Note 15 — Chapter II

At the time of Corelli’s greatest reputation, Geminiani asked Scarlatti what he thought of him. The man of hard learning replied that “he found nothing greatly to admire in his composition, but was extremely struck with the manner in which he played his concertos, and his nice management of his band, the uncommon accuracy of whose performance gave the concertos an amazing effect, even to the eye, as well as to the ear; for (as Geminiani explained) Corelli regarded it as essential to a band that their bows should all move exactly together, all up, or all down; so that, at his rehearsal, which constantly preceded every public performance of his Concertos, he would immediately stop the band, if he saw an irregular bow.

We may smile a little at Scarlatti’s criticism; but the smile may extend at the same time to the quaint precision of the Corellian custom it notices:—a custom which suggests the idea of military mechanism, as well as military time; or rather, which reminds us, in a still more lively manner, of the old nursery pæan.

Scarlatti (it may be here observed) was the first who introduced into his airs, accompaniments for the violin, as well as bits of symphony;—thus both enriching the melody, and giving relief to the singer.