`New Orpheus of Our Times'
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make such judgements if only because neither was aware of the contributions of the Roman School to which Corelli emphatically affirmed his allegiance. Extensive archival research over recent years now dispels much of the anecdote and hearsay accumulated over the centuries and makes possible a more balanced
evaluation of Corelli's true status in the development of the prime instrumental genres, accounting for his phenomenal success both during his lifetime and in the creation of musical canon in the decades after his death.