Arcangelo, the celebrated musician and composer, was born at Fusignano, near Imola, in the territory of Bologna, in February 1653. He received his first instructions in counterpoint from Matteo Simonelli of the Papal chapel; and, entertaining an early inclination for the violin, he was put under Bassani, a master of that instrument, at Bologna. Having completed his musical studies, in which he rapidly acquired uncommon proficiency, Corelli visited Germany, and was retained in the service of the Duke of Bavaria. He returned to Italy about the year 1680, and settled at Rome, where he composed his first twelve sonatas, and became leader of the band of the opera, then in a very flourishing condition in that city.

The fame of Corelli as a composer and performer began now to spread throughout all Europe, and many persons went to Rome to study under the greatest master on the violin who had then been heard of. In 1685 he published his second set of sonatas, which he entitled Balletti di Camera. In 1690, his third, and in 1694 his fourth operas appeared. Of these four sets of sonatas, which are written as trios for two violins and violoncello, with an additional part for the organ, the third is generally accounted the best, but all of them are remarkable for ingenious contrivance. Corelli subsequently gave to the world his Concerti grossi, and other well known and highly esteemed works; but the most celebrated of all his productions, and that by which he acquired the greatest reputation during his lifetime, was his Solos, composed in 1700, which have been long and justly regarded as the foundation of all good schools for the violin, and are said to have cost him three years to revise and correct them.

During his residence at Rome, Corelli enjoyed the favour and patronage of Cardinal Ottoboni, the general encourager of polite arts and learning, at whose house he became acquainted with the celebrated Handel. Crescembini informs us, that he led an academia or concert given by the cardinal every Monday evening; and having been appointed permanent director of music, he continued to reside in the palace of his patron till the day of his death, which happened on the 18th of January 1713. He was buried in the church of the Rotunda or Pantheon, in the first chapel on the left hand of the entrance of that beautiful temple, where a monument, with a marble bust on it, was erected near that of the great painter Raffaelle, by Philip William, count palatine of the Rhine, under the care of Cardinal Ottoboni. For many years after his decease he was commemorated by a solemn service, consisting of pieces selected from his own works, on the anniversary of his death; a solemnity which continued as long as his immediate scholars survived to conduct and perform in it. A bust was also erected to his memory, in the Vatican, with this inscription: Corelli princeps Musicorum.

Corelli was a passionate admirer of pictures, and lived in an uninterrupted friendship with Carlo Cignani and Carlo Marati, who were rivals for his favour, and for a series of years presented him at times with pictures, as well as their own as of other masters. He thus became possessed of a large and valuable collection of original paintings, which, together with about L6000 in money, he bequeathed to his friend and patron Cardinal Ottoboni, who, reserving the pictures to himself, generously distributed the rest of his effects among the relations of the testator.

Of the private life and moral character of the composer little information has been preserved; "but," as Dr. Burney remarks, "if we may judge of his equanimity and natural disposition, by the mildness, sweetness, and even tenor of his musical ideas, his temper must have endeared him to all his acquaintance, as much as his talents." He was not, however, insensible of his acquirements, as we are told that on one occasion, while playing a solo at Cardinal Ottoboni's, having remarked the cardinal and another person engaged in discourse, he immediately laid down his instrument; and being asked the reason, replied, that he feared the music interrupted their conversation.

The compositions of Corelli are distinguished no less for elegance and purity of melody, than for the harmony which results from the music of the several parts. His talents were displayed to advantage in the most solemn, as well as in the most lively style. Several of his movements are referred to by musicians as quite perfect in their kind. His allemandes are remarkable for spirit, force, and delicacy; his gigas are gay and sprightly; and his adagios are expressive and imposing. Some difference exists among modern musicians as to the manner of executing the compositions of Corelli, particularly when they admit of extempore ornament from the performer. On this point, however, we have the authority of an English musical gentleman, who heard them performed at Rome by the scholars of the master, for asserting that his works ought to be played in a slow, firm, and distinct manner, just as they are written, and without changing the passages in the way of embellishment.

Geminiani's estimate of the character of Corelli as a composer is upon the whole a just one. "His merit," says he, "was not depth of learning, like that of Scarlatti; nor great fancy, or rich invention in melody or harmony; but a nice ear and most delicate taste, which led him to select the most pleasing harmonies and melodies, and to construct the parts so as to produce the most delightful effect upon the ear." It is indeed, we may add, in their peculiarly beautiful construction, that the charm of Corelli's compositions chiefly consists. Taken as a whole, they do not display great inventive power; and all the varieties in harmony, modulation, and melody they contain, might be comprised in a narrow compass; but by an inimitable combination, or, as we may term it, dovetailing of the parts, the composer has succeeded in producing effects which, while they give a character of inexpressible fascination to his music, have rendered it impregnable against the attacks of time and fashion. Notwithstanding the striking changes that have been wrought upon musical art during the last century, the tasteful musician looks with reverence and respect on the time-honoured compositions of Corelli. Unfaded in worth, they are still continually resorted to as the primitive but pure and copious emanations of a refined and skilful genius, which has exercised no mean influence over the progress of musical science to its present highly cultivated state.