Dissemination

Abstract Beyond his dealings with the courts of Neuburg and Berlin and the agency of Muffat, the paths of dissemination of Corelli’s music in Germany and Austria are singularly ill-defined.1 There is no clear documentation of a stream of pupils eager to make the pilgrimage to Rome, and those whose names have in the past been associated with Corelli’s-Christoph Raupach and Johann Georg Storl-hardly contribute to our knowledge of the Corellian idiom in Germany. There is little evidence of a ‘cult of Corelli’ or sudden rash of Corelli mania as there was for a time in France and for a century and more in England. In the northern monarchies the advent of Corelli’s music coincided with particular moments in the process of Italianization, but the Germanic lands had long been exposed to the infiltration of Italian music and musicians.