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Music
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Peter Walls
Maratti was particularly distinguished as a portrait painter, an occupation that gave him ready
access to the great and good. His subjects included
Pope Clement IX and Cardinal Antonio Barberini.
vivum pinxit'?
HUGH HOWARD ... was born in Dublin Feb 7, 1675. His father
sitter's occupation.7
in October 1700.3
Early Music, Vol. xxxv, No. 4 @ The Author 2007. Published by Oxford University Press. All rights reserved.
doi: 10.1093/em/cam089, available online at www.em.oxfordjournals.org
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525
1 Mezzotint of Arcangelo Corelli by John Smith after Hugh Howard (reproduced by kind permission) (London, National
Portrait Gallery)
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2 Hugh Howard, Portrait of Arcangelo Corelli (Oxford Music Faculty Collection, Ecta EKT547) (reproduced by kind permission of the Bodleian Library, University of Oxford)
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3 Engraving of Arcangelo Corelli by William Sherwin after Hugh Howard (reproduced with permission)
(London, British Library)
the body full face, the head turned slightly to the left;
in black dress with white bands. He holds a sheet of
music.'8
copying the works of great painters (the standard training for a painter at the time, of course).
There are Howard copies of paintings by Van Dyck,
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claim to authenticity.
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6 Carlo Maratti (1625-1713), self-portrait 1684 (chalk on paper, 37 x 27 cm) (London, British Museum) (@The Trustees of
the British Museum)
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7 Carlo Maratti, self-portrait (Brussels, Musee des Beaux-Arts de Belgique) (reproduced with permission)
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tute Gallery)
paintings. It seems likely, therefore, that Simpson acquired the Corelli portrait from him. If so,
the Underworld and dwells on Earth in this shape
and form' (see illus.2 and 3).17 The Smith mezzotint
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9 Hugh Howard, Portrait of Arcangelo Corelli (reproduced by kind permission of The Royal Society of Musicians of Great
Britain)
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10 Hugh Howard, Portrait of Arcangelo Corelli (photograph courtesy of the National Gallery of Ireland)
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painting is particularly interesting. Its representation of Corelli adds nothing more to the other versions that depict him holding a manuscript, but its
decorative border serves to underline the musical
subject matter (illus.11). The bottom panel, in particular, has two violins facing in towards the centre, both with silver wound G strings standing out
clearly. (Why, though, is the E string of the violin on
from John Gay's 'Epistle to the Right Honourable William Pulteny' where he satirizes 'a famous
French dancing master':
So strongly with this prejudice possest
He thinks French music and French painting best.
11 Hugh Howard, Portrait of Arcangelo Corelli (detail) (photograph courtesy of the National Gallery of Ireland)
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12 Arcangelo Corelli, Sonate a violino e violone 8 cimbalo (Rome, 1700), Sonata in A major, op. 5 no. 6, ii, Allegro (reproduced
op.5 sonatas, the question arises as to why these particular movements have been chosen. The opening
ViolinO 11
Violone 0
ArcileutoI
76
76
76
Organo
666 6
5
9 8
5
6 76 7 76
5
#
6 6
5
6 98 6 76 7
5
5
0
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Peter Walls is the author of Music in the English courtly masque (Oxford, 1996), History, imagination,
and the performance of music (Woodbridge, 200o3), and numerous articles on 17th- and i8th-century
performance practice. He is Emeritus Professor of Music at Victoria University of Wellington, New Zealand, and currently Chief Executive of the New Zealand Symphony Orchestra. Peter.Walls@vuw.ac.nz
This article is a companion piece to my
'Constructing the archangel: Corelli in
18th century editions of opus 5', in
arcangelo Corelli-fra mito e realtai
storica: Nuove prospettive d'indagine
musicologica e interdisciplinare nel 3500
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Brussels.
of this painting.
Cambridge
Early Music
Summer Schools
Intensively rewarding tuition "second to none"
THE PARLEY OF
INSTRUMENTS
Peter Holman (director, continuo), Mark Caudle (cellos,
bass viols), Judy Tarling (violins, violas), Gail Hennessy
(oboes, woodwind), Philip Thorby (voices)
PHILIP THORBY
& FRIENDS
info@cemss.org * www.cemss.org
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