Revolutions in Music
Follie Corelliane II

violin Stefano Montanari

Valeria Montanari harpsichord
Francesco Galligioni cello
Fabiano Merlante lute
Gianni Valgimigli violone

Arcangelo Corelli
violin sonatas op. 5
no. 1 in D major
no. 2 in B-flat major
no. 3 in C major
no. 4 in F major
no. 5 in G minor
no. 6 in A major
no. 12 in D minor “Follia”


It is not easy to grasp the revolutionary act of a composer after an interval of centuries, especially if his work has become a classic model for generations of interpreters. And so it happens that even the best experts cannot do so: Marc Pincherle, for example, Corelli’s famous biographer, stated that the originality of the composer from nearby Fusignano lies in his “lack of originality”. A completely opposite opinion had previously been expressed by Luigi Torchi, a pioneer of Italian musicology, who had seen several “interesting [formal] news” and some technical improvements that “would immensely enrich the sound and the effects of the violin, like Corelli’s pioneering use of double/triple stops and arpeggios, which gave the melody a sort of orchestration resulting from the instrument itself.”