in 1681 in recognition of his musical achievements for Guardiano (German: "guard" or " head ") of the chosen instrumental department of the guild, a post which was offered only the most outstanding musicians of Rome. 1684 and 1700 he was re-elected.

Serving Pamphili

Once Christina had lost the financial support of the Pope in 1683, left Corelli 1684 their services (but remained in close contact with her) and took a job with the wealthy Cardinal and art patron Benedetto Pamphili ( 1652-1730 ), whose Palazzo ( the Palazzo Pamphili ) was one of the centers of the Roman musical life. Out of gratitude for the generous support of Cardinal Corelli dedicated his Opus 2 (12 chamber sonatas, 1685). Also this sonata collection experienced a very positive reception and strengthened Corelli's reputation as a composer of instrumental music. 1687 Corelli became very Pamphili services and moved in with his inseparable companions and students Matteo Fornari in Palazzo Pamphili, where he had to conduct as musical concerts with 80 and more participants.

In addition to this official appointment came after Corelli also numerous other commitments. Thus, large concert events are documented in honor of, among others, James II of England, the French King Louis XIV and the Spanish Queen Marie Louise d' Orléans in 1687 in Rome, where Corelli had to conduct the orchestra with up to 150 musicians. In addition, he undertook in 1685 and 1686, travel to Viterbo, where he was also musically active.

Be published in 1689 Corelli Op 3 (12 church sonatas ), which he dedicated to the Duke of Modena Francesco II d' Este. This was in 1686 Corelli hear playing in the Palazzo Pamphili and was so impressed by the demonstration that he repeatedly tried in the time to poach Corelli to Modena. This rejected the offers whether his obligations to his Roman patrons, however, with thanks, the Este family, however, remained on friendly terms.

Serving Ottoboni

By the death of Christina in April 1689 and the appointment Pamphili for the papal legate in Bologna early 1690 Corelli lost within a short time, his two main patrons in Rome. At the same time, however, revealed by the election of Pope Alexander VIII for a fundamental change in the cultural politics of the Vatican, as Alexander the art hostile policies of his predecessor Innocent XI. reversed and made ​​his art - and music-loving great-nephew Pietro Ottoboni appointed as its Vice- Chancellor and Kardinalnepoten.

This was active soon as a generous patron of the arts and began the most important artists and musicians of that time to rally, including Corelli, who officially entered service in April 1690 in Ottoboni. Both should all his life remain connected in close personal friendship and mutual respect, which was reflected also in Ottoboni support of Corelli's family, who even as far enough that Corelli's brothers Don Ippolito (1643-1727), Domenico (1647-1719) and Giacinto ( 1649-1719) were employed from 1702 Ottoboni budget as " ministri " and this remained on Corelli's death.

He, too, had Corelli in his Palazzo ( the Cancelleria ) live and entrusted him with the management of the people there are concerts and opera performances. He also commissioned him with the care of church music in his palace located within the titular church of San Lorenzo in Damaso. The guided by Corelli and mostly also composed concertos in Palazzo Ottoboni, which took place mostly in small ensemble were initially spontaneous, informal meetings. From 1693 an attempt was made to make these meetings by founding an academy formal character. Corelli dedicated Ottoboni and the Academy his 12 chamber sonatas op 4 ( 1694 ), which were certainly also part of the repertoire of the Academy.

1700 appeared Corelli's Opus 5 (12 sonatas ) with a dedication to Sophie Charlotte of Hanover. The Prussian Electress Corelli was never actually met, but was generally known as Fördererin the arts and especially music. Turning away to his previous, written as a trio sonatas works Corelli conceived his fifth release as Duosonate for violin and continuo. In addition, the work includes 6 each church and chamber sonatas 6, two genres that Corelli had been disconnected. In recognition of his services Corelli was elected for the third time Guardiano the musicians guild in the same year.

1702 Corelli remained for some months in Naples on to direct a series of performances. In 1706 he was recorded with his longtime friend and fellow musician Bernardo Pasquini and Alessandro Scarlatti in the Academy of the Arcadia in Rome and took it to the Arkadiernamen Arcomelo Erimanteo. The Accademia, actually a company incorporated in honor of Queen Christina Literary Society, made an exception to this and was in this case, the three musicians.

To 1708 he came into contact with George Frideric Handel, who took 1706 to 1710 an extensive study tour of Italy. He participated in several performances of Handel's works and launched in April 1708 at the Palazzo Bonelli in Rome the premiere of his oratorio La Resurrezione. A month later he replied to a request of the German Elector Johann Wilhelm von der Pfalz by and composed for them, a chamber concert.

Retreat from public life and death

After 1709 Corelli retired for health reasons, increasingly from the public and devoted himself to composition and revision of the 12 Concerti grossi op 6, whose publication he prepared no later than 1711. 1712 received the Amsterdam printer Estienne Roger the exclusive privilege of printing for the work. The dedication of the work, which was addressed to the Elector Johann Wilhelm, was written in December of the same year by Ottoboni in Corelli's name, which makes the poor state of health of the composer at this time significantly. In fact, the Concerti Grossi appeared only in 1714, a year after the death of Captain Corelli.

End of December 1712, he moved from the Cancelleria in the Palazzo his brother Giacinto, where his rich possessions, including valuable paintings and musical instruments were stored. A few days later, on January 8, 1713, he died at the age of just 60 years. A large part of his possessions, including his collection of 142 paintings and 71 shares shares in the Monte di Pietà, he bequeathed to his brothers. His pupil and friend Matteo Fornari he left behind including his violins and all his manuscripts. He was embalmed at the instigation of Cardinal Ottoboni and buried in the Pantheon in Rome.

Importance

Both as a violinist and as a composer Corelli had considerable influence far beyond Italy. The musical style introduced by him, which was maintained by his students like Francesco Gasparini, Francesco Geminiani, Giovanni Battista Somis and other, was responsible for the development of violin playing of great importance.

As a composer Corelli wrote in contrast to most of his contemporaries exclusively instrumental music. His works, which are distinguished by classic balance and cantabile, mark an epoch in the history of chamber music. Composers such as Geminiani, Vitali, Albicastro, Vivaldi, Galuppi, Telemann and Valentini edited works of Corelli or imitated his style.

Corelli's works were until the early 19th century, the most published works of music history. From his Opus 1, published up to 1800 no less than 39 editions, from his Opus 5 even 42 Taken together, published by Corelli, Op 1-6 total of 213 runs, plus an unknown number of illegal reprints. Corelli's oeuvre not only enjoyed great popularity, but also far -reaching distribution. His works have been published in almost all European countries and justified by Corelli Europe-wide fame, and his reputation as the most capable violin virtuoso and composer of his time. The Concerti Grossi, Op 6 were played in England until the 19th century and even preferred to those of Handel.

Although the popularity of Corelli's music nowadays hardly comes close to the extraordinary popularity of his works during his lifetime and the next century, then parts of his work, but still enjoy great popularity, such as the widely -received Folia Variations from op 5 or the well-known Christmas concert from the concerti grossi. Extracts from these two pieces have also been included in the soundtrack of several films, such as Master and Commander ( 2003).

Works

  • Op. 1: 12 Trio Sonatas da chiesa ( Sonata a tre, Rome 1681)
  • Op. 2: 12 trio sonatas da camera ( sonata da camera a tre, Rome 1685)
  • Op. 3: 12 Trio Sonatas da chiesa ( Sonata a tre, Rome 1689)
  • Op. 4: 12 trio sonatas da camera ( Sonata a tre, Rome 1694 )
  • Op. 5: 12 Sonatas for Violin and Continuo ( Sonate a violino e violone o cimbalo, Rome 1700, No. 12: Variations on La Folia )
  • Op. 6: 12 Concerti Grossi (Amsterdam 1714, No. 8, the famous Christmas Concerto in G Minor)
  • WoO 2-3: 2 Sonata a quattro (included in Six Sonatas of 4, 5, & 6 parties ..., Amsterdam about 1699 )
  • WoO 4: Sonata a quattro for trumpet, 2 violins and basso continuo

Corelli authentically handed down factory covers a total of 48 trio sonatas, 12 sonatas for violin and continuo, and 12 concerti grossi. However, it can be assumed that this relatively small but systematic oeuvre represents only a fraction of its overall compositions. So far, a total of Corelli's compositions are identified as possible ten handwritten traditional works. From these works without opus numbers ( WoO ) but only WoO 1 doubt, and WoO 2 and 5 could be associated with very high probability Corelli. The authenticity of WoO 3, 4 and 6-10 is questioned by research.

The low level of the entire work is partly due to the fact that Corelli has apparently composed slowly, has constantly carefully revised his works and has set itself as a composer very high quality standards. Second, the printing of musical works was at that time due to the immaturity of music engraving still very cumbersome and costly, and also still uncommon, as many composers wrote their works exclusively for their clients. Corelli's tendency to give his works in print, on the other hand his experiences in Bologna seems to be due, as the local publishers within Italy leader in banknote printing, particularly of instrumental works, were at that time.

It is also striking that of Corelli exclusively instrumental music has survived, although there is reason to believe that he also created vocal works. Likewise, no solo sonatas have survived, but this is often explained by the fact that Corelli as a famous violin virtuoso this composed exclusively for his own use and therefore they never took into consideration to publish.

Another formal feature of Corelli's work is the distinction between two specific sonata genres, namely the church sonata ( sonata da chiesa ) and the chamber sonata ( sonata da camera), both of which correspond to a specific formal structure, which was mainly developed and disseminated by Corelli, with in research is controversial, how consistent this distinction is to be made, including, as Corelli himself avoided this categorization. Although follow his first four works of this formal separation still quite clearly, in the latter two works, however, the transitions between the two genres are fluid.

There are too many variations of the sonatas op 5 by Corelli himself, by Francesco Geminiani, Giovanni Benedetto Platti, Matthew Dubourg ( concertmaster under Handel ) and Giuseppe Tartini.

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