Arcangelo Corelli (1653–1713) was one of the foundational figures of the Baroque era, a composer‑violinist whose elegant style shaped the development of modern instrumental music. Born in Fusignano, Italy, on February 17, 1653, he built his career in Rome, where he became renowned for his refined violin playing, influential teaching, and beautifully crafted works. His trio sonatas, solo violin sonatas, and especially his concerti grossi, set enduring standards of form, harmony, and expressive clarity. Corelli’s legacy lived on through generations of students and admirers, earning him a central place in the history of Western music.
Noble friends and lovers of harmony,
I am Arcangelo Corelli, born in 1653 in Fusignano, a small town between Bologna and Ravenna. From those quiet beginnings, the violin became my lifelong companion — an instrument whose voice, I believed, could speak as eloquently as the human soul itself.
My youth was spent in study and travel, guided by a single aim: to bring elegance and order to the passions of sound. In Bologna, among the esteemed members of the Accademia Filarmonica, I refined my craft. But it was in Rome, under the generous patronage of cardinals and princes, that I found the stage upon which my art could truly breathe.
I had the honor to perform for Queen Christina of Sweden, that most learned sovereign who made Rome her home, and to serve the noble Cardinal Pamphili and the brilliant Cardinal Ottoboni, whose palace became a haven for music and poetry. There, I led orchestras that filled those great halls with concerti grossi — a new form that sought balance between soloists and ensemble, between brilliance and grace.
In those Roman years, I met and worked alongside other bright spirits — Handel, then a fiery young man from Germany, who came to Italy hungry for inspiration; Scarlatti, whose melodies danced with the warmth of Naples; and many others who shared our dream of blending reason and beauty in sound. Our conversations were as lively as our performances, and our music echoed across Europe.
I wrote little compared to some, but I labored long over each note, polishing every phrase until it pleased both ear and intellect. My sonatas for violin and continuo, and later my concerti grossi, were born not from haste but from devotion — and if they have endured, it is because they sought simplicity touched by soul.
In my later years, I found peace in the company of my pupils, who carried my teachings beyond Rome. Among them were many fine violinists who would shape the instrument’s voice for generations to come.
I departed this world in Rome, in the year 1713, surrounded by the sounds that had guided my life. If I have left anything behind, it is not fame but form — the quiet architecture of melody and harmony joined in friendship.
Thank you.
A Selection of Works by Archangelo Corelli Available for Listening on Classical Archives
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Twelve Concerti Grossi, Op. 6
- Concerto Grosso in D, Op.6, No.1
- Concerto Grosso in F, Op.6, No.2
- Concerto Grosso in C-, Op.6, No.3
- Concerto Grosso in D, Op.6, No.4
- Concerto Grosso in Bb, Op.6, No.5
- Concerto Grosso in F, Op.6, No.6
- Concerto Grosso in D, Op.6, No.7
- Concerto Grosso in G-, Op.6, No.8 (‘Christmas Concerto’)
- Concerto Grosso in F, Op.6, No.9
- Concerto Grosso in C, Op.6, No.10
- Concerto Grosso in Bb, Op.6, No.11
- Concerto Grosso in F, Op.6, No.12
Chamber Works
- Violin Sonata in D, Op.5, No.1
- Violin Sonata in Bb, Op.5, No.2
- Violin Sonata in C, Op.5, No.3
- Violin Sonata in F, Op.5, No.4
- Violin Sonata in G-, Op.5, No.5
- Violin Sonata in A, Op.5, No.6
- Violin Sonata in D-, Op.5, No.7
- Violin Sonata in E-, Op.5, No.8
- Violin Sonata in A, Op.5, No.9
- Violin Sonata in F, Op.5, No.10
- Sonata a 4, for trumpet and 2 violins in D
- Recorder Sonata in A-
- Sonata No.6 in A, for violin, cello, and harpsichord
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