2020, Lewon, Marc, Pavanello, Agnese

2018, Pavanello, Agnese, Cappelletto, Sandro

2015, Menke, Johannes, Pavanello, Agnese

What did Corelli Find in the Ninth? For Johann Mattheson, Corelli, whose works he „wants to have praised as a splendid model, irrespective of their age” (Vollkommener Capellmeister, Hamburg 1739, 91) was still a paragon in 1739. When Mattheson discussed the ninth in the chapter on dissonances, he again came to speak about Corelli, writing that Corelli had sought and found something in the ninth that neither before nor after him „anybody had done; whoever he might be“ (326). Unfortunately, Mattheson did not explain exactly what was so unique and at the same time exemplary in Corelli’s handling of the ninth. The present text attempts to explore this question both in view of Corelli’s works and in consideration of the contemporary practice and teaching of composition. Although it is focused only on a detail – the ninth – this perspective can nevertheless yield insights regarding Corelli’s personal style: it can show, on the one hand, in what way certain emphatic moments of his music are based on a specific use of the ninth and, on the other hand, how it serves as a characteristic component and syntactical element of his idiom.

2019, Pavanello, Agnese, Lindmayr-Brandl, Andrea, Kolb, Paul

2015, Pavanello, Agnese, Pavanello, Agnese

2019, Pavanello, Agnese, Filippi, Daniele, Pavanello, Agnese

2015, Pavanello, Agnese

The study of Corelli’s compositions not included in his six printed collections is still at its beginnings. Fifty years after cataloguing Corelli’s works for the new critical edition, an examination of some of his sonatas considered to be doubtful reveals that there is an urgent need for rethinking both the classification criteria and the boundaries that have been established between the dubious compositions and the ones without opus number, at least as far as the oldest, most authentic sources are concerned. In this study, I present arguments to confirm authorship of some of Corelli’s unpublished works (e.g., Anh. 19 and Anh. 33), based in the first place on data gathered from the material transmission of the compositions under consideration. In addition, I propose a few basic premises to tackle the study of the large body of English sources, including some of the earliest manuscripts that contain unpublished Corelli sonatas that can be dated with some precision. These English sources offer, in addition to trio sonatas (including Corelli’s WoO 5), several ‘sonate a violino solo e basso’ not found on the continent: their attribution to Corelli seems in many cases to be correct, or at least plausible; in any case, it should be pondered seriously in light of the extensive musical exchanges between Rome and England.