Editing Arcangelo Corelli (section)

===Musical education===
According to the poet [[Giovanni Mario Crescimbeni]], who presumably knew the composer well, Corelli initially studied music under a priest in the nearby town of [[Faenza]], and then in [[Lugo, Emilia-Romagna|Lugo]], before moving in 1666 to [[Bologna]]. A major centre of musical culture of the time, Bologna had a flourishing school of violinists associated with Ercole Gaibara and his pupils, {{ill|Giovanni Benvenuti (violinist)|lt=Giovanni Benvenuti|it|Giovanni Benvenuti (violinista)}} and Leonardo Brugnoli. Reports by later sources link Corelli's musical studies with several master violinists, including Benvenuti, Brugnoli, Bartolomeo Laurenti and [[Giovanni Battista Bassani]]. Although historically plausible, these accounts remain largely unconfirmed, as does the claim that the papal contralto Matteo Simonelli first taught him to write in the "[[Giovanni Pierluigi da Palestrina|Palestrina]] style".<ref name=Talbot2007>{{cite web|last=Talbot|first=Michael|author-link=Michael Talbot (musicologist)| title=Corelli, Arcangelo |url=http://www.oxfordmusiconline.com/subscriber/article/grove/music/06478 |work=[[Grove Music Online]]|publisher=Oxford Music Online| access-date=31 January 2013}} {{subscription required}}</ref>{{efn|group=n|The plausible notion that Corelli was taught by Benvenuti was fostered by [[Padre Martini]] in 1748 in his capacity as official chronicler of the [[Accademia Filarmonica of Bologna]]. Martini also states that Corelli secretly learnt Brugnoli's distinctive performance style. The tradition that Laurenti taught Corelli was transmitted by the eighteenth-century English music historian, [[Charles Burney]]. The claim that Corelli was taught by Bassani was contained in a poem published in 1693 dedicated to [[Henry Purcell]] and then picked up by both Burney and his rival, [[John Hawkins (author)|Sir John Hawkins]]. Previously considered chronologically implausible, the knowledge that Bassani was active in Ferrara from 1667 has led to a reassessment of this possibility (though a story of an amorous connection between Corelli and Bassani's daughter is almost certainly an invention). The presumed link with Matteo Simonelli in Rome derives from the writings of the castrato [[Andrea Adami da Bolsena]].<ref name=Buscaroli1983/><ref name=Talbot2007/> Opinions regarding the historical credibility of such claims vary.<ref>{{cite journal|last=Barnett|first=Gregory|title=[Review]|journal=Journal of Seventeenth-Century Music|year=2000|volume=6|issue=2|url=http://www.sscm-jscm.org/v6/no2/barnett.html|access-date=2 February 2013|issn=1089-747X}}</ref>}} A remark Corelli later made to a patron suggests that his musical education focused mainly on the violin.<ref name=Buscaroli1983/>{{efn|group=n|Replying in 1679 to a request by Count Fabrizio Laderchi from Faenza for Corelli to compose a sonata for violin and lute, the composer acknowledges that hitherto his ''Sinfonie'' have been written merely to exalt the violin.}}

Chronicles of the [[Accademia Filarmonica of Bologna]] indicate that Corelli was accepted as a member by 1670, at the exceptionally young age of seventeen. The credibility of this attribution has been disputed.<ref>Allsop, p. 25</ref> Although the nickname ''Il Bolognese'' appears on the title-pages of Corelli's first three published sets of works (Opus 1 to 3), the duration of his stay in Bologna remains unclear.<ref name=Talbot2007/>