Corelli Arcangelo, First Edition (14 results)

1. Auflage. 4°. (= Historisch-ktitische Gesamtausgabe der musikalischen Werke, Band V; Hg. Hans Oesch, Uni Basel AV 248). Erste Auflage, 124 S. Leinen, gutes Ex. Noten.

1. Auflage. 4°. (= Historisch-ktitische Gesamtausgabe der musikalischen Werke, Hg. Hans Oesch, Uni Basel; AV 247). Erste Auflage, 264 S. Leinen, Einband oben kl. Fleck, sonst gut. Noten, 800 Ex.

Couverture souple. Condition: Bon. Edition originale. Partition in-folio brochée, 9 pages de musique gravée (légères rousseurs, une tâche brune sur le dernier feuillet, inscription ancienne de 1834 à Saintes en partie effacée) Rare partition ancienne imprimée avant 1830.

Hardcover. First Edition. Portrait frontispiece, title page and 68pp. Half leather with marbled boards. Worn at edges and joints with a 2cm piece missing from top of spine and a similar piece coming away at the foot. Front free endpapers and portrait of Corelli becoming loose. The two free endpapers are stiffened by being composed of two pages, taken from another music printing, stuck together. General light browning to pages and some staining to the rear endpapers from damp. The frontispiece and the last page have some dessication with small loss, not to image or musical text, along the hinges. Otherwise internally clean and soundly bound.

SOFTCOVER. Condition: Very Good. 1st Edition Thus. Folio, Volume I only and disbound (no covers) portrait frontispiece, title-page, 44pp, 34pp, 54pp, 43pp and blank leaf at rear, bound as one . [CONDITION: Small chip to top corner of frontispiece, very mild fore-edge corner tip creasing to outer leaves, small chip to fore-edge bottom corner tip and closed tear to spine edge of one leaf, contents otherwise very good indeed. Spine stringing is still intact and very strong ] . __To see more of our Music Scores type DbbScores in the Keywords search box . . NOTE: Depending on destination this item may require an extra payment for insurance. If so, orders made by card will be completed only after you have approved any such extra cost. . We always ship in STRONG PROTECTIVE CARD PARCELS.

Hardcover. 1st Edition. 1st Edition. Hardcover. Small folio [10" x 13" ] with 58 pages of Corelli (1673-1713) & 25 of Felice Giardini (1716-1796), (paginated separately). Bound in the original marbled paper boards, with leather spine, this volume of music is still in very good condition, especially given its almost three centuries of age. the covers show wear, especially along the edges & corners; but the marbled paper is reasonably well preserved - a lovely example of the hand-made marbling that was popular in the early 1700s - this particular design was 'combed-in' by hand, creating a wavy ribbon effect over a background of blue dappled paint. Untitled Spine has five raised bands, without decoration. A small piece [1" x ½"] of leather is chipped away at the bottom of the spine, & the spine is just beginning at the heel. Original end-papers, free of any ownership or library markings throughout. Paper is high-quality rag, remarkably bright & clear, with the exception of the outer corners of the pages, which show some darkening from having been turned frequently. The frontispiece is a fine engraved portrait of Arcangelo Corelli, by Van der Gucht after a work by H. Howard. Each page of music, as well as each title page, with strong plate impressions. All pages & plates are present & tightly bound. There are 18 sonatas in all, for solo violin & bass accompaniment [12 by Corelli, 6 by Giardini]. The initial title page to this very rare collection of violin & bass sonatas by Arcangelo Corelli & Felice Giardini reads, "XII Solos for a Violin with a thorough bass for the Harpsicord or Violoncello. Composd by Arcangelo Corelli. Opera Quinta. N.B. These Solos are Printed from a curious Edition Publishd at Rome by the Author. London. Printed for & Sold by I. Walsh, in Catherine Street in Strand, of whom may be had all the Works of Corelli (viz) his Sonatas & Concertos in Parts & in Score". The second title page, which appears after the first six sonatas, reads, "The Second Part Containing Preludes, Allemands, Corants, Jiggs, Sarabands, Gavots, & ye Follia. By Arcangelo Corelli." The third title page, which introduces six sonatas by Giardini, reads, "Sei Sonate a Violino solo e Basso. Composte dall Sig. Felice Degiardino, Dedicate al Merito Sublime dell Ill. mo Sigr. Conte de Turpin Brigadiere, dell Armata di sua Maestra Cristianissimia e Collonello dun Regimento dUssari. Opera Prima. London, Printed for R. Bremner Opposite Somerset House in the Strand, of whom may he had Composed by the same Author , Six Duets for two Violins, Op. 210.6, Six Sonatas for the Harpd . Op 3 10.6, Six Overtures, Op 1- 15., Six Song in score Dedicated to the Duchess of Malborough Op. 5 - 10.6, The songs in the opera Enea E Lavinia - 2.6". Original scores for violin and bass continuo printed & in use in Corellis & Giardinis day. The Corelli works may well have been printed before the Giardini scores, as it was common practice for musicians to bind various music scores from different publishers into a single volume. The Corelli frontispiece & scores are almost certainly from 1740 or earlier. Arcangelo Corelli (1673-1713) was born in Italy & began his musical career playing as an assistant to the first violin in the Church of San Luigi dei Francesi in Rome. He was also a pupil of the great Bernardo Pasquini, who had studied under the master violinist Frescobaldi. With his talent, Corelli quickly surpassed his peers, & was named dir. of the violins at the Church of San Luigi. Because of his exquisite playing, he was sometimes referred to as "the archangel of the violin." He was even Better recognized for his composing, & his music was in great demand by the musicians of his day. Corelli believed that music should transcend culture & locale, & strove to create music that was uniquely his, independent of the Italian or French or Viennese influence. His style helped to define the music of the Baroque era.

4 volumes. Folio. Sewn. Contemporary plain ivory wrappers. 1) Violino primo: 1f. (recto title, verso blank), 13, [i] (blank) pp. 2) Violino secondo: 1f. (recto title, verso blank), 12 pp. 3) Violoncello: 1f. (recto title, verso blank), 12 pp. 4) Organo: 1f. (recto title, verso blank), 12 pp. Engraved throughout. With contemporary annotations "Maria Cecilia Tichborne" in pencil; "Mary Tichborn" in ink; "Corelli opera 1ma 0:80" to wrapper of first violin part; and "Mary Tichborn" in ink to wrapper of organ part. Wrappers slightly soiled, stained, and with small tears to edges. Occasional internal soiling, staining, creasing, and marginal tears; small loss to blank outer margin of p. 13 of first violin part. A bright impression on heavy paper. In very good condition overall. First Amsterdam edition. Rare. Marx p. 86, no. 11. BUC p. 217. RISM C3671 and CC3671 (two copies only). OCLC 908930526. The trio sonata "was the central instrumental form of the Baroque period . and is generally reckoned to have reached its height in the four sets of sonatas by Corelli: his opp. 1 and 3 (of the sonata da chiesa type, generally with fugal fast movements), and his opp. 2 and 4 (of the sonata da camera type, with movements in dance rhythm)." TNG Vol. 19, p. 152 "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. This influence, which affected form, style and instrumental technique in equal measure, was most closely felt in Italy, and in particular in Rome, where he settled in early manhood, but soon spread beyond local and national confines to become a European phenomenon. As a violinist, teacher of the violin and director of instrumental ensembles Corelli imposed standards of discipline that were unusually strict for their period and helped to lay the groundwork for further progress along the same lines during the 18th century. 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 in Grove Music Online.

Oblong folio. Modern dark tan half calf with marbled boards, raised bands on spine in decorative blindstamped compartments, dark red leather title label gilt. 1f. (recto full-page engraving by P.P. Bouche after Meloni, verso blank), 1f. (recto title, verso blank), 1f. (recto printed dedication, verso blank), 3-39 pp., 1f. (recto secondary title, verso blank), 41-70 pp. Engraved throughout. The attractive frontispiece incorporates musical instruments, a musical score of Corelli's first Op. 5 sonata, and a classical scene depicting the goddesses of war and music. With early signature to upper outer corner of p. 3, "Will. Boulting." Slightly worn, browned, and soiled, with occasional stains; light dampstain to upper margin of final leaves; frontispiece somewhat browned and soiled, reinforced at inner margin, edges frayed, not affecting image; title slightly soiled with paper repair to blank lower outer margin. Contemporary overpaste to p. 26 correcting a printer's error. First English edition, second issue, containing the Bouche frontispiece. Marx p. 174. Smith 31. Smith & Humphries 428. BUC p. 220. Sartori II, p. 198. RISM C3804. The first six sonatas are "church" sonatas, while the second six (with a separate title) are "chamber" sonatas, the last of which is actually the Follia, one of the most renowned compositions of Baroque string literature. The first edition of Corelli's Opus 5 was printed by Gasparo in Rome, followed shortly thereafter by Estienne Roger in Amsterdam and John Walsh in London. In an advertisement, Walsh described his edition as "Engraven in a curious Character, being much fairer, and more correct in the Musick, than that of Amsterdam" (London Gazette, 26 August 1700). Walsh's second impression was issued shortly after, now including the engraved frontispiece by Bouche after Meloni, similar to that in the Gasparo edition but with "XII Sonatas by Arcangelo Corelli His V Opera" placed in the shield. "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. This influence, which affected form, style and instrumental technique in equal measure, was most closely felt in Italy, and in particular in Rome, where he settled in early manhood, but soon spread beyond local and national confines to become a European phenomenon. As a violinist, teacher of the violin and director of instrumental ensembles Corelli imposed standards of discipline that were unusually strict for their period and helped to lay the groundwork for further progress along the same lines during the 18th century. 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 in Grove Music Online.

1) Violino primo del concertino: 1f. (recto blank, verso frontispiece engraved by Van der Gucht after H. Howard), 1f. (recto title, verso blank), [i] (blank), 23, [i] (secondary title), 25-34 pp. 2) Violino secondo del concertino: 1f. (recto title, verso blank), 23, [i] (secondary title), 25-33, [i] (blank) pp. 3) Violino primo del concerto grosso: 1f. (recto title, verso blank), 18, [i] (secondary title), 20-27, [i] (blank) pp. 4) Violino secondo del concerto grosso: 1f. (recto title, verso blank), 18, [i] (secondary title), 20-27, [i] (blank) pp. 5) Alto viola: 1f. (recto title, verso blank), 18, [i] (secondary title), 20-27, [i] (blank) pp. 6) Violoncello del concertino: 1f. (recto title, verso blank), 23, [i] (secondary title), 25-34 pp. 7) Basso del concerto grosso: 1f. (recto title, verso blank),18, [i] (secondary title), 20-27, [i] (blank) pp. Second edition, second issue (first English edition). Marx p. 202. Smith & Humphries 404. BUC p. 216. RISM C3847. Bound with: - CORELLI. Op. 5, Part 1 Concerti Grossi Con Due Violini Viola e Violoncello di Concertino obligati, e Due altri Violini e Basso di Concerto Grosso . Composti delli Sei Soli della prima parte dell'Opera Quinta D'Arcangelo Corelli . No. 376. [London: Printed for and Sold by I: Walsh Servant to his Majesty at the Harp and Hoboy in Catharine Street in the Strand, [1732]. [Complete set of parts] 1) Violino primo del concertino: 1f. (recto title, verso blank), 22 pp. 2) Violino secondo del concertino: 1f. (recto title, verso blank), [i] (blank), 19, [i] (blank) pp. 3) Violino primo ripieno: 1f. (recto title, verso blank), 13, [i] (blank) pp. 4) Violino secondo ripieno: 1f. (recto title, verso blank), 13, [i] (blank) pp. 5) Alto viola: 1f. (recto title, verso blank), 13, [i] (blank) pp. 6) Violoncello: 1f. (recto title, verso blank), 15, [i] (blank) pp. 7) Basso ripieno: 1f. (recto title, verso blank), 13, [i] (blank) pp. First Edition, second issue of this arrangement. Marx p. 318, no. 13. Smith & Humphries 434. BUC p. 221. RISM C3878 (citing only PN 377). Bound with: - CORELLI. Op. 5, Part 2 Concerto Grossi Con due Violini, Viola e Violoncello di Concertini Obligati, e due altri Violini e Basso di Concerto Grosso Quali Contengono Preludii Allemande Correnti Gigue Sarabande Gavotte E Follia Composta della Seconda Parte del Opera Quinta D'Arcangelo Corelli Per Francesco Geminiani . No. 377. London: Printed for and Sold by I: Walsh Servant to his Majesty at the Harp and Hoboy in Catherine Street in the Strand. [Complete set of parts] 1) Violino primo del concertino: 1f. (recto secondary title "Seconda Parte," verso blank), [i] (blank), 15, [i] (blank) pp. 2) Violino secondo del concertino: 1f. (recto secondary title "Seconda Parte," verso blank), 11, [i] (blank) pp. 3) Violino primo ripieno: 1f. (recto secondary title "Seconda Parte," verso blank), 9, [i] (blank) pp. 4) Violino secondo ripieno: 1f. (recto secondary title "Seconda Parte," verso blank), 8 pp. 5) Alto viola: 1f. (recto secondary title "Seconda Parte," verso blank), 7, [i] (blank) pp. 6) Violoncello: 1f. (recto secondary title "Seconda Parte," verso blank), 13, [i] (blank) pp. 7) Basso ripieno: 1f. (recto secondary title "Seconda Parte," verso blank), 9 pp. First Edition, second issue of this arrangement. Marx p. 319, no. 14. Smith & Humphries 438. BUC p. 221. RISM C3878. Bound with: - GEMINIANI. Op. 2 Concerti Grossi Con Due Violini, Violoncello, e Viola di Concertino obligati, e due altre Violini, e Basso di Concerto grosso ad arbitrio il IV. V. e VI. si potranno suonare con due Flauti traversieri, o due Violini con Violoncello. Dedicati A Sua Eccellenza Henrietta Duchessa di Marlborough, &c. &c. . Opera Seconda. [Op. 2]. London: Printed for the Author, and Sold by I. Walsh in Catherine Street in the Strand, [1732]. [Complete set of parts] 1) Violino primo del concertino: 1f. (recto title, verso blank), 11, [i] (blank) pp. 2) Violino secondo del concertino: 11, [i] (blank) pp. 3) Violino primo ripieno: 11, [i] (blank) pp. 4) Violino secondo ripieno: 11, [i] (blank) pp. 5) Alto viola: [i] (blank), 10, [i] (blank) pp. 6) Violoncello: 11, [i] (blank) pp. 7) Basso ripieno: 8 pp. Title page only for first violin concertino part; viola part with two pages marked "1," the first designated "Alto Viola Prima" and the second "Viola Seconda;" all music scored for "Alto Viola" following page 1. With annotation in pencil "Geminiani Op 2" to blank upper margins of all parts excepting first violin concertino. First Edition. Careri-English p. 232, 2a. BUC p. 366. Smith & Humphries 690. RISM G1454. Bound with: - GEMINIANI. Op. 3 Concerti Grossi Con Due Violini Viola e Violoncello di Concerto obligati, e Due altri Violini e Basso di Concerto Grosso . Opera Terza . No. 379. London: Printed for and Sold by Iohn Walsh Musick Printer & Instrument maker to his Majesty at the Harp and Hoboy in Catherine Street in the Strand, [1732]. [Op. 3]. [Complete set of parts] 1) Violino primo del concertino: 1f. (recto title, verso blank), [i] (blank), 2-19, [i] (blank) pp. 2) Violino secondo del concertino: 1f. (recto title, verso blank), [i] (blank), 15, [i] (blank) pp. 3) Violino primo rep.[ien]o: 1f. (recto title, verso blank), [i] (blank), 1-8, [i] (blank), 10-15, [i] (blank) pp. 4) Violino secondo rep.[ien]o: 1f. (recto title, verso blank), [i] (blank), 13, [i] (blank) pp. 5) Alto viola: 1f. (recto title, verso blank), [i] (blank), 2-13, [i] (blank) pp. 6) Violoncello del concertino: 1f. (recto title, verso blank), [i] (blank), 2-13, [i] (blank) pp. 7) Basso ripieno: 1f. (recto title, verso blank), [i] (blank), 2-13, [i] (blank) pp. Pages 10-11 mispaginated as 12-13, cancelled and corrected in pencil. First Edition, second issue. Careri-English p. 236, 3a (citing this issue as the first). BUC p. 367. Smith & Humphries 696. RISM G1467. 7 volumes. Folio. Contemporary dark tan panelled suede with decorative blindstamping to both boards, dark red leather title labels gilt. Binding worn, rubbe.

Tall folio. Contemporary mid-tan panelled suede with rules and decorative blindstamping, black leather title label gilt to upper. 1f. (recto blank, verso fine engraved half length portrait by J. Cole of the composer holding a sheet of music), 1f. (recto title, verso blank), 1f. (recto dedication, verso blank), [i] (blank), 139 pp. Engraved throughout. With early ownership signature "Lydia Catherine Marriott July 1792" to blank recto of frontispiece. Binding worn, rubbed, and bumped. Minor internal wear and soiling; very small tears to blank margins of final two leaves repaired with archival tape. A very good copy. First Edition. Marx p. 203, no. 6. BUC p. 216. RISM C3852. "Despite the modest size of his output, comprising six collections of instrumental music and a handful of other authentic works . Corelli exercised an unparalleled influence during his lifetime and for a long time afterwards . In England, particularly his op. 6 concertos were regarded as classics; they continued to be played, and preferred even to those of Handel, well into the 19th century." Michael Talbot in Grove Music Online. The first full score edition of Corelli's Concerti grossi, Op. 6, with uncommonly clear and exquisite music engraving by Thomas Cross.

Quarto. Sewn. [i] (title), 2-37, [i] (contents] pp. With woodcut vignette to title incorporating a violin, grapes, and the Latin motto "utre levet miserum fatum solitosque labores." Title slightly worn and stained, with minor loss to blank lower outer corner; remnant of paper tape to lower inner margin of outer bifolium; minor tears; staining to pp. 2 and 6 and inner margin of final 3 leaves; late 19th-early 20th century German library stamp to outer margin of title. Marx p. 150, no. 2. Sartori p. 581. RISM C3763 (no copies in the U.S.). Published in the same year as the first edition issued by Giacomo Komarek in Rome. "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. This influence, which affected form, style and instrumental technique in equal measure, was most closely felt in Italy, and in particular in Rome, where he settled in early manhood, but soon spread beyond local and national confines to become a European phenomenon. As a violinist, teacher of the violin and director of instrumental ensembles Corelli imposed standards of discipline that were unusually strict for their period and helped to lay the groundwork for further progress along the same lines during the 18th century. 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 in Grove Music Online.

Oblong folio. Full contemporary ivory vellum with titling in manuscript to upper "Opera Quinta di Arcangelo Corelli." 1f. (recto fine full-page frontispiece, verso blank), 1f. (recto title, verso blank), 1f. (recto dedication, verso blank), lf., 3-39 music; 40 (secondary title "P. Cerrini f."), 41-68 pp. Engraved throughout. The fine frontispiece engraving by Girolamo Frezza after a drawing by Antonio Meloni incorporates musical instruments, a musical score of Corelli's first Op. 5 sonata, and a classical scene depicting the goddesses of war and music. Binding somewhat worn and soiled; free endpapers slightly worn and foxed; pastedowns lacking. Very slightly worn and browned internally; occasional light foxing, soiling, and staining; minor loss to edges; inner margin of first five leaves slightly dampstained. In very good condition overall, with strong, clear impression and relatively wide margins. First Edition, second issue. Marx p. 173. Hoboken Vol. 16, 55. Pincherle p. 209. BUC p. 220. RISM C3801 (two copies only in the U.S.). The first six sonatas are "church" sonatas, while the second six (with a separate title) are "chamber" sonatas, the last of which is actually the Follia, one of the most renowned compositions of Baroque string literature. "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. This influence, which affected form, style and instrumental technique in equal measure, was most closely felt in Italy, and in particular in Rome, where he settled in early manhood, but soon spread beyond local and national confines to become a European phenomenon. As a violinist, teacher of the violin and director of instrumental ensembles Corelli imposed standards of discipline that were unusually strict for their period and helped to lay the groundwork for further progress along the same lines during the 18th century. 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 in Grove Music Online An excellent example of the art and craft of Italian music engraving and printing of the period, continuing a tradition dating from the time of Frescobaldi.

2 volumes. Quarto. Full contemporary ivory vellum. Typeset music in diamond-head notation. Violino Secondo: [i] (title), 2-37, [i] (contents), pp. Organo: [i] (title), 2-33 pp., with contents to lower portion of final page Bindings slightly worn, soiled, and stained. Minor internal wear; some dampstaining and small tears. First Edition, second issue, first published in 1681. Rare. Marx pp. 84-85, 7. BUC p. 217. RISM C3660 (no copies in the U.S.). No complete copies recorded in Marx or RISM. "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. This influence, which affected form, style and instrumental technique in equal measure, was most closely felt in Italy, and in particular in Rome, where he settled in early manhood, but soon spread beyond local and national confines to become a European phenomenon. As a violinist, teacher of the violin and director of instrumental ensembles Corelli imposed standards of discipline that were unusually strict for their period and helped to lay the groundwork for further progress along the same lines during the 18th century. 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 in Grove Music Online.

7 volumes. Folio. Disbound. 1) Violino primo del concertino: 1f. (recto title, verso blank), 18, [i] (secondary title), 20-27, [i] (blank) pp. 2) Violino secondo del concertino: 1f. (recto title, verso blank), 23, [i] (secondary title), 25-33, [i] (blank) pp. 3) Violino primo del concerto grosso: 1f. (recto title, verso blank), 18, [i] (secondary title), 20-27, [i] (blank) pp. 4) Violino secondo del concerto grosso: 1f. (recto title, verso blank), 18, [i] (secondary title), 20-27, [i] (blank) pp. 5) Alto viola: 1f. (recto title, verso blank), 18, [i] (secondary title), 20-27, [i] (blank) pp. 6) Violoncello del concertino: 1f. (recto title, verso blank), 1f. (recto duplicate title, verso blank), 23, [i] (secondary title), 25-34 pp. 7) Basso del concerto grosso: 1f. (recto title, verso blank), 18, [i] (secondary title), 20-27, [i] (blank) pp. "2.d Treble" in contemporary hand to head of violino secondo del concertino part title, "1st Treble Gr." to head of to first ripieno violin, "Tenor" to viola part, and "Bass gr" to continuo part. Some signs of wear, including occasional soiling, foxing, staining, and small tears. Lacking frontispiece portrait engraving by W. Sherwin after Howard. Second edition (first English edition). Very scarce. Marx p. 200, no. 2. Smith-Walsh 466. BUC p. 216 (without portrait engraving by Van der Gucht after Howard). RISM C3845 and CC 3845 (most copies incomplete). "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. This influence, which affected form, style and instrumental technique in equal measure, was most closely felt in Italy, and in particular in Rome, where he settled in early manhood, but soon spread beyond local and national confines to become a European phenomenon. As a violinist, teacher of the violin and director of instrumental ensembles Corelli imposed standards of discipline that were unusually strict for their period and helped to lay the groundwork for further progress along the same lines during the 18th century. 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 in Grove Music Online.