At a time when the violin was replacing the viola, Arcangelo Corelli was in great demand. Writing almost exclusively for the violin or string ensemble, Corelli's works represent a critical link in the evolution of the baroque concerto grosso and sonata forms.

Compared to other violinist-composers, Corelli eschewed virtuosity. He was firmly in control of the language of tonality, but not all movements are tonally closed. A traditional distinction between sacred and secular pieces is maintained in each collection in terms of the character of most movements and the scoring; but dance movements may appear in church sonatas and fugal movements in chamber works. In fact, there was little precedent in Italian prints for such chamber sonatas as those of Corelli; the precedents are from Germany and England. He published only five volumes during his lifetime.

In the late 17th and 18th centuries Corelli's reputation as a performer and teacher was at least equal to the reputation he achieved as a composer. Italian and foreign students contributed to the dissemination of his works and his style of playing. His sonatas were widely performed and often reprinted, both as ideal practice material for students and as models for composers. He greatly influenced succeeding generations of composers, especially Handel who worked with him for a short time in Rome.

Upon his death, he was buried in the Pantheon, a sign of the respect in which he was held. His work continues to be performed by both professionals and students alike. 350 years after Corelli’s birth, Luck’s Music Library is proud of continuing to make his work available to new generations of musicians.