Editing Arcangelo Corelli (section)

{{short description|Italian violinist and composer (1653–1713)}}
{{Redirect|Corelli}}
{{Use dmy dates|date=July 2020}}
{{Infobox person
| name               = Arcangelo Corelli
| image              = Arcangelo Corelli, portrait by Hugh Howard (1697).jpg
| caption            = 1697 Portrait of Corelli by [[Hugh Howard (painter)|Hugh Howard]]
| alt                = 
| birth_date         = {{birth date|1653|02|17|df=y}}
| birth_place        = [[Fusignano]]
| death_date         = {{Death date and age|1713|01|08|1653|02|17|df=y}}
| death_place        = Rome
| occupation         = Composer
}}
'''Arcangelo Corelli''' ({{IPAc-en|k|ə|ˈ|r|ɛ|l|i}},<ref>{{Cite encyclopedia |url=http://www.lexico.com/definition/Corelli,+Arcangelo |title=Corelli, Arcangelo |dictionary=[[Lexico]] UK English Dictionary |publisher=[[Oxford University Press]]}}{{dead link|date=September 2022|bot=medic}}{{cbignore|bot=medic}}</ref><ref>{{Cite Merriam-Webster|Corelli|access-date=3 August 2019}}</ref> <small>also</small> {{IPAc-en|UK|k|ɒ|ˈ|-}},<ref name="Collins">{{cite web|url=https://www.collinsdictionary.com/dictionary/english/corelli|title=Corelli|work=[[Collins English Dictionary]]|publisher=[[HarperCollins]]|access-date=3 August 2019}}</ref> {{IPAc-en|US|k|ɔː|ˈ|-|,_|k|oʊ|ˈ|-}};<ref name="Collins"/><ref>{{Cite American Heritage Dictionary|Corelli|access-date=3 August 2019}}</ref> {{IPA|it|arˈkandʒelo koˈrɛlli|lang}}; 17 February 1653 – 8 January 1713)<ref name=Buscaroli1983/> was an Italian composer and violinist of the middle [[Baroque music|Baroque]] era. His music was key in the development of the modern genres of [[sonata]] and concerto, in establishing the preeminence of the violin, and as the first coalescing of modern [[tonality]] and [[function (music)|functional harmony]].<ref name="Taruskin, Richard 2009">Taruskin, Richard. ''[[Oxford History of Western Music]]'', vol. 2, chapter 5 Oxford: Oxford University Press, 2009.</ref>

He was trained in [[Bologna]] and Rome and spent most of his career there with the protection of wealthy patrons.<ref name="Treccani">Buscaroli, Piero ''Arcangelo Corelli'', ''Dizionario biografico degli italiani'', Volume 29. Treccani, 1983</ref> Though his entire production is limited to just six published collections – five of which are [[trio sonata]]s or [[Sonata|solo]] and one of [[concerto grosso|concerti grossi]] — he achieved great fame and success throughout Europe, in the process crystallizing widely influential musical models.<ref name="Seventeenth-Century Music">Barnett, Gregory. "Form and gesture: canzona, sonata and concerto”. In: Carter, Tim & Butt, John (eds.). ''The Cambridge History of Seventeenth-Century Music''. Cambridge University Press, 2005, pp. 479–516</ref><ref name="Scholars">Bowring, Lynette. "The coming over of the works of the great Corelli: The influence of the Italian violin repertoire in London 1675–1705". In: Wainwright, Jonathan; Knowles, Joseph; Cheetham, Andrew (eds.). Reappraising the Seicento: Composition, Dissemination, Assimilation. Cambridge Scholars Publishing, 2014, pp. 189–190</ref>

His writing was admired for its balance, refinement, sumptuous and original harmonies, for the richness of the textures, for the majestic effect of the theatricality and for its clear, expressive and melodious [[polyphony]], a perfect quality of [[classical period (music)|classical]] ideals, although belonging to the [[Baroque music|baroque]] epoch and often employing resources typical of this school, such as the exploration of dynamic and expressive contrasts, but always tempered by a great sense of moderation.<ref name="Buelow">Boyd, Malcolm. "Rome: the Power of Patronage". In: Buelow, George J. (ed.). The Late Baroque Era: Vol 4. From The 1680s To 1740. Springer, 2016</ref><ref name="University Press">Taruskin, Richard. Music in the Seventeenth and Eighteenth Centuries: The Oxford History of Western Music. Oxford University Press, 2009</ref><ref name="Routledge">Burdette, Glenn. "Corelli, Arcangelo 1653–1713". In: Steib, Murray (ed.). Reader's Guide to Music: History, Theory and Criticism. Routledge, 2013</ref> He was the first to fully apply, with an expressive and structuring purpose, the new [[Tonality|tonal system]], consolidated after at least two hundred years of experimentation.<ref name="Taruskin, Richard 2009"/> As a virtuoso violinist he was considered one of the greatest of his generation and contributed, thanks to the development of modern playing techniques and to his many disciples scattered throughout Europe, to place the violin among the most prestigious solo instruments and was also a significant figure in the evolution of the traditional orchestra.<ref name="Indiana University">Buelow, George J. A history of baroque music. Indiana University Press, 2004, pp. 115–133</ref><ref name="Spitzer">Spitzer, John & Zaslaw, Neal. The Birth of the Orchestra: History of an Institution, 1650–1815. Oxford University Press, 2004</ref><ref name="University Press"/><ref name="Cengage Learning">Burkhart, Charles & Rothstein, William. Anthology for Musical Analysis: The Common-Practice Period. Cengage Learning, 2014, p. 12</ref><ref name="Colorado University">Hann, Hanna C. [Ehle, Robert. (or.)]. "The Influence of Historic Violin Treatises on Modern Teaching and Performance Practices" Arquivado em 15 de setembro de 2016, no Wayback Machine.. In: ''University of Northern Colorado Undergraduate Research Journal'', 2015; 4 (3)</ref>

A dominant figure in Roman musical life and internationally highly regarded,<ref name="Springer">Boyd, Malcolm. "Rome: the Power of Patronage". In: Buelow, George J. (ed.). The Late Baroque Era: Vol 4. From The 1680s To 1740. Springer, 2016, pp. 52–53</ref> he was desired by many courts and was included in the most prestigious artistic and intellectual society of his time, the [[Pontifical Academy of Arcadia]]. He was known in his time as "the new [[Orpheus]]",<ref name="Treccani"/> "the prince of musicians" and other similar adjectives, great folklore was generated around his figure and his fame did not diminish after his death.<ref name="Scholars"/><ref name="Cambridge University">Rose, Stephen. "Music in the market-place". In: Carter, Tim & Butt, John (eds.). The Cambridge History of Seventeenth-Century Music. Cambridge University Press, 2005, p. 64</ref> Even today his work is the subject of a voluminous critical bibliography and his sonatas are still widely used in musical academies as didactic material as well as pieces capable of affirming themselves in today's concert repertoire.<ref name="Routledge"/> His position in the [[History of music|history of Western music]] is considered crucial, being recognized as one of the greatest masters at the turn of the 17th and 18th century, as well as one of the earliest and greatest classicists.<ref name="Treccani"/><ref name="Larousse Encyclopedia">Hindley Geofrey (ed.). ''The Larousse Encyclopedia of Music''. Hamlyn Publishing, 1971–1990, pp. 204–205</ref><ref name="Springer"/><ref name="University Press"/><ref name="Indiana University"/><ref name="Early Music">Zaslaw, Neal. "Ornaments for Corelli's Violin Sonatas, op. 5". In: Early Music, 1996; 24 (1):95–116. Series Music in Purcell's London II</ref>