Editing Arcangelo Corelli (section)

===Professional success===
[[File:Pietro Ottoboni by Francesco Trevisani.jpg|thumb|upright=0.8|Cardinal Pietro Ottoboni, portrait by [[Francesco Trevisani]]. The [[Bowes Museum]], [[Barnard Castle]], County Durham, England]]
In 1687 Corelli led the festival performances of music for Queen [[Christina, Queen of Sweden|Christina of Sweden]]. He was also a favorite of Cardinal [[Pietro Ottoboni (cardinal)|Pietro Ottoboni]], grandnephew of another Cardinal Pietro Ottoboni, who in 1689 became [[Pope Alexander VIII]]. From 1689 to 1690 he was in [[Modena]]. The Duke of Modena was generous to him. In 1706 Corelli was elected a member of the Pontificia Accademia degli Arcadi (the Arcadian Academy of Rome). He received the Arcadian name of Arcomelo Erimanteo.<ref>Arcomelo may be translated as 'Prince of Melody' or 'Prince of Sweetness' (Gk. ἀρχός and μέλος). Cfr. Ph. Borer, The Sweet Power of Strings, p. 226</ref>

In 1708 he returned to Rome, living in the palace of Cardinal Ottoboni. His visit to Naples, at the invitation of King [[Philip V of Spain|Philip V]], took place in the same year. The style of execution introduced by Corelli and preserved by his pupils, such as [[Francesco Geminiani]], [[Pietro Locatelli]], [[Pietro Castrucci]], [[Francesco Antonio Bonporti]], [[Giovanni Stefano Carbonelli]], [[Francesco Gasparini]], and others, was of vital importance for the development of violin playing.<ref name=EB1911/> It has been said that the paths of all of the famous violinist-composers of 18th-century Italy led to Arcangelo Corelli, who was their "iconic point of reference".<ref>Toussaint Loviko, in the program notes to ''Italian Violin Concertos'' (Veritas, 2003)</ref>

However, Corelli used only a limited portion of his instrument's capabilities. This may be seen from his writings. The parts for violin very rarely proceed above D on the highest string, sometimes reaching the E in fourth position on the highest string. The story has been told and retold that Corelli refused to play a passage that extended to A in altissimo in the overture to Handel's oratorio ''[[The Triumph of Time and Truth]]'' (premiered in Rome, 1708).<ref name=EB1911/>

Nevertheless, his compositions for the instrument mark an epoch in the history of [[chamber music]]. His influence was not confined to his own country: his works were key in the development of the music of an entire generation of composers, including [[Antonio Vivaldi]], [[Georg Friedrich Handel]], [[Johann Sebastian Bach]] and [[François Couperin]], as well as many others.<ref name=EB1911/> Bach studied the works of Corelli and based an organ fugue (BWV 579) on Corelli's Opus 3 of 1689. Handel's [[Concerti grossi, Op. 6 (Handel)|Opus 6 ''Concerti Grossi'']] take Corelli's own older [[Twelve concerti grossi, Op. 6 (Corelli)|Opus 6 ''Concerti'']] as models, rather than the later three-movement Venetian concerto of [[Antonio Vivaldi]] favoured by [[Johann Sebastian Bach|Bach]].

[[File:Corelli_Arcangelo,_dal_frontespizio_dell%27op._VI_(cropped).jpg|thumb|Engraving of a bust of Corelli from the title page of his [[Twelve concerti grossi, Op. 6 (Corelli)|''Twelve Concerti Grossi'', Op.6]] (pub. 1714)]]
Musical society in Rome also owed much to Corelli. He was received in the highest circles of the aristocracy, and for a long time presided at the celebrated Monday concerts in the palace of Cardinal Ottoboni.