Arcangelo Corelli - Knowledge (XXG)

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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.

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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.

756:, 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, a language that Corelli contributed significantly to articulate and affirm. At a formal level, the Baroque consolidated the forms of the 826:

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.

509: 813:. 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. 29: 947:

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,

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revisions I have rarely felt the confidence to deliver to the public the few compositions that I sent it to the press". 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

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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. 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".

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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.

858:(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. 384: 555: 251:. His ancestors had been in Fusignano and land-owners there since 1506, when a Corelli moved to the area from Rome. Although apparently prosperous, they were almost certainly not of the nobility, as several fanciful accounts of the composer's genealogy subsequently claimed. Corelli's father, from whom he took the name Arcangelo, died five weeks before the composer's birth. Consequently, he was raised by his mother, Santa ( 989:, "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". 207:, consolidated after at least two hundred years of experimentation. 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. 3775: 2534: 218:", "the prince of musicians" and other similar adjectives, great folklore was generated around his figure and his fame did not diminish after his death. 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. His position in the 1324: 3785: 2002: 1412:

priest in the neighbouring town of San Savino, where the boy walked every day, come rain or shine. While sheltering from the sun along the road, so the story goes, his magnificent violin playing would leave the locals entranced. Having rapidly surpassed his teacher, Corelli is said to have defied the wishes of his father (who in this account is still alive) to study in

1453:. 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 1029:, 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. On the other hand, 935:

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

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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.

1049:, 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. According to 817:, 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. 1053:, 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 992:

Corelli's works were the result of long and thoughtful planning, and were published only after careful and multiple revisions. 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

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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

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technique. 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. His performances in various fields related to the violin – virtuoso, teacher and composer – have left

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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

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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

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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

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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

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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

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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

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The wealth of anecdotes and legends attached to Corelli contrast sharply with the paucity of reliable contemporary evidence documenting events in his life. This gap is especially pronounced for his formative years, including his musical education; traditional accounts of a highly idealized childhood

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and countless other musicians were inspired by the Corellian model in producing their orchestral music. 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

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Despite the typically Baroque love for the extravagant, the bizarre, the asymmetrical and the dramatic, Corelli's production deviates from this scheme, favoring the classical principles of sobriety, symmetry, rationality, balanced and expressive moderation, as well as formal perfection, appreciated

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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

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Most famously, Abbot Cesare Felice Laurenti's late eighteenth century "History of Fusignano" had Corelli born into a family of noble descent. As a young child, he is said to have been so transfixed by the violin playing of his local priest that he begged for lessons, which were conceded by another

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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

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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

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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

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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

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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". 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

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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

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Corelli died in Rome in possession of a fortune of 120,000 marks and a valuable collection of works of art and fine violins, 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

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provide valuable background information about the genealogy and character of the Corelli family. Maps indicate that the Corellis owned a conspicuous quantity of agricultural land around Fusignano. Despite their religious piety, the Corellis appear to have been embroiled in a conflict with the

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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

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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

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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. He was the first to fully apply, with an expressive and structuring purpose, the new

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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";

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at San Luigi dei Francesi. Although Rome did not have any permanent orchestra providing stable employment for instrumentalists, Corelli rapidly made a name for himself, playing in a variety of ensembles sponsored by wealthy patrons, such as Cardinal

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Anecdotes of travels outside Italy to France, Germany, and Spain lack any contemporary evidence. For example, the anecdote that Corelli's continental fame stemmed from a trip to Paris at the age of nineteen, where he was chased away by an envious

599: 575: 450:, 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". 620: 588: 564: 1171:

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". In the opinion of Michael Talbot, writing for

731:, 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 612: 865:

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

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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

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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.

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Although it is unclear quite when Corelli arrived in Rome, he was certainly active there by 1675, when "Arcangelo Bolognese" (as he was referred to) was engaged to play as one of the supporting violinists in

419:. 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. 1441:. 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, 2354:

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.

1420:, who recommends him to the pope, who in turn promptly summons him to Rome. Fictitious accounts such as this were comprehensively exposed in the pioneering biographies of Carlo Piancastelli (1914) and 985:

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. In the description of the

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A dominant figure in Roman musical life and internationally highly regarded, he was desired by many courts and was included in the most prestigious artistic and intellectual society of his time, the

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are relatively common and used as an expressive element, although they are always well prepared and well resolved. Critics have also highlighted the harmonious and balanced integration between

600: 576: 1582: 1025:, 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. 2185:

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

1175:, it is difficult to explain the enduring popularity of this collection, considering the semplicity not the cause of its popularity, but only a precondition. He continues stating: 621: 309:

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. Although the nickname

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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.

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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

727:, 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 298:. 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 " 222:

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.

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Hann, Hanna C. . "The Influence of Historic Violin Treatises on Modern Teaching and Performance Practices" Arquivado em 15 de setembro de 2016, no Wayback Machine.. In:

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and spent most of his career there with the protection of wealthy patrons. Though his entire production is limited to just six published collections – five of which are

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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

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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

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and Leonardo Brugnoli. Reports by later sources link Corelli's musical studies with several master violinists, including Benvenuti, Brugnoli, Bartolomeo Laurenti and

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rulers of Fusignano; in 1632, the papal executioner beheaded and quartered a certain Rodolfo Corelli after a failed uprising in which his family house was torn down.

1347: 2073: 678: 660: 642: 1010:. 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. 3962: 3957: 3917: 2017: 2022: 1825:

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

723:, a cultural current characterized by an ornate and luxuriant artistic expressiveness, rich of strong contrasts. His music developed from the Renaissance 3947: 1357: 467:. 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 3937: 3907: 3897: 2586: 1106:

Corelli's style has long been praised as paradigmatic for its clarity and its sober and expressive melodism, the quintessence of Arcadian good taste.

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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.

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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

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McVeigh, Simon & Hirshberg, Jehoash. The Italian Solo Concerto, 1700–1760: Rhetorical Strategies and Style History. Boydell Press, 2004, p. 40

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Burdette, Glenn. "Corelli, Arcangelo 1653–1713". In: Steib, Murray (ed.). Reader's Guide to Music: History, Theory and Criticism. Routledge, 2013

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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.

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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

1336: 1272: 283:. A major centre of musical culture of the time, Bologna had a flourishing school of violinists associated with Ercole Gaibara and his pupils, 1045:

elements, with polyphony which unfolds freely within a tonal structure. In his work there is an abundance of polyphonic expressive forms, the

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Hann, Hanna C. . "The Influence of Historic Violin Treatises on Modern Teaching and Performance Practices" 2016, no Wayback Machine. In:

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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

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Taruskin, Richard. Music in the Seventeenth and Eighteenth Centuries: The Oxford History of Western Music. Oxford University Press, 2009

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Burkhart, Charles & Rothstein, William. Anthology for Musical Analysis: The Common-Practice Period. Cengage Learning, 2014, p. 12

483:, as well as many others. Bach studied the works of Corelli and based an organ fugue (BWV 579) on Corelli's Opus 3 of 1689. Handel's 3765: 3664: 669: 651: 633: 3057: 2949: 2734: 3807: 1786:

Spitzer, John & Zaslaw, Neal. The Birth of the Orchestra: History of an Institution, 1650–1815. Oxford University Press, 2004

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Rome, on the other hand, had much greater traditions, wealth, and importance on several levels, starting with being the seat of

3952: 3022: 1641: 484: 3492: 3487: 2430: 703: 28: 3927: 3659: 3375: 1900: 456: 211: 3260: 2719: 2067: 1340: 186:— he achieved great fame and success throughout Europe, in the process crystallizing widely influential musical models. 2366: 1066: 422:

In 1708 he returned to Rome, living in the palace of Cardinal Ottoboni. His visit to Naples, at the invitation of King

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Wilk, Piotr. "The violin technique of Italian solo sonata in the 17th century". In: Musica Iagellonica, 2011: 166–207

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production is for strings, with continuo accompaniment, which could be performed by a variable combination of organ,

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style". A remark Corelli later made to a patron suggests that his musical education focused mainly on the violin.

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and double basses. The remaining fraction was filled with a varied instrumentation of violas, wind instruments,

3205: 3082: 3012: 2849: 2829: 195: 20: 976:. By extension, one could say that all the Roman orchestras between 1660 and 1713 were “Corelli's orchestra." 271:, who presumably knew the composer well, Corelli initially studied music under a priest in the nearby town of 1689:

Barnett, Gregory. "Form and gesture: canzona, sonata and concerto”. In: Carter, Tim & Butt, John (eds.).

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an indelible mark on the history of this instrument and have laid the foundations of its modern technique.

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Some family trees even attempted to trace Corelli's ancestors back to Noah. Contemporary documents in the

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relegated the other parts to a subordinate role, brought out the figure of the virtuoso soloist. The

480: 276: 882:, of fast figurations in thirds, of chords of more than two notes and was the main proponent of the 3649: 3285: 3240: 3230: 3220: 3077: 3032: 2884: 2874: 2824: 2704: 2577: 2576:, scores for complete opp. 1–6, Center for Computer Assisted Research in the Humanities (CCARH) at 1151: 1147: 1080: 1076: 969: 915: 903: 851: 745: 447: 427: 412: 388: 335: 323: 159:

and concerto, in establishing the preeminence of the violin, and as the first coalescing of modern

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refused to play a passage that extended to A in altissimo in the overture to Handel's oratorio

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concerto as a genre whose popularity still persists today. One American admirer was President

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One or more of the preceding sentences incorporates text from a publication now in the

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compared to the creation of "a frieze that runs along the walls and facades of a temple".

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Buelow, George J. A history of baroque music. Indiana University Press, 2004, pp. 115–133

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began to be used as an expressive resource. Polyphony remained omnipresent especially in

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The Age of Milton: An Encyclopedia of Major 17th-century British and American Authors.

1490: 3881: 3732: 3611: 3571: 3519: 3462: 3452: 3330: 3265: 3117: 3072: 2919: 2909: 2904: 2844: 2729: 2724: 2633: 2013: 2008: 1556: 1515: 1446: 1434: 1088: 781: 757: 464: 199: 152: 2573: 788:. In general, the changes introduced by the Baroque constituted a revolution in the 3676: 3671: 3644: 3581: 3162: 2894: 2889: 2679: 1390: 1323: 1127: 911: 753: 392: 248: 463:

Nevertheless, his compositions for the instrument mark an epoch in the history of

235:

Baptismal records indicate that Corelli was born on 17 February 1653 in the small

151:; 17 February 1653 – 8 January 1713) was an Italian composer and violinist of the 1304:

op. post.: Sonata a Quattro, WoO 3 (Rogers, Amsterdam, 1699 – incomplete/dubious)

676: 658: 640: 619: 598: 574: 3632: 3627: 3544: 3355: 3350: 3320: 3195: 3175: 2924: 2759: 2749: 1249: 1185: 999: 964: 736: 732: 350:, as well as in the French national celebrations held each year on 25 August at 175: 2140:

Galán, Manuel Martín. "Arcangelo Corelli. Un compositor sin Vida privada". In:

1936: 748:

tunings were also introduced, the melody often had popular inspiration and the

3596: 3504: 3472: 3370: 3335: 3310: 2542: 1164: 879: 690: 1952: 1060:

Among his influences are mainly the masters of the Bolognese school, such as

3549: 2819: 2160:

Riedo, Christoph. "How Might Arcangelo Corelli Have Played the Violin?" In:

1284: 1042: 1038: 973: 883: 724: 240: 191: 2249:

The Late Baroque Era: Vol 4. From The 1680s To 1740. Springer, 2016, p. 139

330:. It was also claimed that Corelli spent time in Germany in the service of 3799: 2547: 1433:

The plausible notion that Corelli was taught by Benvenuti was fostered by

1339:

have often been popular in Western culture. For example, a portion of the

1199:, are authentically ascribed to Corelli, together with a few other works. 3601: 3576: 3524: 3509: 3482: 3300: 3275: 1623: 1394: 875: 794: 785: 728: 204: 160: 2247:

Sadie, Julie Anne. "Paris and Versailles". In: Buelow, George J. (ed.).

1275:: 12 concerti grossi (8 concerti da chiesa and 4 concerti da camera for 739:, and which has its most typical expression in the writing style called 3722: 3529: 3499: 3467: 3457: 3410: 3385: 3380: 3315: 3295: 2480:

Fusignano ad Arcangelo Corelli: nel secondo centenario dalla morte 1913

2026:. Vol. 7 (11th ed.). Cambridge University Press. p. 143. 1280: 1245: 1103:, where Palestrina's work was one of the highlights of the repertoire. 1007: 956: 948: 720: 362:. In August 1676, he was already playing second violin to the renowned 280: 236: 215: 167: 2262:

Hager, Nancy. "Arcangelo Corelli (1653–1713)". In: Hager, Alan (ed.).

411:, grandnephew of another Cardinal Pietro Ottoboni, who in 1689 became 3681: 3539: 1495: 1413: 1399: 1160: 871: 773: 761: 497:

as models, rather than the later three-movement Venetian concerto of

416: 272: 179: 156: 2516:

The Sweet Power of Strings: reflections on the musical idea of dolce

2392:

A Dictionary of Musicians from the Earliest Ages to the Present Time

1457:. Opinions regarding the historical credibility of such claims vary. 1307:

op. post.: Sonata a Quattro for Trumpet, 2 Violins & B.C, WoO 4

890:

It is known that he had many students, among them: Matteo Fornari,

3586: 3566: 3561: 3534: 3400: 3305: 1322: 1266: 1046: 1003: 837: 702: 507: 155:

era. His music was key in the development of the modern genres of

27: 2411:, ed. N. Schiørring, H. Glahn and C.E. Hatting (Copenhagen, 1972) 1261:

for violin and continuo) (Rome 1700) The last sonata is a set of

1159:

who regularly played the violin, and cataloged four of Corelli's

403:

In 1687 Corelli led the festival performances of music for Queen

3447: 3395: 3365: 3360: 3345: 3325: 2602: 2563:

using baroque instruments, ornamentation and playing techniques.

2281:

The Birth of the Orchestra: History of an Institution, 1650–1815

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University of Northern Colorado Undergraduate Research Journal

1809:

University of Northern Colorado Undergraduate Research Journal

1291: 792:, perhaps as important as those promoted by the emergence of 119: 2522:, ed. by Ch. Hoppe, Hildesheim, Olms, 2018, pp. 211–240 1301:

op. post.: Sonata a Quattro, WoO 2 (Rogers, Amsterdam, 1699)

553: 1685: 1683: 1095:. George J. Buelow, further, attests that the influence of 131: 67: 61: 52: 1645:, vol. 2, chapter 5 Oxford: Oxford University Press, 2009. 1345:, Op. 6 No. 8, is in the soundtrack of the film 1188:, 12 violin and continuo sonatas, and 12 concerti grossi. 719:

Corelli's artistic figure flourished at the height of the

512:

Engraving of a bust of Corelli from the title page of his

93: 2196:

Theoretical-practical Elements of Music, Parts III and IV

2124: 2122: 2120: 1848: 1846: 1844: 1842: 1840: 1635: 1633: 1583:

The American Heritage Dictionary of the English Language

1351:, and Corelli's Op. 6 No. 2 also provided the theme for 1773: 1437:

in 1748 in his capacity as official chronicler of the

354:

and during the ordination of a member of the powerful

1771: 1769: 1767: 1765: 1763: 1761: 1759: 1757: 1755: 1753: 1236:(trio sonatas for 2 violins and continuo) (Rome 1694) 1229:(trio sonatas for 2 violins and continuo) (Rome 1689) 1222:(trio sonatas for 2 violins and continuo) (Rome 1685) 255:

Ruffini, or Raffini), alongside four elder siblings.

128: 116: 90: 49: 2340:

Gusmão, Paulo (ed.). Corelli. Abril, 1979, pp. 10–11

2275: 2273: 2271: 64: 58: 3710: 3620: 3440: 3419: 3284: 3161: 2963: 2788: 2649: 2482:, Bologna, Stabilimento poligrafico emiliano, 1914 1794: 1792: 1731: 1729: 1727: 1725: 1723: 1416:, where the young genius is casually discovered by 1083:, as well as by the Venetian school, in particular 842:Portrait of Arcangelo Corelli by the Irish painter 134: 122: 96: 55: 32:Portrait of Arcangelo Corelli by the Irish painter 2316:Arcangelo Corelli e il Concerto Grosso Op. VI n. 8 2258: 2256: 2128:Western music". In: Encyclopædia Britannica Online 1691:The Cambridge History of Seventeenth-Century Music 2303:Music In The Baroque Era: From Monteverdi To Bach 1449:and then picked up by both Burney and his rival, 735:is definitively consolidated, abandoning the old 613:Concerto Grosso Op. 6 No. 4 – 1. Adagio – Allegro 1620:Dizionario Biografico degli Italiani – Volume 29 764:into multiple movements, which gave rise to the 1693:. Cambridge University Press, 2005, pp. 479–516 1609: 1607: 1605: 1603: 1601: 1348:Master and Commander: The Far Side of the World 1177: 19:"Corelli" redirects here. For other uses, see 3815: 2618: 2451:International Encyclopedia of Women Composers 2198:. University of Illinois Press, 2012, pp. 4–5 1895: 1893: 1891: 1889: 1470:have been written merely to exalt the violin. 1283:, and continuo) (written in the 1680s, publ. 8: 2431:"Fantasia Concertante on a Theme of Corelli" 2403:D.D. Boyden: "Corelli's Solo Violin Sonatas 2283:. Oxford University Press, 2004, pp. 105–136 2211:. Philharmonia Baroque Orchestra and Chorale 1743: 1741: 371:, for whom he played in Lenten oratorios at 2498:Arcangelo Corelli: New Orpheus of Our Times 2297: 2295: 2293: 2291: 2289: 1856:. Hamlyn Publishing, 1971–1990, pp. 204–205 1821: 1819: 1817: 1294:1 (for Giovanni Lorenzo Lulier's Oratorium 3822: 3808: 3800: 2625: 2611: 2603: 2234: 2232: 2230: 2136: 2134: 2054:Toussaint Loviko, in the program notes to 1703: 1701: 1699: 1665: 1663: 1661: 1659: 1657: 1655: 1653: 1651: 1358:Fantasia Concertante on a Theme of Corelli 16:Italian violinist and composer (1653–1713) 2587:International Music Score Library Project 2554:performed on original instruments by the 2350: 2348: 2346: 2181: 2179: 1995: 1993: 1991: 1989: 1987: 1541: 1539: 1017:established itself as the main driver of 627:Performed by the Advent Chamber Orchestra 606:Performed by the Advent Chamber Orchestra 582:Performed by the Advent Chamber Orchestra 332:Maximilian II Emanuel, Elector of Bavaria 2156: 2154: 2152: 2150: 2095:. Vol. 1. Oxford University Press. 382: 2101:10.1093/gmo/9781561592630.article.06478 1482: 1382: 1173:The Cambridge Companion to the Concerto 854:, who was probably his student, in his 547:Twelve concerti grossi, Op. 6 (Corelli) 214:. He was known in his time as "the new 2367:"Thomas Jefferson Monticello: Violins" 2331:. Polydor International, 1987, pp. 5–7 688: 670:Trio Sonata Op. 2 No. 11, 3rd movement 652:Trio Sonata Op. 2 No. 11, 2nd movement 634:Trio Sonata Op. 2 No. 11, 1st movement 387:Cardinal Pietro Ottoboni, portrait by 407:. He was also a favorite of Cardinal 146: 7: 1941:Journal of Seventeenth-Century Music 1675:Dizionario biografico degli italiani 3963:People from the Province of Ravenna 3958:People from the Province of Ferrara 3918:18th-century Italian male musicians 1398:Calcagnini family, the established 1075:. Also evident is the influence of 2279:Spitzer, John & Zaslaw, Neal. 1854:The Larousse Encyclopedia of Music 689:Problems playing these files? See 198:ideals, although belonging to the 14: 3948:Italian male classical violinists 3665:historically informed performance 2500:. Oxford University Press, 1999. 2478:Piancastelli, Carlo (in Italian) 2394:, vol. I. Sainsbury, 1827, p. 176 1327:Portrait of Arcangelo Corelli by 1191:Six sets of twelve compositions, 3938:Italian male classical composers 3908:18th-century classical composers 3898:17th-century classical composers 3783: 3774: 3773: 2583:Free scores by Arcangelo Corelli 2532: 2000: 1439:Accademia Filarmonica of Bologna 1367:Variations on a Theme by Corelli 1290:op. post.: Sinfonia in D minor, 1209:(trio sonatas for 2 violins and 674: 656: 638: 617: 596: 572: 326:, seems to have originated with 307:Accademia Filarmonica of Bologna 112: 86: 45: 1642:Oxford History of Western Music 1279:of 2 violins and cello, string 3913:18th-century Italian composers 3903:17th-century Italian composers 2209:Corelli, Arcangelo (1653–1713) 1521:Merriam-Webster.com Dictionary 987:Larousse Encyclopedia of Music 415:. From 1689 to 1690 he was in 1: 3923:Burials at the Pantheon, Rome 3166: 2968: 2790: 2655: 2373:. Thomas Jefferson Foundation 2371:Thomas Jefferson Encyclopedia 1708:Publishing, 2014, pp. 189–190 1586:(5th ed.). HarperCollins 856:The Art of Playing the Violin 457:The Triumph of Time and Truth 212:Pontifical Academy of Arcadia 148:[arˈkandʒelokoˈrɛlli] 3943:Italian classical violinists 2409:Festskrift Jens Peter Larsen 2068:Sterling Smith Art Gallery: 3968:17th-century male musicians 2550:of excerpts from Corelli's 2454:. Books & Music (USA). 1677:, Volume 29. Treccani, 1983 1314:, WoO 5–10 (Amsterdam 1714) 1033:are rare in his music, but 939:, separated from the large 900:Giovanni Stefano Carbonelli 460:(premiered in Rome, 1708). 444:Giovanni Stefano Carbonelli 348:San Giovanni dei Fiorentini 346:oratorios at the church of 279:, before moving in 1666 to 3986: 2492:Paris, Félix Alcan, 1933. 2327:Piperno, Franco. Corelli: 2207:McGegan, Nicholas (dir.). 1552:Collins English Dictionary 544: 440:Francesco Antonio Bonporti 269:Giovanni Mario Crescimbeni 18: 3933:Italian Baroque composers 3837: 3753: 2643:List of Baroque composers 2640: 1935:Barnett, Gregory (2000). 1614:Buscaroli, Piero (1983). 1195:between 1888 and 1891 by 1073:Giovanni Battista Bassani 490:take Corelli's own older 338:(between 1680 and 1685). 296:Giovanni Battista Bassani 259:have long been debunked. 2448:Cohen, Aaron I. (1987). 2318:. Coro Il Gabbiano, s/d. 2089:Talbot, Michael (2001). 2076:10 February 2013 at the 2056:Italian Violin Concertos 1071:, Leonardo Brugnoli and 798:in the 14th century and 399:, County Durham, England 220:history of Western music 163:and functional harmony. 21:Corelli (disambiguation) 3831:Bologna School of music 2023:Encyclopædia Britannica 1924:(subscription required) 1852:Hindley Geofrey (ed.). 1502:Oxford University Press 1455:Andrea Adami da Bolsena 892:Giovanni Battista Somis 194:, a perfect quality of 3953:Musicians from Bologna 3718:Common practice period 2520:Exploring Virtuosities 2496:Allsop, Peter (1999). 2194:Galeazzi, Francesco . 1332: 1182: 1132:Georg Philipp Telemann 1108:Georg Friedrich Handel 846: 716: 558: 520: 515:Twelve Concerti Grossi 473:Georg Friedrich Handel 400: 360:Santi Domenico e Sisto 352:San Luigi dei Francesi 267:According to the poet 37: 3867:Tomaso Antonio Vitali 3857:Giacomo Antonio Perti 3640:British Baroque music 2301:Bukofzer, Manfred F. 1913:. Oxford Music Online 1498:UK English Dictionary 1326: 1296:Santa Beatrice d’Este 1112:Johann Sebastian Bach 841: 802:in the 20th century. 706: 557: 511: 477:Johann Sebastian Bach 386: 328:Jean-Jacques Rousseau 31: 3928:Composers for violin 3842:Pietro degli Antonii 3058:Jacquet de La Guerre 2988:Bodin de Boismortier 2596:has compositions by 2490:Corelli et son Temps 1905:"Corelli, Arcangelo" 1616:"Corelli, Arcangelo" 1491:"Corelli, Arcangelo" 1373:Notes and references 1369:for violin in 1968. 1363:E. Florence Whitlock 1329:Jan Frans van Douven 1244:Suonati a violino e 1184:Corelli composed 48 379:Professional success 3650:early music revival 3221:Frederick the Great 2578:Stanford University 2164:, 2014 (39):103–118 2070:Portrait of Corelli 1639:Taruskin, Richard. 1361:. British composer 1353:Sir Michael Tippett 1152:Francesco Geminiani 1148:Giuseppe Sammartini 1081:Francesco Geminiani 1077:Jean-Baptiste Lully 970:Jean-Baptiste Lully 916:Francesco Geminiani 904:Francesco Gasparini 852:Francesco Geminiani 784:and, later, to the 448:Francesco Gasparini 428:Francesco Geminiani 413:Pope Alexander VIII 405:Christina of Sweden 389:Francesco Trevisani 375:from 1676 to 1679. 336:Cristiano Farinelli 324:Jean-Baptiste Lully 2950:Torrejón y Velasco 2574:Corelli, Arcangelo 2552:Christmas Concerto 2537:Works by or about 2314:Distaso, Antonio. 2305:. Read Books, 2013 2092:Corelli, Arcangelo 2018:Corelli, Arcangelo 1937:"[Review]" 1910:Grove Music Online 1342:Christmas Concerto 1333: 1163:in the library at 1140:Benedetto Marcello 1136:Giuseppe Valentini 1062:Giovanni Benvenuti 1055:Fausto Torrefranca 1021:and, according to 1019:chord progressions 908:Jean-Baptiste Anet 847: 717: 707:Teatro Argentina ( 590:Christmas Concerto 566:Christmas Concerto 559: 521: 401: 369:Benedetto Pamphili 305:Chronicles of the 285:Giovanni Benvenuti 245:diocese of Ferrara 166:He was trained in 38: 3875: 3874: 3852:Arcangelo Corelli 3797: 3796: 3759:Renaissance music 3427:Baroque orchestra 2598:Arcangelo Corelli 2539:Arcangelo Corelli 2507:978-0-19-816562-0 2461:978-0-9617485-2-4 2110:978-1-56159-263-0 1671:Arcangelo Corelli 1669:Buscaroli, Piero 1524:. Merriam-Webster 1418:Cardinal Ottoboni 1120:François Couperin 1093:Giovanni Legrenzi 1085:Francesco Cavalli 1013:In his time, the 800:avant-garde music 679: 661: 643: 622: 601: 577: 481:François Couperin 263:Musical education 78: 41:Arcangelo Corelli 3975: 3862:Giuseppe Torelli 3847:Maurizio Cazzati 3824: 3817: 3810: 3801: 3787: 3777: 3776: 3692:polychoral style 3607:sonata da chiesa 3168: 2970: 2792: 2657: 2627: 2620: 2613: 2604: 2568:Free sheet music 2536: 2514:Philippe Borer, 2511: 2466: 2465: 2445: 2439: 2438: 2427: 2421: 2418: 2412: 2401: 2395: 2389: 2383: 2382: 2380: 2378: 2365:Elzey, Claudia. 2362: 2356: 2352: 2341: 2338: 2332: 2325: 2319: 2312: 2306: 2299: 2284: 2277: 2266: 2260: 2251: 2245: 2239: 2236: 2225: 2218: 2212: 2205: 2199: 2192: 2186: 2183: 2174: 2171: 2165: 2158: 2145: 2138: 2129: 2126: 2115: 2114: 2086: 2080: 2065: 2059: 2052: 2046: 2043: 2037: 2036:Allsop, p. 27-29 2034: 2028: 2027: 2006: 2004: 2003: 1997: 1982: 1979: 1973: 1970: 1964: 1963: 1961: 1959: 1932: 1926: 1925: 1922: 1920: 1918: 1897: 1884: 1883:Allsop, pp. 3–14 1881: 1875: 1872: 1866: 1863: 1857: 1850: 1835: 1832: 1826: 1823: 1812: 1805: 1799: 1796: 1787: 1784: 1778: 1775: 1748: 1745: 1736: 1733: 1718: 1715: 1709: 1705: 1694: 1687: 1678: 1667: 1646: 1637: 1628: 1627: 1611: 1596: 1595: 1593: 1591: 1574: 1568: 1567: 1565: 1563: 1543: 1534: 1533: 1531: 1529: 1512: 1506: 1505: 1487: 1471: 1464: 1458: 1451:Sir John Hawkins 1431: 1425: 1409: 1403: 1387: 1259:sonate da camera 1255:sonate da chiesa 1234:sonate da camera 1227:sonate da chiesa 1219:sonate da camera 1206:sonate da chiesa 1157:Thomas Jefferson 1144:Pietro Locatelli 1124:Giuseppe Torelli 1070: 1027:Manfred Bukofzer 1023:Richard Taruskin 1015:circle of fifths 972:at the court of 896:Pietro Castrucci 790:history of music 770:sonata da camera 766:sonata da chiesa 681: 680: 663: 662: 645: 644: 624: 623: 603: 602: 579: 578: 556: 535:Pantheon at Rome 436:Pietro Castrucci 432:Pietro Locatelli 293: 150: 145: 141: 140: 137: 136: 133: 130: 125: 124: 121: 118: 111: 103: 102: 99: 98: 95: 92: 85: 76: 74: 73: 70: 69: 66: 63: 60: 57: 54: 51: 3985: 3984: 3978: 3977: 3976: 3974: 3973: 3972: 3878: 3877: 3876: 3871: 3833: 3828: 3798: 3793: 3770: 3766:Classical music 3762: 3749: 3706: 3702:Galant Schemata 3616: 3515:concerto grosso 3436: 3415: 3287: 3280: 3157: 2993:G. B. Bononcini 2959: 2784: 2653: 2645: 2636: 2631: 2594:Mutopia Project 2560:Voices of Music 2529: 2508: 2495: 2486:Pincherle, Marc 2475: 2470: 2469: 2462: 2447: 2446: 2442: 2429: 2428: 2424: 2419: 2415: 2402: 2398: 2390: 2386: 2376: 2374: 2364: 2363: 2359: 2353: 2344: 2339: 2335: 2326: 2322: 2313: 2309: 2300: 2287: 2278: 2269: 2261: 2254: 2246: 2242: 2237: 2228: 2219: 2215: 2206: 2202: 2193: 2189: 2184: 2177: 2172: 2168: 2159: 2148: 2139: 2132: 2127: 2118: 2111: 2088: 2087: 2083: 2078:Wayback Machine 2066: 2062: 2058:(Veritas, 2003) 2053: 2049: 2044: 2040: 2035: 2031: 2016:, ed. (1911). " 2012: 2001: 1999: 1998: 1985: 1980: 1976: 1971: 1967: 1957: 1955: 1934: 1933: 1929: 1923: 1916: 1914: 1901:Talbot, Michael 1899: 1898: 1887: 1882: 1878: 1873: 1869: 1864: 1860: 1851: 1838: 1833: 1829: 1824: 1815: 1806: 1802: 1797: 1790: 1785: 1781: 1776: 1751: 1746: 1739: 1734: 1721: 1716: 1712: 1706: 1697: 1688: 1681: 1668: 1649: 1638: 1631: 1613: 1612: 1599: 1589: 1587: 1576: 1575: 1571: 1561: 1559: 1545: 1544: 1537: 1527: 1525: 1514: 1513: 1509: 1489: 1488: 1484: 1479: 1474: 1465: 1461: 1432: 1428: 1410: 1406: 1388: 1384: 1380: 1375: 1337:concerti grossi 1321: 1116:Antonio Vivaldi 1064: 982: 924: 823: 815:Pope Clement IX 778:concerto grosso 713:Musée du Louvre 701: 696: 695: 687: 685: 684: 683: 682: 675: 672: 666: 665: 664: 657: 654: 648: 647: 646: 639: 636: 630: 629: 628: 625: 618: 615: 609: 608: 607: 604: 597: 594: 592:, movements 4–6 585: 584: 583: 580: 573: 570: 568:, movements 1–2 560: 554: 549: 543: 530: 499:Antonio Vivaldi 487:Concerti Grossi 469:Antonio Vivaldi 409:Pietro Ottoboni 381: 319: 287: 265: 233: 228: 184:concerti grossi 143: 127: 115: 106: 105: 89: 80: 79: 48: 44: 24: 17: 12: 11: 5: 3983: 3982: 3979: 3971: 3970: 3965: 3960: 3955: 3950: 3945: 3940: 3935: 3930: 3925: 3920: 3915: 3910: 3905: 3900: 3895: 3890: 3880: 3879: 3873: 3872: 3870: 3869: 3864: 3859: 3854: 3849: 3844: 3838: 3835: 3834: 3829: 3827: 3826: 3819: 3812: 3804: 3795: 3794: 3792: 3791: 3781: 3763: 3755: 3754: 3751: 3750: 3748: 3747: 3746: 3745: 3740: 3735: 3730: 3720: 3714: 3712: 3708: 3707: 3705: 3704: 3699: 3694: 3689: 3687:notes inégales 3684: 3679: 3674: 3669: 3668: 3667: 3662: 3657: 3647: 3642: 3637: 3636: 3635: 3624: 3622: 3618: 3617: 3615: 3614: 3609: 3604: 3599: 3594: 3589: 3584: 3579: 3574: 3569: 3564: 3559: 3554: 3553: 3552: 3547: 3542: 3537: 3532: 3527: 3517: 3512: 3507: 3502: 3497: 3496: 3495: 3490: 3480: 3475: 3470: 3465: 3460: 3455: 3450: 3444: 3442: 3438: 3437: 3435: 3434: 3432:Basso continuo 3429: 3423: 3421: 3417: 3416: 3414: 3413: 3408: 3403: 3398: 3393: 3388: 3383: 3378: 3373: 3368: 3363: 3358: 3353: 3348: 3343: 3338: 3333: 3328: 3323: 3318: 3313: 3308: 3303: 3298: 3292: 3290: 3282: 3281: 3279: 3278: 3273: 3268: 3263: 3258: 3253: 3248: 3243: 3238: 3233: 3228: 3223: 3218: 3213: 3208: 3203: 3198: 3193: 3188: 3183: 3178: 3172: 3170: 3159: 3158: 3156: 3155: 3150: 3145: 3140: 3135: 3130: 3125: 3120: 3115: 3110: 3105: 3100: 3095: 3090: 3085: 3080: 3075: 3070: 3065: 3063:Leclair l'aîné 3060: 3055: 3050: 3045: 3040: 3035: 3030: 3025: 3020: 3015: 3010: 3005: 3000: 2995: 2990: 2985: 2980: 2974: 2972: 2961: 2960: 2958: 2957: 2952: 2947: 2942: 2937: 2932: 2927: 2922: 2917: 2912: 2907: 2902: 2897: 2892: 2887: 2882: 2877: 2872: 2867: 2862: 2857: 2852: 2847: 2842: 2837: 2832: 2827: 2822: 2817: 2815:H. I. F. Biber 2812: 2807: 2802: 2796: 2794: 2786: 2785: 2783: 2782: 2777: 2772: 2767: 2762: 2757: 2752: 2747: 2742: 2737: 2732: 2727: 2722: 2717: 2712: 2707: 2702: 2697: 2692: 2687: 2682: 2677: 2672: 2667: 2661: 2659: 2647: 2646: 2641: 2638: 2637: 2632: 2630: 2629: 2622: 2615: 2607: 2601: 2600: 2590: 2580: 2570: 2569: 2565: 2564: 2545: 2528: 2527:External links 2525: 2524: 2523: 2512: 2506: 2493: 2483: 2474: 2471: 2468: 2467: 2460: 2440: 2422: 2413: 2396: 2384: 2357: 2342: 2333: 2320: 2307: 2285: 2267: 2252: 2240: 2226: 2213: 2200: 2187: 2175: 2166: 2146: 2130: 2116: 2109: 2081: 2060: 2047: 2038: 2029: 2014:Chisholm, Hugh 1983: 1974: 1965: 1927: 1885: 1876: 1867: 1858: 1836: 1827: 1813: 1800: 1788: 1779: 1749: 1737: 1719: 1710: 1695: 1679: 1647: 1629: 1597: 1569: 1535: 1507: 1481: 1480: 1478: 1475: 1473: 1472: 1459: 1443:Charles Burney 1426: 1422:Marc Pincherle 1404: 1393:collection in 1381: 1379: 1376: 1374: 1371: 1320: 1317: 1316: 1315: 1308: 1305: 1302: 1299: 1288: 1270: 1237: 1230: 1223: 1214: 1101:Sistine Chapel 1079:, attested by 981: 978: 923: 920: 822: 819: 700: 697: 686: 673: 668: 667: 655: 650: 649: 637: 632: 631: 626: 616: 611: 610: 605: 595: 587: 586: 581: 571: 563: 562: 561: 552: 551: 550: 542: 539: 529: 526: 397:Barnard Castle 380: 377: 364:Carlo Mannelli 318: 315: 275:, and then in 264: 261: 243:, then in the 232: 229: 227: 224: 15: 13: 10: 9: 6: 4: 3: 2: 3981: 3980: 3969: 3966: 3964: 3961: 3959: 3956: 3954: 3951: 3949: 3946: 3944: 3941: 3939: 3936: 3934: 3931: 3929: 3926: 3924: 3921: 3919: 3916: 3914: 3911: 3909: 3906: 3904: 3901: 3899: 3896: 3894: 3891: 3889: 3886: 3885: 3883: 3868: 3865: 3863: 3860: 3858: 3855: 3853: 3850: 3848: 3845: 3843: 3840: 3839: 3836: 3832: 3825: 3820: 3818: 3813: 3811: 3806: 3805: 3802: 3790: 3786: 3782: 3780: 3772: 3771: 3768: 3767: 3761: 3760: 3752: 3744: 3741: 3739: 3736: 3734: 3731: 3729: 3726: 3725: 3724: 3721: 3719: 3716: 3715: 3713: 3709: 3703: 3700: 3698: 3695: 3693: 3690: 3688: 3685: 3683: 3680: 3678: 3675: 3673: 3670: 3666: 3663: 3661: 3658: 3656: 3653: 3652: 3651: 3648: 3646: 3643: 3641: 3638: 3634: 3631: 3630: 3629: 3626: 3625: 3623: 3619: 3613: 3610: 3608: 3605: 3603: 3600: 3598: 3595: 3593: 3590: 3588: 3585: 3583: 3580: 3578: 3575: 3573: 3570: 3568: 3565: 3563: 3560: 3558: 3555: 3551: 3548: 3546: 3543: 3541: 3538: 3536: 3533: 3531: 3528: 3526: 3523: 3522: 3521: 3518: 3516: 3513: 3511: 3508: 3506: 3503: 3501: 3498: 3494: 3491: 3489: 3486: 3485: 3484: 3481: 3479: 3476: 3474: 3471: 3469: 3466: 3464: 3461: 3459: 3456: 3454: 3451: 3449: 3446: 3445: 3443: 3441:Musical forms 3439: 3433: 3430: 3428: 3425: 3424: 3422: 3418: 3412: 3409: 3407: 3404: 3402: 3399: 3397: 3394: 3392: 3389: 3387: 3384: 3382: 3379: 3377: 3374: 3372: 3369: 3367: 3364: 3362: 3359: 3357: 3354: 3352: 3349: 3347: 3344: 3342: 3339: 3337: 3334: 3332: 3329: 3327: 3324: 3322: 3319: 3317: 3314: 3312: 3309: 3307: 3304: 3302: 3299: 3297: 3294: 3293: 3291: 3289: 3283: 3277: 3274: 3272: 3269: 3267: 3264: 3262: 3259: 3257: 3254: 3252: 3249: 3247: 3244: 3242: 3239: 3237: 3236:Padre Martini 3234: 3232: 3229: 3227: 3224: 3222: 3219: 3217: 3214: 3212: 3209: 3207: 3204: 3202: 3199: 3197: 3194: 3192: 3189: 3187: 3184: 3182: 3181:C. P. E. Bach 3179: 3177: 3174: 3173: 3171: 3164: 3160: 3154: 3151: 3149: 3146: 3144: 3141: 3139: 3136: 3134: 3131: 3129: 3126: 3124: 3121: 3119: 3116: 3114: 3111: 3109: 3106: 3104: 3101: 3099: 3096: 3094: 3091: 3089: 3086: 3084: 3081: 3079: 3076: 3074: 3071: 3069: 3066: 3064: 3061: 3059: 3056: 3054: 3051: 3049: 3046: 3044: 3041: 3039: 3036: 3034: 3031: 3029: 3026: 3024: 3021: 3019: 3016: 3014: 3011: 3009: 3006: 3004: 3001: 2999: 2996: 2994: 2991: 2989: 2986: 2984: 2981: 2979: 2976: 2975: 2973: 2966: 2962: 2956: 2953: 2951: 2948: 2946: 2943: 2941: 2938: 2936: 2933: 2931: 2928: 2926: 2923: 2921: 2918: 2916: 2913: 2911: 2908: 2906: 2903: 2901: 2898: 2896: 2893: 2891: 2888: 2886: 2883: 2881: 2878: 2876: 2873: 2871: 2868: 2866: 2863: 2861: 2858: 2856: 2853: 2851: 2848: 2846: 2843: 2841: 2838: 2836: 2833: 2831: 2828: 2826: 2823: 2821: 2818: 2816: 2813: 2811: 2808: 2806: 2803: 2801: 2798: 2797: 2795: 2787: 2781: 2778: 2776: 2773: 2771: 2768: 2766: 2763: 2761: 2758: 2756: 2755:M. Praetorius 2753: 2751: 2748: 2746: 2743: 2741: 2738: 2736: 2733: 2731: 2728: 2726: 2723: 2721: 2718: 2716: 2713: 2711: 2708: 2706: 2703: 2701: 2698: 2696: 2693: 2691: 2688: 2686: 2683: 2681: 2678: 2676: 2673: 2671: 2668: 2666: 2663: 2662: 2660: 2652: 2648: 2644: 2639: 2635: 2634:Baroque music 2628: 2623: 2621: 2616: 2614: 2609: 2608: 2605: 2599: 2595: 2591: 2588: 2584: 2581: 2579: 2575: 2572: 2571: 2567: 2566: 2562: 2561: 2557: 2553: 2549: 2546: 2544: 2540: 2535: 2531: 2530: 2526: 2521: 2517: 2513: 2509: 2503: 2499: 2494: 2491: 2487: 2484: 2481: 2477: 2476: 2472: 2463: 2457: 2453: 2452: 2444: 2441: 2436: 2432: 2426: 2423: 2417: 2414: 2410: 2407:by Dubourg", 2406: 2400: 2397: 2393: 2388: 2385: 2372: 2368: 2361: 2358: 2351: 2349: 2347: 2343: 2337: 2334: 2330: 2324: 2321: 2317: 2311: 2308: 2304: 2298: 2296: 2294: 2292: 2290: 2286: 2282: 2276: 2274: 2272: 2268: 2265: 2259: 2257: 2253: 2250: 2244: 2241: 2235: 2233: 2231: 2227: 2224:, 2015; 4 (3) 2223: 2217: 2214: 2210: 2204: 2201: 2197: 2191: 2188: 2182: 2180: 2176: 2170: 2167: 2163: 2157: 2155: 2153: 2151: 2147: 2143: 2137: 2135: 2131: 2125: 2123: 2121: 2117: 2112: 2106: 2102: 2098: 2094: 2093: 2085: 2082: 2079: 2075: 2072: 2071: 2064: 2061: 2057: 2051: 2048: 2042: 2039: 2033: 2030: 2025: 2024: 2019: 2015: 2010: 2009:public domain 1996: 1994: 1992: 1990: 1988: 1984: 1978: 1975: 1972:Allsop, p. 25 1969: 1966: 1954: 1950: 1946: 1942: 1938: 1931: 1928: 1912: 1911: 1906: 1902: 1896: 1894: 1892: 1890: 1886: 1880: 1877: 1874:Allsop, p. 14 1871: 1868: 1862: 1859: 1855: 1849: 1847: 1845: 1843: 1841: 1837: 1831: 1828: 1822: 1820: 1818: 1814: 1811:, 2015; 4 (3) 1810: 1804: 1801: 1795: 1793: 1789: 1783: 1780: 1774: 1772: 1770: 1768: 1766: 1764: 1762: 1760: 1758: 1756: 1754: 1750: 1744: 1742: 1738: 1732: 1730: 1728: 1726: 1724: 1720: 1714: 1711: 1704: 1702: 1700: 1696: 1692: 1686: 1684: 1680: 1676: 1672: 1666: 1664: 1662: 1660: 1658: 1656: 1654: 1652: 1648: 1644: 1643: 1636: 1634: 1630: 1625: 1621: 1617: 1610: 1608: 1606: 1604: 1602: 1598: 1585: 1584: 1579: 1573: 1570: 1558: 1557:HarperCollins 1554: 1553: 1548: 1542: 1540: 1536: 1523: 1522: 1517: 1511: 1508: 1503: 1499: 1497: 1492: 1486: 1483: 1476: 1469: 1463: 1460: 1456: 1452: 1448: 1447:Henry Purcell 1444: 1440: 1436: 1435:Padre Martini 1430: 1427: 1423: 1419: 1415: 1408: 1405: 1401: 1396: 1392: 1386: 1383: 1377: 1372: 1370: 1368: 1364: 1360: 1359: 1354: 1350: 1349: 1344: 1343: 1338: 1331:(before 1713) 1330: 1325: 1318: 1313: 1310:op. post.: 6 1309: 1306: 1303: 1300: 1297: 1293: 1289: 1286: 1282: 1278: 1274: 1271: 1268: 1264: 1260: 1256: 1252: 1251: 1247: 1241: 1238: 1235: 1231: 1228: 1224: 1221: 1220: 1215: 1213:) (Rome 1681) 1212: 1208: 1207: 1202: 1201: 1200: 1198: 1194: 1189: 1187: 1181: 1176: 1174: 1168: 1166: 1162: 1158: 1153: 1149: 1145: 1141: 1137: 1133: 1129: 1125: 1121: 1117: 1113: 1109: 1104: 1102: 1098: 1094: 1090: 1089:Antonio Cesti 1086: 1082: 1078: 1074: 1068: 1063: 1058: 1056: 1052: 1048: 1044: 1040: 1036: 1032: 1028: 1024: 1020: 1016: 1011: 1009: 1005: 1001: 996: 990: 988: 979: 977: 975: 971: 966: 962: 958: 954: 950: 944: 942: 938: 932: 928: 922:The conductor 921: 919: 917: 913: 909: 905: 901: 897: 893: 888: 885: 881: 877: 873: 869: 863: 859: 857: 853: 845: 840: 836: 833: 827: 821:The violinist 820: 818: 816: 812: 807: 803: 801: 797: 796: 791: 787: 783: 782:solo concerto 779: 775: 771: 767: 763: 759: 755: 751: 747: 742: 738: 734: 730: 726: 722: 714: 710: 705: 698: 694: 692: 671: 653: 635: 614: 593: 591: 569: 567: 548: 540: 538: 536: 527: 525: 518: 516: 510: 506: 504: 500: 496: 495: 489: 488: 482: 478: 474: 470: 466: 465:chamber music 461: 459: 458: 451: 449: 445: 441: 437: 433: 429: 425: 420: 418: 414: 410: 406: 398: 394: 390: 385: 378: 376: 374: 370: 365: 361: 357: 353: 349: 345: 339: 337: 333: 329: 325: 316: 314: 312: 308: 303: 301: 297: 291: 286: 282: 278: 274: 270: 262: 260: 256: 254: 250: 246: 242: 238: 230: 225: 223: 221: 217: 213: 208: 206: 201: 197: 193: 187: 185: 181: 177: 173: 169: 164: 162: 158: 154: 149: 139: 109: 101: 83: 72: 42: 35: 30: 26: 22: 3851: 3764: 3757: 3728:Architecture 3677:Folk baroque 3672:Figured bass 3645:counterpoint 3621:Other topics 3493:18th-century 3488:17th-century 3113:D. Scarlatti 2930:A. Scarlatti 2900:J. Pachelbel 2859: 2651:Transitional 2558: 2551: 2519: 2515: 2497: 2489: 2479: 2473:Bibliography 2450: 2443: 2434: 2425: 2420:Allsop, p. 9 2416: 2408: 2404: 2399: 2391: 2387: 2375:. Retrieved 2370: 2360: 2336: 2329:Trio Sonatas 2328: 2323: 2315: 2310: 2302: 2280: 2263: 2248: 2243: 2221: 2216: 2208: 2203: 2195: 2190: 2169: 2162:Music in Art 2161: 2144:, 2003 (181) 2141: 2091: 2084: 2069: 2063: 2055: 2050: 2041: 2032: 2021: 1981:Allsop, p. 5 1977: 1968: 1956:. Retrieved 1944: 1940: 1930: 1915:. Retrieved 1908: 1879: 1870: 1861: 1853: 1830: 1808: 1803: 1782: 1713: 1690: 1674: 1670: 1640: 1619: 1588:. Retrieved 1581: 1572: 1560:. Retrieved 1550: 1526:. Retrieved 1519: 1510: 1494: 1485: 1467: 1462: 1429: 1407: 1391:Piancastelli 1385: 1366: 1356: 1346: 1341: 1334: 1312:Sonate a tre 1311: 1295: 1258: 1254: 1243: 1233: 1226: 1217: 1205: 1190: 1186:trio sonatas 1183: 1178: 1172: 1169: 1128:Georg Muffat 1105: 1059: 1012: 994: 991: 986: 983: 980:The composer 965:harpsichords 945: 940: 936: 933: 929: 925: 912:Georg Muffat 889: 864: 860: 855: 848: 828: 824: 808: 804: 793: 754:sacred music 737:modal system 733:tonal system 718: 589: 565: 531: 522: 514: 501:favoured by 493: 486: 462: 455: 452: 421: 402: 393:Bowes Museum 373:San Marcello 356:Chigi family 340: 320: 317:Early career 311:Il Bolognese 310: 304: 266: 257: 252: 249:Papal States 234: 209: 205:tonal system 188: 176:trio sonatas 165: 40: 39: 25: 3893:1713 deaths 3888:1653 births 3697:Style brisé 3633:Chamber pop 3628:Baroque pop 3572:grand motet 3545:passacaglia 3356:lautenwerck 3351:harpsichord 3321:double bass 3288:Instruments 3246:Mondonville 3078:A. Marcello 3008:F. Couperin 2955:Vejvanovský 2905:J. Playford 2885:J.-B. Lully 2850:Charpentier 2805:d'Anglebert 2690:Frescobaldi 2654:and early ( 1232:Opus 4: 12 1225:Opus 3: 12 1216:Opus 2: 12 1203:Opus 1: 12 1065: [ 1035:dissonances 1031:chromatisms 1000:harpsichord 995:Opera Terza 844:Hugh Howard 811:Catholicism 750:dissonances 519:(pub. 1714) 288: [ 182:and one of 34:Hugh Howard 3882:Categories 3711:Background 3597:recitative 3505:concertato 3473:canzonetta 3336:fortepiano 3311:clavichord 3261:Sammartini 3241:Mysliveček 3201:Boccherini 3191:W. F. Bach 3186:J. C. Bach 2983:J. S. Bach 2910:H. Purcell 2830:Cabanilles 2745:Monteverdi 2720:Kapsberger 2710:O. Gibbons 2705:C. Gibbons 2700:V. Galilei 2680:J. Dowland 2670:G. Caccini 2543:Wikisource 2377:21 January 1958:2 February 1917:31 January 1477:References 1277:concertino 1263:variations 1197:Chrysander 1165:Monticello 1097:Palestrina 1043:homophonic 1039:polyphonic 937:concertino 880:scordatura 691:media help 545:See also: 300:Palestrina 3743:Sculpture 3660:ensembles 3655:festivals 3550:sarabande 3478:capriccio 3420:Ensembles 3251:L. Mozart 3153:de Zumaya 3088:Pergolesi 3068:Locatelli 3053:Heinichen 3038:Gorczycki 3033:Geminiani 3013:Delalande 2935:Stradella 2890:M. Marais 2870:Froberger 2835:Carissimi 2825:Buxtehude 2780:Sweelinck 1953:1089-747X 1578:"Corelli" 1547:"Corelli" 1516:"Corelli" 1365:composed 1285:Amsterdam 1193:published 1051:Pincherle 974:Louis XIV 884:bariolage 832:Pincherle 780:, to the 776:, to the 772:, to the 725:polyphony 247:, in the 241:Fusignano 231:Childhood 196:classical 192:polyphony 3779:Category 3756: ← 3738:Painting 3602:ricercar 3577:madrigal 3557:fantasia 3525:courante 3510:concerto 3483:chaconne 3376:recorder 3301:carillon 3271:Telemann 3216:Corrette 3211:F. Brixi 3196:F. Benda 3128:Telemann 3093:Pisendel 3043:Graupner 2978:Albinoni 2915:Reincken 2880:Legrenzi 2865:Diletsky 2789:Middle ( 2695:Gabrieli 2556:ensemble 2435:englisch 2074:Archived 1624:Treccani 1590:3 August 1562:3 August 1528:3 August 1468:Sinfonie 1267:La Folia 1211:continuo 1008:theorbos 957:theorbos 876:staccato 795:ars nova 786:symphony 760:and the 746:tempered 741:continuo 729:rhetoric 711:, 1747, 494:Concerti 424:Philip V 239:town of 161:tonality 144:Italian: 3769:→ 3723:Baroque 3592:prelude 3530:gavotte 3500:chorale 3468:canzona 3458:cantata 3411:violone 3391:trumpet 3386:theorbo 3381:sackbut 3316:cornett 3296:bassoon 3286:Musical 3226:Galuppi 3148:Zelenka 3138:Vivaldi 3123:Tartini 3098:Porpora 3083:Pepusch 3023:Fischer 2998:Caldara 2945:Torelli 2940:Strozzi 2860:Corelli 2840:Cavalli 2810:Bassani 2765:Scheidt 2715:d'India 2665:Allegri 2589:(IMSLP) 2585:at the 2142:Scherzo 2011:: 1424:(1933). 1281:ripieno 1250:cimbalo 1246:violone 1161:sonatas 949:violons 943:group. 941:ripieno 868:tremolo 721:Baroque 699:Context 492:Opus 6 485:Opus 6 281:Bologna 237:Romagna 216:Orpheus 200:baroque 168:Bologna 153:Baroque 3789:Portal 3682:monody 3540:minuet 3453:ballet 3406:violin 3341:guitar 3256:Quantz 3163:Galant 3118:Seixas 3108:Rameau 3103:Quantz 3048:Handel 3003:Campra 2920:Sabini 2895:Muffat 2855:Clarke 2800:Amodei 2775:Schütz 2770:Schein 2740:Merula 2735:Michna 2685:Franck 2675:Coelho 2504: 2458: 2405:Grac'd 2107: 2005: 1951: 1496:Lexico 1414:Faenza 1400:feudal 1319:Legacy 1273:Opus 6 1257:and 6 1240:Opus 5 1047:fugati 961:organs 872:rubato 774:sonata 768:, the 762:sonata 709:Panini 517:, Op.6 417:Modena 391:. 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