Corelli, Arcangelo. (1653–1713). Concerti Grossi Con duoi Violini, e Violoncello di Concertino obligati, e duoi altri Violini, Viola, e Basso di Concerto Grosso, ad arbitrio, che li potranno radoppiare... Opera Sesta. XII Great Concertos, or Sonatas, for two Violins and a Violincello: or for two Violins. London: Printed for I. Walsh... and I. Hare. [1715]. Second Edition (first English edition). 5 part-books (of seven): Violino Primo Ripieno; Violino Secondo Ripieno; Violino Secondo; Alto Viola; Basso Ripieno. In original marble boards, three-quarter brown calf. Two spines heavily worn, corners bumped and chipped, overall fine. Scattered damp-staining and foxing throughout. Marx p. 200. Smith-Walsh 466. BUC p. 216. RISM C3845.
"Despite the modest size of his output, comprising six collections of instrumental music and a handful of other authentic works, and its virtual restriction to three genres – solo sonata, trio sonata and concerto – Corelli exercised an unparalleled influence during his lifetime and for a long time afterwards...To Corelli belong equally the distinctions of being the first composer to derive his fame exclusively from instrumental composition, the first to owe his reputation in large part to the activity of music publishers, and the first to produce ‘classic’ instrumental works which were admired and studied long after their idiom became outmoded." (Michael Talbot, Grove Online)
"Despite the modest size of his output, comprising six collections of instrumental music and a handful of other authentic works, and its virtual restriction to three genres – solo sonata, trio sonata and concerto – Corelli exercised an unparalleled influence during his lifetime and for a long time afterwards...To Corelli belong equally the distinctions of being the first composer to derive his fame exclusively from instrumental composition, the first to owe his reputation in large part to the activity of music publishers, and the first to produce ‘classic’ instrumental works which were admired and studied long after their idiom became outmoded." (Michael Talbot, Grove Online)
Corelli, Arcangelo. (1653–1713). Concerti Grossi Con duoi Violini, e Violoncello di Concertino obligati, e duoi altri Violini, Viola, e Basso di Concerto Grosso, ad arbitrio, che li potranno radoppiare... Opera Sesta. XII Great Concertos, or Sonatas, for two Violins and a Violincello: or for two Violins. London: Printed for I. Walsh... and I. Hare. [1715]. Second Edition (first English edition). 5 part-books (of seven): Violino Primo Ripieno; Violino Secondo Ripieno; Violino Secondo; Alto Viola; Basso Ripieno. In original marble boards, three-quarter brown calf. Two spines heavily worn, corners bumped and chipped, overall fine. Scattered damp-staining and foxing throughout. Marx p. 200. Smith-Walsh 466. BUC p. 216. RISM C3845.
"Despite the modest size of his output, comprising six collections of instrumental music and a handful of other authentic works, and its virtual restriction to three genres – solo sonata, trio sonata and concerto – Corelli exercised an unparalleled influence during his lifetime and for a long time afterwards...To Corelli belong equally the distinctions of being the first composer to derive his fame exclusively from instrumental composition, the first to owe his reputation in large part to the activity of music publishers, and the first to produce ‘classic’ instrumental works which were admired and studied long after their idiom became outmoded." (Michael Talbot, Grove Online)
"Despite the modest size of his output, comprising six collections of instrumental music and a handful of other authentic works, and its virtual restriction to three genres – solo sonata, trio sonata and concerto – Corelli exercised an unparalleled influence during his lifetime and for a long time afterwards...To Corelli belong equally the distinctions of being the first composer to derive his fame exclusively from instrumental composition, the first to owe his reputation in large part to the activity of music publishers, and the first to produce ‘classic’ instrumental works which were admired and studied long after their idiom became outmoded." (Michael Talbot, Grove Online)