Page 83 - (DK) The Classical Music Book - Big Ideas Simply Explained

BAROQUE 1600–1750 81

See also: The Four Seasons 92–97 ■ Musique de table 106 ■ Saint-Saëns’ Piano
Concerto No. 2 in G minor 179

The music ranges from serene
adagios (in slow time) wrought
with exquisite suspensions, to
allegros (fast time), peppered
with quickfire exchanges between
It is wonderful to observe the large and small ensembles.
what a scratching of Corelli Corelli’s use of harmony in these
there is everywhere—nothing concerti was in keeping with a
will relish but Corelli. more general shift in Italian
Roger North Baroque music away from the
Writer and musician myriad lines of Renaissance Arcangelo Corelli
(1653–1734) polyphony toward the use of
chord sequences and cadences Born into a prosperous family
to create a stable tonal center. in the small Italian town of
Corelli’s work immediately Fusignano, in 1653, Corelli
attracted the admiration of patrons was accepted into Bologna’s
and fellow musicians. Among the Accademia Filarmonica
Op. 6 concerti, No. 8 in G minor, orchestra at the age of 17.
Corelli’s masterful Op. 6, Concerti subtitled “Fatto per la Notte di His mastery of the violin,
Grossi, published posthumously Natale,” was commissioned by his combined with the rigor
as a set of 12, epitomize the form. patron of the 1690s, Cardinal Pietro of his teaching methods and
Each of Corelli’s concerti Ottoboni. Known as the Christmas his many pupils, who included
consists of four to six movements, Concerto, the work has enjoyed Antonio Vivaldi and Francesco
played by a trio concertino—three long-lasting popularity. Geminiani, caused his
reputation to grow.
soloists comprising two violins In the mid-1670s, Corelli
and a cello continuo—and the Harmony and balance moved to Rome, where he
ripieno, a larger string ensemble Although Corelli had previously entered the service of Queen
with harpsichord accompaniment. written for the concertino Christina of Sweden, who
Confusingly, Corelli often expanded combination of instruments in had a home in Rome, and later
the concertino section to four his 48 trio sonatas, it is impossible served as Music Director to
musicians. The basso continuo to dismiss the Concerti Grossi Cardinal Pamphili. His last
(cello and harpsichord) provided as a mere inflation of these patron was Cardinal Pietro
a continuous musical framework, small-scale chamber works. Ottoboni, who was himself
or foundation, over which the Some performances involved as a musician and librettist.
melody and harmony of both the many as 80 musicians—a huge Corelli died in 1713. Despite
soloists and the accompanying number, especially in Corelli’s day, his relatively modest output,
group, or ripieno, were constructed. when orchestras more usually his most active composing
numbered around 20 musicians. years coincided with a boom
Dynamic expression In 1789, more than 70 years in music publishing at the
turn of the 18th century. As
By employing these contrasting after Corelli’s death, the English a result, his influence spread
instrumental forces, Corelli musician, composer, and music across Europe, even during
explored the possibilities for historian Dr. Charles Burney his lifetime.
dynamic expression, enlivening wrote of the Concerti Grossi:
the exchanges between the “The effect of the whole … [is] Other key works
sections through dramatic so majestic, solemn, and sublime
juxtapositions—often enhanced that they preclude all criticism.” 1694 12 Trio Sonatas, Op. 4
when the concertino ensemble Even today, their melodies 1700 12 Violin Sonatas, Op. 5
joins in with the ripieno sections. continue to resonate. ■

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