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Updated: May 9, 2025
We may see them violently operative at revival meetings, distracting agents which are sometimes indeed so powerful as to lead to extraordinary reactions. It is difficult to attain the same violence with the written as with the spoken word, but if any living novelist has succeeded in attaining the effect of pandemonium through the use of religious and moral subjects, it is Miss Marie Corelli.
All, of course, were flattering the Miss Falconers, and abusing their absent friends, those especially who were expected to bear a part in this concert; for instance "Those two eternal Miss Byngs, with voices, like cracked bells, and with their old-fashioned music, Handel, Corelli, and Pergolese, horrid! And odious little Miss Crotch, who has science but no taste, execution but no expression!"
He had indeed composed an opera himself, which was performed in 1692, but he was more competent as a poet than as a musician; in 1690 Alessandro Scarlatti had set a libretto of his, La Statira. Handel was no doubt recommended to him by Ferdinand de' Medici, and at the Cardinal's weekly musical parties he soon came into contact with Domenico Scarlatti, as well as with Corelli and Pasquini.
His method of playing an adagio was regarded as inimitable by his contemporaries; and he transmitted this gift to his pupil Nardini, who was afterward called the greatest adagio player in the world. Another of Tartini's great élevés was Pugnani, who before coming to him had been instructed by Lorenzo Somis, the pupil of Corelli.
One could scarcely desire a better example of the all-embracing range of the studies which an American University provides for and encourages. I have heard it said, with a sneer, that "You can take an honours degree in Marie Corelli." If you can graduate with honours in Holberg, your time, in so far, has certainly not been misemployed.
On another shelf, rather less conspicuous, were some bound volumes of The Record, with the novels of Mrs. Henry Wood and Miss Marie Corelli. On the ledge of his bureau Blackwood's Magazine, uncut, lay ready to his hand. The Spectator, in process of skimming, was on his knees. The Standard, fairly gutted, was on the floor. There was no room for it anywhere else.
"They can be made to," said Winn, inexorably, "if they're the proper people. She'll like you to start with, besides you read authors. So does she she's awfully clever, she doesn't think anything of Marie Corelli; and she likes a man. As to your taking to her well, my dear chap, you haven't seen her! I give you a week; I'll hang about till then. You can tell me your decision at the end of it."
The touch of authority was given to this kind of music, during the last two decades of the seventeenth century, by Arcangelo Corelli when he presented in the camera, or private apartment, of Cardinal Ottoboni's palace, in Rome, his idealized dance groups, thoroughly united by harmony of mood, yet affording a wholly new tone-picture of this mood in each of several movements.
More is known of our mighty old Capellmeister Bach than of Shakespeare; less than of Miss Marie Corelli. The main thing is that he lived the greater part of his obscure life in Leipzig, turning out week by week the due amount of church music as an honest Capellmeister should. Other Capellmeisters did likewise; only, while their compositions were counterpoint, Bach's were masterworks.
In the kindred field of the drama the general English idea of the American stage is based chiefly on acquaintance with that noisy type of "musical comedy" of which so many specimens have in recent years been brought to England from the other side of the Atlantic. It is as if Americans judged English literature by Miss Marie Corelli and Guy Thorne.
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