CHAPTER 5 The Italian Concerto Style and the Rise of Tonality-driven Form
Corelli, Vivaldi, and Their German Imitators
Richard Taruskin
As far as we know, Arcangelo Corelli (1653–1713) never set a word of text to music. A virtuoso violinist, he was the first European composer who enjoyed international recognition as a “great” exclusively on the strength of his finely wrought instrumental ensemble works. They circulated widely in print both during his lifetime and for almost a century after his death, providing countless other musicians with models for imitation. In his chosen domain of chamber and orchestral music for strings, he was the original “classic,” playing a major role in standardizing genres and practices, and setting instrumental music on an epoch-making path of ascendency. His sonatas and concertos may no longer be played much except by violin students, and yet their historical significance is tremendous, affecting European music of every sort.
- Citation (MLA):
- Richard Taruskin. "Chapter 5 The Italian Concerto Style and the Rise of Tonality-driven Form." The Oxford History of Western Music. Oxford University Press. New York, USA. n.d. Web. 12 Oct. 2024. <https://www.oxfordwesternmusic.com/view/Volume2/actrade-9780195384826-chapter-05.xml>.
- Citation (APA):
- Taruskin, R. (n.d.). Chapter 5 The Italian Concerto Style and the Rise of Tonality-driven Form. In Oxford University Press, Music In The Seventeenth And Eighteenth Centuries. New York, USA. Retrieved 12 Oct. 2024, from https://www.oxfordwesternmusic.com/view/Volume2/actrade-9780195384826-chapter-05.xml
- Citation (Chicago):
- Richard Taruskin. "Chapter 5 The Italian Concerto Style and the Rise of Tonality-driven Form." In Music In The Seventeenth And Eighteenth Centuries, Oxford University Press. (New York, USA, n.d.). Retrieved 12 Oct. 2024, from https://www.oxfordwesternmusic.com/view/Volume2/actrade-9780195384826-chapter-05.xml
