In the private apartments of the prelate
there gathered a choice company of music lovers every Monday afternoon
to hear his latest compositions. Besides his solos these comprised
groups of idealized dance tunes with harmony of mood for their bond of
union, and played by two violins, a viola, violoncello and harpsichord.
They were the parents of modern Chamber Music, the place of assemblage
furnishing the name.
Refined taste and purity of tone, we are told, distinguished the playing
of Corelli, and to him are attributed the systematization of bowing and
the introduction of chord-playing. He heads the list of musicians who
protest against talking where there is music. On one occasion when his
patron was addressing some remarks to another person, he laid down his
violin, and on being asked the reason said "he feared the music was
disturbing the conversation." This did not prevent him from being held
in the highest esteem. After his death Cardinal Ottoboni had a costly
monument erected over his grave in the Pantheon, and for many years a
solemn service, consisting of selections from his works, was performed
there on the anniversary of his funeral.
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