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Arcangelo Corelli (1653-1713) was an Italian composer and violin virtuoso.

He was most well-known for his three main genres of composition: the solo sonata, trio
sonata, and concerto. Corelli's influence to music greatly affected form, style, and
instrumental technique.
The style of execution introduced by Corelli and preserved by his pupils, such as
Francesco Geminiani, Pietro Locatelli, Pietro Castrucci, Francesco Gasparini, and others,
was of vital importance for the development of violin playing. 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".
Nevertheless, his compositions for the instrument mark an epoch in the history of
chamber music. His influence was not confined to his own country. Johann Sebastian
Bach studied the works of Corelli and based an organ fugue (BWV 579) on Corelli's Opus
3 of 1689. Handel's Opus 6 Concerti Grossi take Corelli's own older Opus 6 Concerti as
models, rather than the later three-movement Venetian concerto of Antonio Vivaldi
favoured by Bach.
Musical society in Rome also owed a lot 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. Corelli died in Rome in possession of a fortune of 120,000
marks and a valuable collection of works of art and fine violins, which was the only luxury
in which he had indulged. He left both to his benefactor and friend, who generously made
over the money to Corelli's relatives. Corelli is buried in the Pantheon at Rome.
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 high A on E-string in
the overture to Handel's oratorio The Triumph of Time and Truth (premiered in Rome,
1708), and people say that the composer felt seriously offended.
Corelli composed 48 trio sonatas, 12 violin and continuo sonatas, and 12 concerti grossi.
Six sets of twelve compositions, published between 1888 and 1891 by Chrysander, are
authentically attributed to Corelli, together with a few other works.
His Opus 5: which has 12 Suonati a violino e violone o cimbalo
The term sonata da camera originated from Rome in the late 17th century from when
Arcangelo Corelli wrote two different variations of sonata. These became known as
"sonata da camera" and "sonata da chiesa" respectively.
Sonata da Chiesa and 6 sonate da camera for violin and continuo) (Rome 1700) The last
sonata is a set of variations on La Folia.
Sonata da chiesa is an instrumental composition dating from the Baroque period,
generally consisting of four movements. More than one melody was often used, and the
movements were ordered slow–fast–slow–fast with respect to tempo. The second
movement was usually a fugal allegro, and the third and fourth were binary forms that
sometimes resembled the sarabande and gigue.
Sonata da camera is literally translated to mean 'chamber sonata' and is used to describe
a group of instrumental pieces set into three or four different movements, beginning with
a prelude, or small sonata, acting as an introduction for the following movements.
Written in 1700, Corelli set the level of expertise required to play his music very high. The
most remarkable aspect of his violin sonatas was the fact that Corelli wrote out the
structure of the violin solo line as basic, without ornaments, and with a simple bass line
underneath for the continuo. It was then up to the performer (or himself in many cases)
to heavily ornament and improvise during the sonata. This use of heavy ornamentation
along with a figured bass line signified the Baroque era.
An easy way to identify music belonging to Corelli was the use of the "Corelli Clash."
This was a signature compositional characteristic of Corelli in which the contrapuntal
motion of the melodic lines clashed with each other using intervals of sevenths and
seconds. Although much easier to detect with multiple instruments, the clash appeared
at the beginning of some movements where the violin has a two voiced melodic line.