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See also: The Four Seasons 92–97 ■ Musique de table 106 ■ Saint-Saëns’ Piano
Concerto No. 2 in G minor 179BAROQUE 1600 –1750
Corelli’s masterful Op. 6, Concerti
Grossi, published posthumously
as a set of 12, epitomize the form.
Each of Corelli’s concerti
consists of four to six movements,
played by a trio concertino—three
soloists comprising two violins
and a cello continuo—and the
ripieno, a larger string ensemble
with harpsichord accompaniment.
Confusingly, Corelli often expanded
the concertino section to four
musicians. The basso continuo
(cello and harpsichord) provided
a continuous musical framework,
or foundation, over which the
melody and harmony of both the
soloists and the accompanying
group, or ripieno, were constructed.Dynamic expression
By employing these contrasting
instrumental forces, Corelli
explored the possibilities for
dynamic expression, enlivening
the exchanges between the
sections through dramatic
juxtapositions—often enhanced
when the concertino ensemble
joins in with the ripieno sections.The music ranges from serene
adagios (in slow time) wrought
with exquisite suspensions, to
allegros (fast time), peppered
with quickfire exchanges between
the large and small ensembles.
Corelli’s use of harmony in these
concerti was in keeping with a
more general shift in Italian
Baroque music away from the
myriad lines of Renaissance
polyphony toward the use of
chord sequences and cadences
to create a stable tonal center.
Corelli’s work immediately
attracted the admiration of patrons
and fellow musicians. Among the
Op. 6 concerti, No. 8 in G minor,
subtitled “Fatto per la Notte di
Natale,” was commissioned by his
patron of the 1690s, Cardinal Pietro
Ottoboni. Known as the Christmas
Concerto, the work has enjoyed
long-lasting popularity.Harmony and balance
Although Corelli had previously
written for the concertino
combination of instruments in
his 48 trio sonatas, it is impossible
to dismiss the Concerti Grossi
as a mere inflation of these
small-scale chamber works.
Some performances involved as
many as 80 musicians—a huge
number, especially in Corelli’s day,
when orchestras more usually
numbered around 20 musicians.
In 1789, more than 70 years
after Corelli’s death, the English
musician, composer, and music
historian Dr. Charles Burney
wrote of the Concerti Grossi:
“The effect of the whole ... [is]
so majestic, solemn, and sublime
that they preclude all criticism.”
Even today, their melodies
continue to resonate. ■Arcangelo Corelli
Born into a prosperous family
in the small Italian town of
Fusignano, in 1653, Corelli
was accepted into Bologna’s
Accademia Filarmonica
orchestra at the age of 17.
His mastery of the violin,
combined with the rigor
of his teaching methods and
his many pupils, who included
Antonio Vivaldi and Francesco
Geminiani, caused his
reputation to grow.
In the mid-1670s, Corelli
moved to Rome, where he
entered the service of Queen
Christina of Sweden, who
had a home in Rome, and later
served as Music Director to
Cardinal Pamphili. His last
patron was Cardinal Pietro
Ottoboni, who was himself
a musician and librettist.
Corelli died in 1713. Despite
his relatively modest output,
his most active composing
years coincided with a boom
in music publishing at the
turn of the 18th century. As
a result, his influence spread
across Europe, even during
his lifetime.Other key works1694 12 Trio Sonatas, Op. 4
1700 12 Violin Sonatas, Op. 5It is wonderful to observe
what a scratching of Corelli
there is everywhere—nothing
will relish but Corelli.
Roger North
Writer and musician
(1653–1734)US_080-081_Concerti_Grossi_Corelli.indd 81 26/03/18 1:00 PM