Corelli's Christmas Concerto | A Baroque Masterpiece

Concerto grosso in G minor, Op. 6, No. 8 by Arcangelo Corelli Step into a world of Baroque elegance and Christmas cheer with Arcangelo Corelli's timeless masterpiece, the "Christmas Concerto." Composed around 1690, this iconic work captures the essence of the holiday season with its serene beauty and festive spirit. Experience the rich harmonies, graceful melodies, and virtuosic interplay between soloists and ensemble as Corelli paints a sonic portrait of a winter wonderland. The concerto's six movements, including the beloved Pastorale finale, offer a delightful journey through a variety of moods and emotions, from solemn contemplation to joyful celebration. Movements: 1. Adagio 2. Allegro 3. Adagio 4. Allegro 5. Adagio 6. Pastorale Let the enchanting sounds of Corelli's "Christmas Concerto" fill your heart with warmth and your soul with peace. Slovenian Philharmonics is the greatest musical institution in Slovenia. This orchestra is one of the oldest in this part of Europe. Honoured Members of the Philharmonic Society of Ljubljana (Philharmonische Gesellschaft) was: Josef Haydn (1800), Ludwig van Beethoven (1819), Nicolo Paganini (1824) in later Johannes Brahms (1885). The interesting conductors and music teachers were among many legendary names a young Franz Schubert and young Gustav Mahler. PPZ and TAJUS productions are proud to cooperate with vibrant musicians of Slovenian Philharmonics. Director and producer Primož Zevnik managed to record this gentle piece of music with this amazing orchestra. Slovenian Philharmonic Orchestra: Director of Slovenian Philharmonics: Matej Šarc Concertmaster: Ana Dolžan Assistant principal: Vera Belič, violin Violin: Matjaž Matevž Porovne, Jelena Šarc

Arcangelo Corelli - His Music and His Life

Arcangelo Corelli was born February 17, 1653, in Fusignano, Italy. He studied violin with Bassani at the Music school in Bologna. In Rome he studied composition under Matteo Simeoni, the singer of the pope's chapel. Corelli established himself as composer and violinist in the 1670s. In 1672 he made a sensational debut in Paris, then successfully toured Euripean capitals. In 1678-1680 Corelli was in the service of Queen Christina of Sweden, who had taken up residence in Rome after her abdication. In 1681 Corelli was the court musician for the Prince of Bavaria.

Back in Rome Corelli composed and dedicated music to his aristocratic patrons, such as, Queen Christina, Cardinal Pamphili, Francesco II the Prince of Modena, Cardinal Ottoboni, who was Pope Alexander VIII from 1689-1691. Corelli gained recognition for the nice tone of his playing and for his elegant presentation. He was very attractive, well-mannered, and known for his talent for creating a special ambiance. Corelli was well received in the highest circles of the aristocracy. He was the permanent leader of the famous Monday concerts at the palace of Cardinal Ottoboni, where he also resided for the most part of his life.

His rivalry and partnership with Georg Friedrich Haendel was legendary. Corelli was a great musician, but not a virtuoso. As it may be seen from his writings he never wrote or played above D on the highest string. Once Corelli refused to play the melody to the high A in the Handel's oratorio. Then Handel himself played the melody to the highest A, making Corelli very upset. Handel made a visit of respect to the great Corelli, as they both resided at the palace of Cardinal Ottoboni in 1708-1710. Handel also continued the tradition of Corelli's Concerti Grossi.

Corelli developed Concerto Grosso into a form of secular entertainment for the aristocracy. He used the idea of a musical competition between two groups of musicians during the Concerto. A smaller group has only two violins and a cello, while the larger group is the full orchestra. At the beginning of concerto each group presents their beautiful theme with arrangements. During the course of the concerto both groups develop musical interaction and their melody lines become intertwined until they reach mutual culmination in the climax of the grand finale.

Many of Corelli's Concerti Grossi were based on the beautiful flowing melodies from his own violin sonatas. Corelli composed violin sonatas for his solo performances before his high patrons. Corelli's dynamic markings in all of his written music show his use of traditional terrace method of forte and piano dynamics. While unmarked, crescendo and diminuendo were left to be played intuitively between the extremes of piano and forte. Corelli also liberated the accompanying parts from restrictions of the counterpoint rules.

Corelli was a highly reputable teacher of music and composition. Besides giving music lessons to his aristocratic patrons, he taught such composers as Francesco Geminiani and Pietro Locatelli. His strong influence was recognized by Antonio Vivaldi who became Corelli's successor at the palace of Cardinal Ottoboni. Johann Sebastian Bach studied Corelli's compositions. A remarkable tribute to Corelli was made by Serge Rachmaninoff in his concerto for piano and orchestra titled 'Rhapsody on a theme of Corelli' (aka.. Corelli Variations, Opus 42,1931).

Arcangelo Corelli died on January 8, 1713, in Rome and was laid to rest in the Pantheon of Rome.

Corelli's Concerti Grossi may be heard in film soundtracks as well as in numerous recordings of the Baroque music and in live concert performances.