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Arcangelo Corelli (1653-1713) began his serious musical studies with members of the fabulous ensemble at the Basilica of San Petronio in Bologna, a major city within the Papel Estates. At the time, San Petronio was the most important center for instrumental music in all of Europe. In fact, it was from this school of composers that the instrumental concerto would develop. In time, Corelli was able to obtain a most-prestigious appointment in Rome in the palace of the music-loving Queen Christina of Sweden. It was to her that he dedicated the 12 Sonatas da chiesa comprising his Opus I, first published in 1681.

Nowadays, there is not a theory student in any university that does not commit to memory the fact that the slow movements Corelli's Sonatas da chiesa are the place to go to when one needs to locate examples of suspensions. To be sure, the Sonata in G Minor, Opus I, No. 10 is no exception, as the first and third movements are fully loaded with them.

Perhaps more important in these Sonatas da chiesa is Corelli's extraordinarily rich and quick harmonic rhythm. Insofar as realization of the continuo is concerned, this fact makes for much enjoyment, but the labor is really intense.

Of the four movements, all of which are set in the tonic, the second and fourth are quick-moving dances, despite the fact that they are meant to be utilized in church as substitute pieces for Mass propers and ordinaries. The second movement consists two versions of the same dance: initially in quadruple meter with strong subdivision via eighths, it is thematically transformed to duple meter [Vortanz und Nachtanz]. These dance movements are imitative throughout.

In the original edition of 1681 Corelli indicated two violins and violone as the SSB instruments with organ realizing the harmonies. Since these Sonatas da chiesa stand at the beginning of the period when the instruments we now recognize as the Baroque oboe and bassoon became standardized, those instruments are given the SSB honors by the present editor. This became a universal idea at the time for all trio sonatas whether sacred or secular. Many would be eventually be designated as being suitable for two violins or oboes or recorders and continuo, a smart marketing maneuver.

Corelli's dynamics forte and piano might refer to concerto practice of the time wherein forte indicates doubling of the upper parts, while piano refers to the basic ensemble of two high instruments over the continuo.