Giuseppe Guami, organist of Lucca Cathedral, who published, in 1586, some voluminous compositions belonging to the class of cantiones sacræ, or motetts, is cited by Draudius, in his “Bibliotheca Classica,” as an excellent performer on the violin.
Another early violinist, Agostino Aggazzari, born of a noble family at Siena, and a scholar of Viadana, appears to have been the first who introduced instrumental Concertos into the Church; though Dr. Burney supposes that these Concertos must only be understood in the very qualified sense of Salmi Concertati, or psalms accompanied with violins; and he adds, that Concertos merely instrumental, either for the church or chamber, seem to have had no existence till about the time of Corelli.
Carlo Farina, of Mantua, who published, in 1628, a Collection of “Pavans and Sonatas” for the violin, is recorded by Walther (in his Musical Lexicon), as having figured in the service of the Elector of Saxony, as a celebrated performer on the instrument.
Michael Angelo Rossi, a composer, as well as an able violinist, signalized himself somewhat oddly at Rome, in 1632, by performing the part of Apollo, in a musical drama, with the violin as the expressive symbol and exponent of his melodial powers, instead of the classically attributed lyre. The strangeness of the anomaly was doubtless lost sight of amidst the enjoyment it was the means of conferring: nor would the example, were it taken up in our own times, by a competent artist, be likely to fail in producing a similar subserviency of taste to pleasure.
If, in these days, the man who plays Apollo
Like charms could conjure from the fiddle’s hollow,
We, too, should find the heaven-descended lyre
Omitted “by particular desire!”
And Phœbus, fitted with a fiddle so,
Would dart fresh wonders from his newer bow!
Though there was only one violin employed (observes Dr. Burney) in the first operas by Jacopo Peri and Monteverdi, yet, as the musical drama improved, and the orchestra was augmented, the superiority of that instrument was soon discovered by its effects, not only in the theatre, but in private performances; and the most eminent masters, without knowing much of its peculiar genius or powers, thought it no degradation to compose pieces expressly for the use of its votaries. Among the most early of these productions, may be ranked the Suonate per Chiesa of Legrenzi, published at Venice, 1655; Suonate da Chiesa e Camera, 1656; Una Muta di Suonate (a Variety of Sonatas), 1664; and Suonate a due Violini e Violone, 1677.
The next individual of eminence in connexion with the instrument is Giambattista Bassani, of Bologna, whose name derives additional lustre from his having been the violin-master of Corelli. Bassani was a man of extensive knowledge and abilities in his art, having been a successful composer for the church, the theatre and the chamber, between the years 1680 and 1703, as well as an excellent performer on the violin. His sonatas for that instrument, and his accompaniments for it to his masses, motetts, psalms and cantatas, manifest a knowledge of the finger-board and the bow, which appears in the works of no other composer anterior to Corelli; and the lovers of the pure harmony and simple melody of that admirable master, would still receive great pleasure from the performance of Bassani’s sonatas for violins and a bass. Specimens of Bassani’s music may be found in Latrobe’s and Stephens’s Selections.
The names of Torelli, Valentini, and the elder Veracini, may be dismissed with a brief mention; because, though of eminence in their day, they are not connected with any very marked influence on the art; and the published works which they have given to the world have long since attained a dormant state. It should be observed, however, as illustrating the very capricious nature of fashion, that Valentini for a while eclipsed Corelli himself in popularity.
Arcangelo Corelli, under whose able direction the violin may be said to have first acquired the definite character and regulated honors of a school,14 was a native of Fusignano, a town situated near Imola, in the territory of Bologna, and was born in the month of February, 1653. His first instructor was Matteo Simonelli, by whom he was taught the rudiments of music, and the art of practical composition; but, the genius of Corelli leading him to prefer secular to ecclesiastical music, he afterwards became a disciple of Bassani.
Corelli entertained an early propensity for the violin, and, as he advanced in years, laboured incessantly in the practice of it. It has been said, though without authority, that, in the year 1672, he went to Paris, and was driven thence by the jealousy and violence of Lully, who could not brook so formidable a rival.
In 1680, he visited Germany, and met with a reception suitable to his merit, from most of the German princes, but particularly from the Elector of Bavaria, in whose service he was retained, and continued for some time. After a few years’ residence abroad, he returned to Rome, and there pursued his studies with assiduity. It was at Rome that he published (about 1683) his first twelve Sonatas. In 1685, the second set appeared, under the title of Balletti da Camera. In 1690, he gave to the press the third “Opera” of his Sonatas; and in 1694, the fourth, which, consisting of movements fit for dancing, like the second, he called Balletti da Camera. This species of instrumental composition, the sonata, first imagined in the course of the 17th century, has been fixed, in many respects, by Corelli.
The proficiency of Corelli on his favourite instrument became so great, that his fame was extended throughout Europe, and the number of his pupils grew very considerable; for, not only his own countrymen, but even persons from distant kingdoms, resorted to him for instruction, as the greatest master of the violin that had, at that period, been heard of in the world. It does not appear, indeed, that he had attained a power of execution in any degree comparable to that of later professors. The style of his performance was, however, learned, elegant, and occasionally impressed with feeling; while his tone was firm and even. Geminiani, who was well acquainted with it, used expressively to compare it with that of a sweet trumpet. One of those who heard him perform, has stated that, during the whole time, his countenance was distorted, his eyes were as red as fire, and his eye-balls rolled as if he were in agony. This was the enthusiasm of genius – the influence of the “præsens divus,” Apollo – the exalted state so well characterized by the poet’s exclamation,
“Est Deus in nobis – agitante calescimus illo!”
About the year 1690, the Opera had arrived at a flourishing state in Rome, and Corelli led the band as principal Violin15. It was not till ten years after this date, that he published his Solos,16 the work by which he acquired the greatest reputation during his life-time, and to which, in its established character of a text-book for students, the largest share of attention on the whole has been directed. It was the fifth in the series of his publications, and was issued at Rome under the following title: – “Sonate a Violini e Violone o Cimbalo: Opera Quinta, Parte prima, Parte seconda: Preludii, Allemande, Correnti, Gighe, Sarabande, Gavotte, e Follia.” This work was dedicated to Sophia Charlotte, Electress of Brandenburgh; and it was these Solo Sonatas that the author himself was accustomed to perform on particular occasions.
Corelli’s great patron at Rome was Cardinal Ottoboni, the distinguished encourager of learning and the polite arts, to whom, in 1694, he dedicated his Opera Quarta,17 and in whose palace he constantly resided, “col spezioso carrattere d’attuale Servitore” of his Eminence, as he expresses himself in the dedication – with more of the humility of gratitude, by the by, than of the independence of genius. Crescembini, speaking of the splendid and majestic “Academia,” or Concert, held at Cardinal Ottoboni’s every Monday evening, observes that the performance was regulated by Arcangelo Corelli, that most celebrated professor of the violin – “famosissimo professore di violino.” Another title, expressive of the