Paolo Benedetto Bellinzani (1680-1757)
Sonate a flauto solo con cembalo o violoncello, Op. III, Venezia, 1720
As Michael Talbot points out, Bellinzani was already praised by his contemporaries for his contrapuntal skills and his melodic gifts which featured a wealth of ornamentation in the solo vocal and instrumental lines. Today, it is not surprising that some critics find his sacred music to be exceeding "secular" in nature. In terms of his instrumental works--the sonatas from op. 3 and the 12 trio sonatas da chiesa in imitation of Arcangelo Corelli--Bellinzani’s model is clearly Corelli. The compositional genius and the engaging melodic sense in Corelli’s sonatas represented a paragon for composers of his own and later generations, and enjoyed a popularity on a European scale. Benedetto Marcello, like Bellinzani and many others, copied the general style and form of the sonata, and concluded his own work with a Ciaccona or Follia, in the same way that Corelli had crowned his own collection of sonatas.