Arcangelo Corelli ( 1653-1713)
Sonate à tre da Chiesa Op. III, 1689
Corelli’s predilection for trio chamber sonatas finds an explanation in the composer’s desire to employ high instruments, of equal tessitura and timbre, conversing among themselves at a significant distance from the lower voice. The subtle equilibrium between a balanced, but strict use of a contrapuntal structure, on the hand, and the grandeur and splendor of the Baroque architecture on the other hand, make these sonatas very difficult to imitate.