Arcangelo Corelli (jan 1, 1653 – jan 1, 1713)

Description:

an Italian violinist and composer of the Baroque era. His music was key in the development of the modern genres of sonata and concerto, in establishing the preeminence of the violin, and as the first coalescing of modern tonality and functional harmony.

Concerto
A. Corelli and New Tonal Practices
1. A virtuoso violinist, the composer Arcangelo Corelli did not write vocal music.
a. He was the first composer to achieve “great” status for his instrumental works.
b. He standardized genres and practices that led to instrumental music rising in
esteem throughout Europe.
2. With Corelli we see the creation of harmonically controlled form.
a. The new tonal system allowed composers to provide a predictable path by
which the music should go, only to thwart it when the audience did not expect it.
3. Corelli’s career parallels that of Scarlatti, except the former was in Rome.
4. He led orchestras and created music for them. The following terms are defined at the bottom of this description:
a. Sonata da chiesa
b. Concerto grosso
c. Sonata da camera

Sonata da chiesa: (It.: ‘church sonata;') generally comprises four movements, typically a largo prelude followed by a fugal allegro, an expressive slow movement, and an allegro finale, although there are also many variations of this pattern. They may or may not have substituted organ music in the churches. These sonatas ‘are what they [the Italians] properly call Sonatas’ may be understood.

Concerto grosso: Generally, a type of concerto in which a large group (known as the ‘ripieno’ or the ‘concerto grosso’) alternates with a smaller group (the ‘concertino’). The term ‘concerto grosso’ is often loosely applied to any concertos of the Baroque period except solo ones.

Sonata da camera: composition for one or more melody instruments and basso continuo. It generally comprises a suite of several small pieces in the same mode or key that are suitable for dancing

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