Arcangelo Corelli

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Arcangelo Corelli (also United Kingdom) is a character from the film "arkandelo kodli] [ar_kodli] (1953-1700), an Italian composer and violinist of the Baroque period. His music was instrumental in the emergence of sonata and concerto, as the first harbinger of modern tonality and functional harmony in the early days of modern tonality and musical harmony.

He was educated in Bologna and Rome, and in this city he spent the bulk of his time, thanks in part to the protection of great patrons. Even if his entire production is limited to just six collections of published works, five of which were designed by Trio Sonatas or solo, and one by Concerti Grossi, he gained a cult following across Europe, as well as existing models of broad influence.

His writing was praised for its balance, refinement, sumptuous and original harmonies, for the dramatic effect of the theatre, as well as its richness of the timbre, articulate and melodious polyphony, a classic characteristic of classical values, although also employing techniques typical of this school, such as the discovery of dynamic and expressive contrasts, was oftentempered by a strong sense of moderation. After more than two hundred years of experimentation, he was the first to fully apply, with an expressive and logical goal. He was regarded as one of the best of his generation and aided in the evolution of the classical orchestra by modern playing techniques and his many followers scattered around Europe.

He was admired by several tribunals and was included in the most prestigious academic and intellectual society of his day, the Pontifical Academy of Arcadia, a leading figure in Roman musical life and internationally respected figure. He was regarded as "the new Orpheus" "the prince of musicians" and other similar terms, and his fame did not fade after his death. And now that his work is the subject of a voluminous critical bibliography and his sonatas are still popular in musical academies as didactic data as well as pieces capable of expressing themselves in today's concert repertoire. His place in Western music history is considered critical, with him being named as one of the greatest masters of the twentieth and XVII century as well as one of the earliest and greatest classicists.

Life

Corelli was born in the small Romagna town of Fusignano on February 1753 and then in the Papal States' diocese of Ferrara. When a Corelli moved to Fusignano and land-owners there since 1506, his ancestors had been in Fusignano and land-owners there ever since. Despite being wealthy, they were definitely not of the nobility, as several fanciful accounts of the composer's genealogy later stated. Corelli's father, Arcangelo, died five weeks before the composer's birth. He was subsequently raised by his mother, Santa (née Ruffini, or Raffini), and four older siblings.

Corelli's wealth of anecdotes and legends contrasts sharply with the paucity of reliable contemporary research describing events of his life. This is particularly true for his formative years, as well as his musical education; traditional accounts of a highly idealized childhood have long been debunked.

Corelli began studying music under a priest in Faenza, then Lugo, before moving to Bologna in 1666. Giovanni Mario Crescimbeni, who presumably knew the composer well, was a poet who followed him in 1666. Bologna, Italy's most prominent center of musical history at the time, had a flourishing academy of violinists associated with Ercole Gaibara and his students, Giovanni Benvenuti and Leonardo Brugnoli. Corelli's musical studies are linked to many master violinists, including Benvenuti, Brugnoli, Bartolomeo Laurenti, and Giovanni Battista Bassani, according to later reports. Although historically true, these accounts are largely unconfirmed, as is the assertion that Popel contralto Matteo Simonelli first taught him to write in the "Palestrina style." Corelli's remark to a patron indicates that his musical education was mainly devoted to the violin.

Corelli was admitted as a member of the Accademia Filarmonica of Bologna by 1670, at the young age of seventeen. This attribution's credibility has been questioned. Though Il Bolognese appears on Corelli's first three published sets of works (Opus 1 to 3, the exact time of his stay in Bologna is uncertain.

There are stories of travellers from Italy to France, Germany, and Spain that do not have any contemporary references. For example, the anecdote that Corelli's continental fame began from a journey to Paris as a teenager, where he was enslaved by an envious Jean-Baptiste Lully, who was enslaved by an envious Jean-Jacques Rousseau. Corelli reportedly spent time in Germany with Maximilian II Emanuel, the Elector of Bavaria (allegedly in 1681), as well as in the house of his associate and fellow violinist composer Cristiano Farinelli (between 1680 and 1685).

Although Corelli's arrival in Rome is uncertain, he was certainly present by 1675, when "Arcangelo Bolognese" (as he was referred to) was preparing as one of the Lenten oratorios, as well as the French national celebrations held each year, on the 25th anniversary of the powerful Chigi family at Santi Domenico e Sisto's ordination. In August 1676, he was already playing second violin to the renowned Carlo Mannelli at San Luigi dei Francesi. Although Rome did not have a permanent orchestra for instrumentalists, Corelli made a name for himself by appearing in a number of ensembles funded by wealthy patrons, such as Cardinal Benedetto Pamphili, for whom he performed in Lenten oratorios from 1676 to 1679.

Corelli conducted Queen Christina of Sweden's festival performances in 1687. He was also a fan of Cardinal Pietro Ottoboni, the grandsnephew of another Cardinal Pietro Ottoboni, who in 1689 became Pope Alexander VIII. He was in Modena from 1689 to 1690. Modena's Duke was generous to him. Corelli was elected a member of the Pontificia Accademia degli Arcadi (the Arcadian Academy of Rome) in 1706. Arcomelo Erimanteo, an Arcadian name, was given to him.

In 1708, he returned to Rome, where he was residing in Cardinal Ottoboni's palace. He traveled to Naples on the king's invitation to visit the city in the same year. The execution style used by Corelli and passed on by his students, including Francesco Geminiani, Pietro Locatelli, Pietro Castrucci, Francesco Antonio Bonporti, Giovanni Stefano Carbonelli, Francesco Gasparini, and others, was of utmost importance for violin playing. According to Arcangelo Corelli, who was their "iconic point of reference," the paths of all of the famous violinist-composers of 18th-century Italy lead to this "iconic point of reference."

Corelli, on the other hand, used just a small amount of his instrument's capabilities. As can be seen from his writings, this may be true. On the highest string, the violinists rarely go beyond D, with some of them reaching the E in fourth place on the highest string. Corelli refused to play a passage that extended to A in altissimo in the overture to Handel's oratorio The Triumph of Time and Truth (premiered in Rome, 1708).

Nevertheless, his compositions for the instrument heralded a period in chamber music history. His fame was not restricted to his own country: Antonio Vivaldi, Georg Friedrich Handel, Johann Sebastian Bach, and François Couperin were all instrumental in the evolution of an entire generation of composers, including Antonio Vivaldi, Georg Friedrich Handel, Johann Sebastian Bach and François Couperin, as well as many others. Bach delved into Corelli's Opus 3 of 1689 and based an organ fugue (BWV 579) on Corelli's Opus 3 of 1689. Handel's Opus 6 Concerti Grossi take inspiration from Corelli's older Opus 6 Concerti, rather than the later three-movement Venetian concerto favored by Bach.

Corelli's musical society in Rome owes a lot to him. He was honoured in the highest circles of aristocracy and served for a long time at the renowned Monday concerts in Cardinal Ottoboni's palace.

Corelli died in Rome from a fortune of 120,000 marks as well as a substantial collection of works of art and fine violins, the only luxury in which he indulged. He left both to his benefactor and friend, who generously gave over the funds to Corelli's relatives. Corelli is buried in the Pantheon at Rome's Pantheon.

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