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Thank you for posting a review! The dedicatees of his printed works form a clear guide to his most ardent patrons. Rome, with its wide assortment of churches, cardinals' palaces, and unusual cultural enclaves, such as the court-in-exile of Queen Christina of Sweden, offered much to keep a violinist of Corelli's caliber musically engaged.

When viewed in the context of the composer's identified patrons, it becomes clear that Corelli's even-handed attention to both church and chamber genres represented a conscious effort to satisfy both cardinals and princes.

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The immense reach of Corelli's music far into the eighteenth century demonstrates its universal appeal. Printed copies of his works from that time are widely spread throughout Europe, North America, and East Asia. This appeal can now be extended through the use of tools to make it instantly playable and viewable in score as well as to visual those features that clarify what the essence of its appeal was and is. In church sonatas, imitative writing could occur between treble and bass instruments or between the two violins.

Chamber sonatas contained a more variable number of movements, each of which employed the meter of a particular dance type. Although the typologies were inspired by real-world differences of social function, the meanings of the terms, and of the musical prototypes, drifted from these idealized norms to suit special situations and fickle tastes. They necessarily accommodated the styles of individual composers.

Up to the end of the seventeenth century, Op. Counting eighteenth-century and foreign reprints, the numbers rise to totals of 39, 41, 31, and 39, amounting to a total of printed editions of the sonatas. No other composer of his generation achieved this kind of recognition. These numerous editions pervaded every corner of Europe and the North American colonies. They were models for countless violinists and composers throughout the eighteenth century.


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For listeners, the works achieved a happy balance between articulate detail and simplicity of melodic line; between imitative interactions between instruments and simple homophony; between clarity of line and subtlety of ornamentation; and between familiar rhythmic templates and momentary deviations from them.

Editions were bought, however, by those wishing to perform the works.

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Here Corelli benefited from coincidences of time and place. The works were rewarding without being impossibly difficult. His concerts for Arcadian gatherings organized for the court-in-exile of Queen Christina of Sweden on the slopes of the Janiculum fed legends that lived on long after the composer, and the Arcadian Academy, were dead. Because of their exquisite balance of features, trio sonatas offered little opportunity for the virtuoso display that was rising to prominence as the seventeenth century ended.

It is in his famous violin sonatas of Op. Corelli dedicated the volume on January 1, , and some now claim that he wished consciously to address his works to the new century. The first six works are sonate da chiesa of five movements. Most of the movements are fast. Not uncommonly, the first movement is marked Vivace, the fifth a mere Allegro.

In contrast to all the trio sonatas, the violin sonatas of Op. They offer great scope for virtuosity and individual interpretation. Several contain passages dominated by long sequences of multiple stops or polyphonic voicing. Writing ornamented versions of the violinist's part in the slow movements of Op. Debate continues on the range of intents behind these efforts, for some examples preserve the essential melodic lines of Corelli's originals, while others strike off independently and morph into movements of significantly altered content.

The question of whether the variations on the first six works, attributed to Corelli in an appendix to a Dutch reprint of Op.

Collectively, the many ornamented versions document how greatly individual realizations varied and how elaborate performance practice became in the eighteenth century. Musicologist Neal Zaslaw, who considers Corelli's authorship of the elaborations probable, suggests that the highly ornamented versions of the next century would sometimes have required a reduced tempo--simply to accommodate all the notes.


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Apart from the gymnastics that his slow movements elicited in later arrangements suggest, Corelli provides plenty of models for his kind of virtuosity in the fast movements of the original print. Note about performing Corelli's Op. In today's repertory, the Corelli's Concerti grossi Op. Corelli signed the dedication for Op. The two volumes did not appear until As a genre, the concerto grosso was a logical outgrowth of the trio sonata.

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The evolution came about in stages. The differentiation of a concertino group of soloists from a ripieno had been found abundantly in the early years of the seventeenth century. The difference would be expressed in written notation by clustering like-timbred instruments as in modern scores. This clarified the on-again, off-again nature of collaboration between the groups. The concerto grosso was both more economical and more articulate.


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It was economical in extracting all the concertino parts from the ripieno parts. There was no musical independence between the groups. In performance, however, the ripieno sounded fuller not only when it involved more instruments but also because a part for viola s was added to the two violins and string bass or cello. Alternation between soli and tutti became more purposeful, ripieno refrains ritornelli became the norm, and the overall structure of the work was architecturally clear rather than, as in earlier decades, somewhat meandering.