Editing Arcangelo Corelli (section)

==Works==
{{See also|Twelve concerti grossi, Op. 6 (Corelli)}}
{{listen 
 | filename     = Corelli - Concerto Grosso in G minor - Christmas Concerto - part 1.ogg
 | title        = ''Christmas Concerto'', movements 1–2 
 | description  = Performed by the Advent Chamber Orchestra
 | filename2    = Corelli - Concerto Grosso in G minor - Christmas Concerto - part 2.ogg
 | title2       = ''Christmas Concerto'', movements 4–6
 | description2 = Performed by the Advent Chamber Orchestra
 | filename3    =Corelli - Concerto Grosso Op. 6 No. 4 - 1. Adagio - Allegro.ogg
 | title3       = Concerto Grosso Op. 6 No. 4 – 1. Adagio – Allegro
 | description3 = Performed by the Advent Chamber Orchestra
 | filename4    = Corelli-Trio Sonata 11-1.ogg
 | title4       = Trio Sonata Op. 2 No. 11, 1st movement
 | description4 = 
 | filename5    = Corelli-Trio Sonata 11-2.ogg
 | title5       = Trio Sonata Op. 2 No. 11, 2nd movement
 | description5 = 
 | filename6    = Corelli-Trio Sonata 11-3.ogg
 | title6       = Trio Sonata Op. 2 No. 11, 3rd movement
 | description6 = 
}}

=== Context ===
[[File:Pannini, Giovanni Paolo - Musical Fête - 1747.png|thumb|Teatro Argentina ([[Giovanni Paolo Panini|Panini]], 1747, [[Musée du Louvre]])]]
Corelli's artistic figure flourished at the height of the [[Baroque]], a cultural current characterized by an ornate and luxuriant artistic expressiveness, rich of strong contrasts. His music developed from the Renaissance [[polyphony]], but was characterized by a transition towards greater independence between the voices. New socio-cultural and religious factors, as well as a strong influence of theater and [[rhetoric]], led to the development of a renewed musical language that could better express the spirit of the time, thus developing a wide range of new harmonical, vocal and instrumental techniques. It is the period in which the [[tonal music|tonal system]] is definitively consolidated, abandoning the old [[Modal music|modal system]], and which has its most typical expression in the writing style called [[Basso continuo|continuo]] or ciphered bass, in which the bass line and the top line are written in full, leaving the execution of the harmonic filling attributed to the other parts to the discretion of the performer, indicated synthetically by the author by numbers. The great importance attributed to the superior voice, which relegated the other parts to a subordinate role, brought out the figure of the virtuoso soloist.<ref name="Ecyclopædia Britannica">Western music". In: Encyclopædia Britannica Online</ref>
The [[Musical temperament|tempered]] tunings were also introduced, the melody often had popular inspiration and the [[Consonance and dissonance|dissonances]] began to be used as an expressive resource. Polyphony remained omnipresent especially in [[sacred music]], generally more conservative, but the complexity that characterized it in previous centuries, which often made the sung texts incomprehensible, was abandoned in favor of a much clearer and simplified counterpoint, in which primacy was often given to the loudest voice. Furthermore, in the field of symbolism and language, the development of the theory of affects was of great importance, in which figures, melodies, tones and specific standardized technical resources became a musical lexicon at the service of expression. Such resources were very common in opera, the most popular and influential genre of the time, also exerting a decisive influence on the direction of instrumental music,<ref name="Ecyclopædia Britannica"/> a language that Corelli contributed significantly to articulate and affirm.<ref name="Indiana University"/> At a formal level, the Baroque consolidated the forms of the [[suite (music)|suite]] and the [[sonata]] into multiple movements, which gave rise to the [[sonata da chiesa]], the [[sonata da camera]], to the [[sonata]], to the [[concerto grosso]], to the [[solo concerto]] and, later, to the [[symphony]].<ref name="Ecyclopædia Britannica"/><ref name="Indiana University"/> In general, the changes introduced by the Baroque constituted a revolution in the [[history of music]], perhaps as important as those promoted by the emergence of ''[[ars nova]]'' in the 14th century and [[avant-garde music]] in the 20th century.

Bologna, where Corelli originally studied, with its 60,000 inhabitants, was the second most important city in the Papal State, seat of the oldest university in the world and center of an intense cultural and artistic life. There were several large churches that maintained permanent orchestras, choirs and schools, three large theaters hosted dramatic and operatic performances, several publishing houses published sheet music, and there were at least half a dozen academies maintained by the nobility and higher clergy in their buildings. All of this defined trends and aesthetic canons, some dedicated exclusively to music, among which the most famous was the Accademia Filarmonica, founded in 1666 by Count Vincenzo Maria Carrati. An illustrious violin school was formed in this city, founded by Ercole Gaibara, whose principles were assimilated by Corelli.<ref name="Scherzo">Galán, Manuel Martín. "Arcangelo Corelli. Un compositor sin Vida privada". In: ''Scherzo'', 2003 (181)</ref>

Rome, on the other hand, had much greater traditions, wealth, and importance on several levels, starting with being the seat of [[Catholic Church|Catholicism]]. Furthermore, it was a cosmopolitan capital that welcomed artists from all over Europe, eager to establish themselves in such rich, varied and influential settings, where the great patrons of the Church and the aristocracy challenged each other by organizing sumptuous presentations and promoting numerous artists. However, few churches and brotherhoods had stable musical bodies and there was a great exchange of professionals between one celebration and another. Unlike Bologna, in Rome the Church had a decisive influence on cultural life, and the guidelines in this regard varied according to the preferences of each pontiff. [[Pope Clement IX]], for example, was himself a librettist of operas and oratorios and promoted secular music, and Corelli apparently found himself in this environment without any difficulty, although it is not known who introduced him to it. In any case, he soon gained the favor of patrons who were among the city's most prominent.<ref name="Scherzo"/>

=== The violinist ===
As already mentioned, Corelli learned the fundamentals of violin technique in Bologna, and as a disciple of the virtuosos Giovanni Benvenuti and Leonardo Brugnoli, he followed the lines set by Ercole Gaibara, considered the progenitor of the Bolognese school. He later taught many students and spawned his own school, but despite his fame in this field, surprisingly few inaccurate descriptions of his technique survive, generating considerable controversy among critics, a shortcoming that is compounded by the fact that he did not write any manual or treatise about the topic. At the time there were several violin schools in Italy, which proposed different playing methods and even ways in which the player should hold the violin. There is considerable iconography describing these differences, where violinists rest the instrument under the chin, on the shoulder or against the chest, at different angles. Naturally, these differences involved different left hand and bow techniques and, to some extent, defined the style and complexity of the music they could perform.<ref name="Riedo">Riedo, Christoph. "How Might Arcangelo Corelli Have Played the Violin?" In: ''Music in Art'', 2014 (39):103–118</ref>

During the 18th century he was considered a great virtuoso, but critics of the 20th century have sometimes doubted the ancient testimonies. Boyden, for example, stated that "Corelli cannot claim a prominent place in the history of violin technique"; [[Marc Pincherle|Pincherle]] considered him "inferior to his German and even Italian contemporaries in terms of pure technique", and McVeigh said that he was "certainly not one of the great virtuosos of his time". However, according to Riedo, such opinions are based on what can be deduced from the technical requirements contained in his compositions, but this method is not entirely faithful to reality, since the score only offers a vague idea of what could be a live performance, also observing that the style developed by Corelli was characterized more by sobriety and singability than by extravagance. Furthermore, his compositions, in their published version, are addressed above all to a heterogeneous audience and not only to specialists and virtuosos. At the same time, his works cannot be exemplary of his ability to interpret works by other authors, where he may have taken a different approach. The failures of the Naples recital and the confrontation with Handel in Rome, where he supposedly claimed to have no experience in French technique, are often cited as evidence supporting his limited violin technique, although they are not firmly demonstrated.<ref name="Riedo"/>
[[File:Arcangelo Corelli, by Hugh Howard OXM310282.jpg|thumb|left|Portrait of Arcangelo Corelli by the Irish painter [[Hugh Howard (painter)|Hugh Howard]]]]
According to Riedo's research, which summarizes studies on this aspect, Corelli probably held the violin against his chest and projected it forward; this possibility is supported by engravings and drawings, as well as written sources, including descriptions of the performances of other violinists who had been his students or were influenced by him. This position was very common before his time, was dominant in the Rome of his time and remained common until the 19th century. [[Francesco Geminiani]], who was probably his student, in his ''The Art of Playing the Violin'' (1751) wrote that "the violin should be held just below the clavicle, inclining the right side slightly downward, so so it is not necessary to bend too much when playing the fourth string." Walls claimed that almost no virtuoso of the first half of the 18th century took a different stance. It provided the performer with an elegant attitude, in Corelli's case also important for being a patrician, but it slightly impaired the execution of the highest notes of the fourth string. Corelli's music rarely requires positions higher than the third.<ref name="Riedo"/>

Geminiani, who was also a virtuoso, gave voice to a very current vision of what is expected from a good violinist: "The intention of music is not only to please the ear, but to express feelings, touch the imagination, influence the mind, and dominate the passions. The art of playing the violin consists in giving the instrument a sound that rivals the most perfect human voice, and in executing each piece with accuracy, decorum, delicacy and expression according to the true intention of the music." In Riedo's words, "Geminiani's ideological and aesthetic views seem to correspond exactly to Corelli's compositions: he enhanced the textures, without acrobatic passages with extreme changes of position and without virtuoso effects. The positions of Boyden, Pincherle and McVeigh must be reconsidered, since this type of acrobatic virtuosity does not seem to have been Corelli's goal." Contemporary descriptions report that his performances were "erudite, elegant and pathetic, and his sound firm and uniform." Bremner wrote in 1777: "I was informed that Corelli would not accept into his orchestra any violinist who could not, with a bow, create a uniform and powerful sound, like that of an organ, by playing two strings at the same time, and maintain it for at least minus ten seconds." This suggests that his main concern was the mastery of bow technique, responsible for the overall sound produced and for the nuances and subtleties of dynamics and phrasing, which also coincides with claims of the time about Corelli's ability to express in the violin the most diverse emotions in their fullness, making his instrument "speak" as if it were a human voice.<ref name="Riedo"/><ref name="Scholars"/>

Among the advances that he promoted in the technique are the more intense exploration of double strings (including figurations in a pedal note), the G string (little used until then), harmonics, arpeggios, and [[tremolo (music)|tremolo]], of [[rubato]], of [[staccato]], of [[scordatura]], of fast figurations in thirds, of chords of more than two notes and was the main proponent of the [[bariolage]] technique.<ref name="Wilk">Wilk, Piotr. "The violin technique of Italian solo sonata in the 17th century". In: Musica Iagellonica, 2011: 166–207</ref><ref name="Kostka">Kostka, Magdalena. Sonatas for violin and basso continuo written by British composers in the first half of the eighteenth century. Tese de Doutorado. Cardiff University, 2014, p. 21</ref> Although Corelli did not write anything about it, the treatises published by Geminiani, Francesco Galeazzi and others influenced by him probably faithfully reflect the master's principles.<ref name="Galeazzi">Galeazzi, Francesco [Burton, Deborah & Harwood, Gregory W. (eds,)]. ''Theoretical-practical Elements of Music, Parts III and IV''. University of Illinois Press, 2012, pp. 4–5</ref><ref name="Treccani"/> His performances in various fields related to the violin – virtuoso, teacher and composer – have left an indelible mark on the history of this instrument and have laid the foundations of its modern technique.<ref name="Cengage Learning"/><ref name="McGegan">McGegan, Nicholas (dir.). ''Corelli, Arcangelo (1653–1713)''. Philharmonia Baroque Orchestra and Chorale</ref><ref name="Hann">Hann, Hanna C. [Ehle, Robert. (or.)]. "The Influence of Historic Violin Treatises on Modern Teaching and Performance Practices" 2016, no Wayback Machine. In: ''University of Northern Colorado Undergraduate Research Journal'', 2015; 4 (3)</ref>

It is known that he had many students, among them: Matteo Fornari, [[Giovanni Battista Somis]],<ref name="McVeigh">McVeigh, Simon & Hirshberg, Jehoash. The Italian Solo Concerto, 1700–1760: Rhetorical Strategies and Style History. Boydell Press, 2004, p. 40</ref> [[Pietro Castrucci]],<ref name="Springer"/> [[Giovanni Stefano Carbonelli]],<ref name="Kostka"/> [[Francesco Gasparini]], [[Jean-Baptiste Anet]],<ref name="Indiana University"/> [[Georg Muffat]]<ref name="Sadie">Sadie, Julie Anne. "Paris and Versailles". In: Buelow, George J. (ed.). ''The Late Baroque Era: Vol 4. From The 1680s To 1740. Springer, 2016, p. 139''</ref> and [[Francesco Geminiani]].<ref name="McVeigh"/>

=== The conductor ===
Little is known about his performances as a conductor, except that he successfully played this role for many years at the head of the orchestras of the church of San Luis and the Academy of Drawing Arts and of countless groups formed for specific occasions, such as recitals in the private academies of the aristocracy, civic festivals and diplomatic receptions. The recognition he received was always very generous, and he was praised above all for the great discipline of the musicians he directed, always obtaining vigorous performances, with great precision in the attack of the notes and a powerful overall effect.<ref name="Treccani"/> Geminiani reported that "Corelli felt it was essential that the entire orchestra move the bows at exactly the same time: all up, all down, so that in rehearsals prior to performances, he could stop the music if he saw an out-of-range bow position".<ref name="Greenwood Group">Hager, Nancy. "Arcangelo Corelli (1653–1713)". In: Hager, Alan (ed.). ''The Age of Milton: An Encyclopedia of Major 17th-century British and American Authors.''</ref>

Corelli was of vital importance in the process of transformation of the traditional orchestra. In the previous generation, ensembles were quite small even for opera performances and only on very exceptional occasions were large groups recruited, especially for open-air festivals. The orchestra of San Luigi, for example, did not exceed twenty members, even on prestigious occasions, and most of the time it consisted of about ten or fifteen members.<ref name="Oxford University">Spitzer, John & Zaslaw, Neal. ''The Birth of the Orchestra: History of an Institution, 1650–1815''. Oxford University Press, 2004, pp. 105–136</ref>

Thanks to the legacy of ancient polyphonic practices, ensembles made use of various instruments of balanced proportions, grouped in "choirs", each composed of several types of instruments. Corelli's generation began to change this balance of forces towards an increasing predominance of the string section, with an emphasis on the violins, significantly expanding the number of musicians, grouping the instruments into homogeneous sections and separating the singers from the orchestra. . Its spatial arrangement also changed, adopting a distribution that favored the typical language of the Grosso concert, with a small solo ensemble, the ''concertino'', separated from the large ''ripieno'' group.<ref name="Oxford University"/><ref name="Bukofzer">Bukofzer, Manfred F. ''Music In The Baroque Era: From Monteverdi To Bach''. Read Books, 2013</ref>

In addition to conducting and being a concertmaster at the same time, Corelli was responsible for recruiting musicians to form occasional orchestras, paid salaries, and performed all the functions of a modern event manager. On some occasions he employed an immense number of musicians, up to 150, far above all the standards of his time. According to Crescimbeni's testimony, "he was the first to introduce ensembles in Rome with such a number of instruments and such diversity that it was almost impossible to believe that he could make them play all together without fear of confusion, especially since he combined wind instruments with strings, and the total very often exceeded one hundred elements." Although the number of musicians varied greatly in each performance, the balance of Corelli's orchestras was constant, with at least half of the musicians playing violins and a quarter occupied with cellos, [[Violone|violons]] and double basses. The remaining fraction was filled with a varied instrumentation of violas, wind instruments, [[lute]]s, [[theorbo]]s, [[organ (musical instrument)|organs]], [[harpsichord]]s and others, and depended largely on the character of the music of the occasion. His intense activity at different levels in the field of orchestral music dominated the Roman scene and his role as organizer, dynamizer and standard bearer can be compared to that of [[Jean-Baptiste Lully]] at the court of [[Louis XIV]]. By extension, one could say that all the Roman orchestras between 1660 and 1713 were “Corelli's orchestra."<ref name="Oxford University"/>

=== The composer ===
Despite the typically Baroque love for the extravagant, the bizarre, the asymmetrical and the dramatic, Corelli's production deviates from this scheme,<ref name="Greenwood Group"/> favoring the classical principles of sobriety, symmetry, rationality, balanced and expressive moderation, as well as formal perfection, appreciated several times by coeval and contemporary critics, formulating an aesthetic that is among the beginners of the neoclassical school of music with considerable economy of means.<ref name="Distasio">Distaso, Antonio. ''Arcangelo Corelli e il Concerto Grosso Op. VI n. 8''. Coro Il Gabbiano, s/d.</ref><ref name="Larousse Encyclopedia"/><ref name="University Press"/> In the description of the ''Larousse Encyclopedia of Music'', "no doubt others before him showed more originality, but none in his day showed a more noble interest in balance and order, or in formal perfection and meaning. Despite his Bolognese training, he embodies the classical era of Italian music, thanks above all to the Roman tradition. [...] Although he did not invent the forms he used, Corelli gave them a nobility and perfection that make him one of the greatest classicists".<ref name="Larousse Encyclopedia"/>

Corelli's works were the result of long and thoughtful planning, and were published only after careful and multiple revisions.<ref name="Indiana University"/><ref name="Larousse Encyclopedia"/> His latest collection seems to have taken more than thirty years to complete, and a statement he left in a letter of 1708 attests his insecurity: "After so many and extensive revisions I have rarely felt the confidence to deliver to the public the few compositions that I sent it to the press".<ref name="Indiana University"/> Such a rigorous, rationally and organized method, and such a strong yearning for ideal perfection, are other characteristics that make him a classic in opposition to the wild, asymmetrical, irregular and improvisational spirit of the most typical Baroque. For Franco Piperno, "his printed work has an exceptionally well-kept and cohesive structure, deliberately designed to be didactic, modeling and monumental. It is no coincidence that one of the figures on the title page of his ''Opera Terza'' is written "to posterity", that is, as posterity would see him: as an authority on composition, execution and pedagogy, a source of full of potential ideas".<ref name="Piperno">Piperno, Franco. Corelli: ''Trio Sonatas''. Polydor International, 1987, pp. 5–7</ref> He was rigid also in the choice of genres to deal with: the trio sonata, the sonata for solo instrument and the concerto grosso. All his production is for strings, with continuo accompaniment, which could be performed by a variable combination of organ, [[harpsichord]], [[lutes]] or [[theorbo]]s. He left no works for voice, but his compositions reveal a strong influence of vocal music in their expressiveness, as well as in the treatment of polyphony.<ref name="Treccani"/><ref name="Larousse Encyclopedia"/>

In his time, the [[circle of fifths]] established itself as the main driver of [[chord progression]]s and, according to [[Richard Taruskin]], Corelli practiced, more than anyone of his generation, new concepts with expressive, dynamic and structural purposes, which was fundamental for the sedimentation of the tonal system.<ref name="University Press"/> [[Manfred Bukofzer]], likewise, states that "Arcangelo Corelli deserves credit for the full realization of tonality in the field of instrumental music. His works happily usher in the late Baroque period. [...] Although closely linked to counterpoint tradition of the ancient Bolognese school, Corelli handled the new language with impressive confidence.<ref name="Bukofzer"/> On the other hand, [[Chromatic scale|chromatisms]] are rare in his music, but [[Consonance and dissonance|dissonances]] are relatively common and used as an expressive element, although they are always well prepared and well resolved.<ref name="Indiana University"/> Critics have also highlighted the harmonious and balanced integration between [[polyphony|polyphonic]] and [[Homophony|homophonic]] elements, with polyphony which unfolds freely within a tonal structure. In his work there is an abundance of polyphonic expressive forms, the [[Fugue|fugati]], simple counterpoints and imitative writings, with themes that are repeated in succession by the various voices alternately, usually also called fugues, but in his style authentic fugues are rare, as his development differs from conventional models because of form, exhibiting a wide variety of solutions.<ref name="Indiana University"/><ref name="Bukofzer"/> According to [[Marc Pincherle|Pincherle]], one of the most significant aspects of Corelli's genius lies in the coordinated movement of these voices that intertwine, avoid each other and find themselves in such a way as to develop ever-changing motifs, establishing a unity through the motivic kinship of the different movements, a method which [[Fausto Torrefranca]] compared to the creation of "a frieze that runs along the walls and facades of a temple".<ref name="Gusmão">Gusmão, Paulo (ed.). Corelli. Abril, 1979, pp. 10–11</ref>

Among his influences are mainly the masters of the Bolognese school, such as {{ill|Giovanni Benvenuti (violinist)|lt=Giovanni Benvenuti|it|Giovanni Benvenuti (violinista)}},<ref name="Treccani"/> Leonardo Brugnoli and [[Giovanni Battista Bassani]]. Also evident is the influence of [[Jean-Baptiste Lully]], attested by [[Francesco Geminiani]],<ref name="Bukofzer"/> as well as by the Venetian school, in particular [[Francesco Cavalli]], [[Antonio Cesti]] and [[Giovanni Legrenzi]].<ref name="Treccani"/><ref name="Indiana University"/> George J. Buelow, further, attests that the influence of [[Giovanni Pierluigi da Palestrina|Palestrina]] on the development of the polyphonic style of his music has been largely ignored, an influence received mainly through his teacher Simonelli, who was a singer of the [[Sistine Chapel]], where Palestrina's work was one of the highlights of the repertoire.<ref name="Indiana University"/>

Corelli's style has long been praised as paradigmatic for its clarity and its sober and expressive melodism, the quintessence of Arcadian good taste. [[Georg Friedrich Handel]], [[Johann Sebastian Bach]], [[Antonio Vivaldi]], [[François Couperin]], [[Giuseppe Torelli]], [[Georg Muffat]], [[Georg Philipp Telemann]], [[Giuseppe Valentini]], [[Benedetto Marcello]], [[Pietro Locatelli]], [[Giuseppe Sammartini]], [[Francesco Geminiani]] and countless other musicians were inspired by the Corellian model in producing their orchestral music.<ref name="Talbot">Talbot, Michael. "The Italian concerto in the late seventeenth and early eighteenth centuries". In: Keefe, Simon P. (ed.). The Cambridge Companion to the Concerto. Cambridge University Press, 2005, pp. 35–52</ref><ref name="McVeigh"/><ref name="Bukofzer"/> In Rome its influence was so overwhelming that no composer of the next generation could completely avoid it. Along with Torelli and Vivaldi, Corelli was one of the key figures in establishing the concerto as a genre whose popularity still persists today.<ref name="Seventeenth-Century Music"/> One American admirer was President [[Thomas Jefferson]] who regularly played the violin, and cataloged four of Corelli's [[sonata|sonatas]] in the library at [[Monticello]].<ref>{{cite web |last1=Elzey |first1=Claudia |title=Thomas Jefferson Monticello: Violins |url=https://www.monticello.org/research-education/thomas-jefferson-encyclopedia/violins/ |website=Thomas Jefferson Encyclopedia |publisher=Thomas Jefferson Foundation |access-date=21 January 2024}}</ref>

An 1827 music dictionary still echoed what Burney had said more than thirty years earlier: "Corelli's concerts have withstood all the onslaught of time and fashion, more firmly than his other works. Harmony is so pure, the parts so clearly, judiciously and ingeniously arranged, and the overall effect, played by a large orchestra, is so majestic, solemn and sublime, that they disarm any criticism and make one forget everything that has ever been composed in the same genre".<ref name="Sainsbury">''A Dictionary of Musicians from the Earliest Ages to the Present Time'', vol. I. Sainsbury, 1827, p. 176</ref> In the opinion of Michael Talbot, writing for ''The Cambridge Companion to the Concerto'', it is difficult to explain the enduring popularity of this collection, considering the semplicity not the cause of its popularity, but only a precondition.<ref name="Talbot">Talbot, Michael. "The Italian concerto in the late seventeenth and early eighteenth centuries". In: Keefe, Simon P. (ed.). The Cambridge Companion to the Concerto. Cambridge University Press, 2005, pp. 35–52</ref> He continues stating:

{{blockquote|Corelli's genius lies rather in his ability to create satisfying forms without resorting to fixed formulas, in his ability to combine contrasting ideas [...], in his original inventiveness for atmospheres, and in his moments – more numerous than expected – of harmonic audacity. Among the unforgettable passages of the Concerti grossi are the poignant suspensions and enchanting octave doublings in the second adagio of the fourth concert and the magical change of key from minor to major at the beginning of the Pastorale that concludes the eighth concerto, an optional movement that was composed to be performed on Christmas Eve.<ref name="Talbot">Talbot, Michael. "The Italian concerto in the late seventeenth and early eighteenth centuries". In: Keefe, Simon P. (ed.). The Cambridge Companion to the Concerto. Cambridge University Press, 2005, pp. 35–52</ref>}}

Corelli composed 48 [[trio sonata]]s, 12 violin and continuo sonatas,<ref>D.D. Boyden: "Corelli's Solo Violin Sonatas ''Grac'd'' by Dubourg", ''Festskrift Jens Peter Larsen'', ed. N. Schiørring, H. Glahn and C.E. Hatting (Copenhagen, 1972)</ref> and 12 concerti grossi.

Six sets of twelve compositions, [[Publications by Friedrich Chrysander|published]] between 1888 and 1891 by [[Friedrich Chrysander|Chrysander]], are authentically ascribed to Corelli, together with a few other works.
* Opus 1: 12 [[Sonata da chiesa|''sonate da chiesa'']] (trio sonatas for 2 violins and [[basso continuo|continuo]]) (Rome 1681)
* Opus 2: 12 ''[[Sonata da camera|sonate da camera]]'' (trio sonatas for 2 violins and continuo) (Rome 1685)
* Opus 3: 12 ''sonate da chiesa'' (trio sonatas for 2 violins and continuo) (Rome 1689)
* Opus 4: 12 ''sonate da camera'' (trio sonatas for 2 violins and continuo) (Rome 1694)
* [[Twelve Violin Sonatas, Op.5 (Corelli)|Opus 5]]: 12 ''Suonati a violino e [[violone]] o [[harpsichord|cimbalo]]'' (6 ''sonate da chiesa'' and 6 ''sonate da camera'' for violin and continuo) (Rome 1700) The last sonata is a set of [[Variation (music)|variations]] on [[Folia|La Folia]].
* [[Twelve concerti grossi, op.6 (Corelli)|Opus 6]]: 12 concerti grossi (8 concerti da chiesa and 4 concerti da camera for [[Concertino (group)|concertino]] of 2 violins and cello, string [[ripieno]], and continuo) (written in the 1680s, publ. [[Amsterdam]] 1714)
* op. post.: Sinfonia in D minor, [[WoO]] 1 (for Giovanni Lorenzo Lulier's Oratorium ''Santa Beatrice d’Este'' 1689)
* op. post.: Sonata a Quattro, WoO 2 (Rogers, Amsterdam, 1699)<ref>Allsop, p. 9</ref>
* op. post.: Sonata a Quattro, WoO 3 (Rogers, Amsterdam, 1699 – incomplete/dubious)
* op. post.: Sonata a Quattro for Trumpet, 2 Violins & B.C, WoO 4
* op. post.: 6 ''Sonate a tre'', WoO 5–10 (Amsterdam 1714)