I do like a classic. Whether it be a nice suit, a Citroën DS or a fantastic Valpollicella, I have always had a kind of magnetic attraction to those things which just exude style, quality, beautiful craftsmanship, eloquence and distinction. They elevate what could be mundane into the sublime.

Italian Baroque icon Arcangelo Corelli (1653–1713) always fitted into this category for me. About 5 years after I moved to the Netherlands, I finally had the opportunity to do something about my passion for his music. I thought Corelli was a nice topic for my first blog column for Limelight as 2013 is a big Corelli anniversary year and because the NDA’s Corelli project, I’m delighted to be able to report, was recently chosen as a top five highlight of the 30 year history of the Holland Festival of Early Music Utrecht. The project also featured many Australians, including Baroque violinist Rachael Beesley in the solo role.

Corelli was a legendary generator of musical style. In the 18th century, he was the very personification of the Italianicity which the rest of Europe lusted after. He was the Dizzy Gillespie, the Angus Young, the Grace Kelly, the Faye Dunaway, the Catherine Deneuve of...