Scan 100
Celebrated violinists, past and present; ("The Strad" library), 1897
6 lines. Read by computer on 18 September 2026. Printed page 88. See the scan on archive.org.
1violin playing," and as one of those who were chiefly instrumental in assisting the development of musical art. It is certain that one of the very greatest of all composers, J.S. Bach, took a number of Corelli's works as patterns for his own, or rather, he took Corelli's pattern as a model upon which to work out his own ideas. The sonatas and concertos of the famous old Italian composer were regarded for two hundred years and are even now sometimes regarded as classical masterpieces. (Surely there can be no doubt, considering the age at which these works were composed and the life and vigour that still exists in them, that they have every right to be regarded as veritable masterpieces, and worthy to rank with the best of their kind.) Ferdinand David published an edition of them with marks for bowing and fingering which is not only in use in all of the best schools abroad, but many excerpts from it are also repeatedly heard in continental concert rooms.
3As a teacher, too, Corelli was among the best, and he numbers in the list of his pupils some of the greatest of violinists, such, for example, as Geminiani, Locatelli and Somis. These, again, have taught others, and it is said that even now the school (or system) of Corelli is not extinct.
5His principal teachers were Bassani (violin), and Matteo Simonelli (composition), a chamber-singer to the Pope. Very early in life Corelli surpassed his teachers in instrumental music, and after a lengthy tour to Paris and through some parts of Germany, his reputation grew, flying on the wings of fame over Europe. In 1681 he came under the protection of Max Emanuel of Bavaria, the friend to France, who kept him in Munich as the greatest art-hero of the time; but in the same year Corelli returned to Italy, and in Rome found another patron in the person of the art-loving and wealthy Cardinal Ottoboni who became devoted to him and made him leader of his private "chapel." While occupying this post, Corelli felt drawn towards composition, and there appeared XII. Sonate da chiesa per due Violine e Basso, accom-
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