II

It must not be forgotten that an important part of early chamber music consisted of various compositions in the form of vocal pieces—madrigals, canons, rounds, and catches. As far as we know the earliest printed collection of such music extant is a volume entitled Pammelia (o) Musicks Misscellane (1609). The mixed variety of these ‘pleasant and delightful Roundelays’ shows skillful counterpoint and good harmony. The names of the composers are not mentioned in the book, but since the style of the compositions suggests great antiquity, this collection may represent the oldest printed vocal chamber music. With the striking progress of instrumental music, purely vocal compositions were less and less used as chamber music, since instruments were being used to play in unison with the voices. Such performances were called concertati. Significant vocal compositions with instrumental accompaniments were produced by Peri (1561-1633) and Caccini (d. 1618), whose Cantate da camera or Madrigali da camera were mostly pieces for a single voice accompanied by a single instrument. On the whole, however, it is not necessary to emphasize the vocal music here, since chamber music as we know it today represents a purely instrumental development.

We have already referred to Gabrieli’s use of the term sonata and to the first specimens of canzonas. Besides these we may mention a Canzon francese a risposta by Viadana (1602) for ‘violino, cornetto, two tromboni, and basso continuo.’ The parts of the instruments that lead the melodies are handled here as in a dialogue. The treatment of the melody is monodic rather than contrapuntal.

Of much more interest and value are a Sonata in dialogo for violin, with basso continuo, and a Sonata detto la moderna, from the Varie Sonate (1613) of Salomone Rossi. Rossi’s sonatas contain good examples of variations on a basso ostinato (Sopra l’Aria della Romanesca and Sopra l’Aria di Ruggiero). The basses, however, are not always strictly carried out. Rossi also cultivated variations on melodies not in the bass. He is noted for his first attempts in the form of the trio sonata (two violins with basso continuo), where, as in his simpler and shorter ‘Sinfonias,’ the homophonic style is predominant. His compositions have thematic unity, and he sometimes demands the changing of his tempi (Si replica l’ultima parte ma piu presto).

Similar to Rossi’s trio sonatas are those by Buonamente (1626), who is likewise fond of variations and of writing in dialogues for two violins. In his Sonate a 3 (for two violins and string-bass) the bass has a more important rôle than a mere accompaniment; it also helps to carry the themes, showing a tendency toward independent movement. A sonata (113 measures long) arouses our interest by the development of the first three notes of its theme

that reappears in the following manner

reminding us of the C minor symphony of Beethoven. Some of Buonamente’s sonatas end with the complete form of the original themes as if to unify the whole composition—a characteristic we again find in Beethoven (i.e., at the end of the first movement of the eighth symphony). The single themes and the lack of variety in tempi lend a certain monotony to Buonamente’s compositions, though otherwise they are very interesting.

Another writer of sonatas in Rossi’s manner is Francesco Turini (Tanto tempo hormai, 1624). His compositions, too, are in the form of variation suites, where the same bass, with slight changes in rhythm and character, is used in all movements. For the sake of completeness we may also mention G. Allegri’s sonatas for four string instruments, which may be considered crude early specimens of the string quartet.

An important advance in chamber music compositions is marked by B. Marini, who introduced into the trio sonata a second theme, contrasting strongly in rhythm with the first. This new second theme is announced simultaneously with the first when the latter appears for the second time thus:

[PNG][[audio/mpeg]]

Marini is also notable for the use of chromatics in his later works (1651) and his effective instrumental writing. He did not, however, lay special stress upon developing the idea of the new theme nor upon giving more independence to the two leading instruments. Frescobaldi also failed to recognize the possibilities of the second motive in his trio sonatas (1628). The idea, however, was well developed by Tarquinio Merula (especially in a sonata called La Pedrina, 1637), whose works (Canzoni da sonar, 1615, Canzoni overo Sonate concertate da chiesa e camera a 2 e 3, 1637, etc.) show not only more proficiency in instrumental writing, but also greater independence in the single parts and more individuality in the bass parts. Merula’s compositions have a sort of jovial humor, and on the whole they produce a more satisfactory general effect than those of his predecessors.

Of minor importance are the Sinfonie ad uno e duoi violini, a duoi trombone, con il partimento per l’organo con alcune quattro viole, 1629, by Mont’Albano, and the few chamber music compositions (besides solo sonatas) by Fontana (1630, 1641), whose graceful melodies are suggestive of the coming era. In further developing the forms of chamber music (mostly in trio sonatas) an important place belongs to Maurizio Cazzati (d. 1677), who is distinguished especially for his clear-cut melodies. The following from his sonata, La Lucilla (1648), is a good example:

[PNG][[audio/mpeg]]

Here the contrasting second theme is brought in before the exposition of the first is completed. La Lucilla has repose and thoughtfulness instead of the restlessness usual in similar compositions. It is in four parts and ends with the first theme without the contrasting second motive.

"The concert"; painting by Terborch.

Among other chamber music composers of the middle of the seventeenth century, we may point out Massimiliano Neri, who first used the terms sonata and canzona without any distinction. After his time the term canzona was less and less used and the name sonata finally became general for all instrumental chamber music compositions. Neri’s works are characteristic products of the century. His scoring for three to twelve instruments, his restless changing of rhythm and tempo, his lack of unity and ‘development,’ are the ever-present signs of the age in which he wrote. Still, his construction of phrase, his modulations, his more graceful figures show an improvement upon the writing of his predecessors. The following analysis of his Sonata in nine movements (1651) for two violins, viola and bass—another ancestor of the modern string quartet—shows the looseness of form which was characteristic of all contemporary instrumental music:

Movement I: in 4/4—46 measures
Movement II: Adagio in 3/2—20 measures
Movement III: Allegro in 4/4—26 measures
Movement IV: Adagio in 4/4—8 measures
Movement V: Allegro in 6/4—22 measures
Movement VI: Adagio in 4/4—6 measures
Movement VII: Allegro in 3/4—24

56 measures
Adagio in 3/4—32
Movement VIII: Allegro in 4/4—5 measures
Movement IX: Presto in 4/4—9 measures

Among writers of sonatas who varied less the number of movements we may notice Nicolaus Kempi (Sonatas and ‘Symphonies’ for 1-3 violins, 1-5 instruments, 1644, 1647, 1669), who employed the four movements of the modern cyclical sonata form, thus:

I. A pathetic movement (in the style of the Pavane).
II. An Allegro movement (imitative).
III. Gaillarde or Courante.
IV. Similar to the first movement (with figurative elements).

Although Kempi’s compositions show some improvement in fluency, they are otherwise of little interest.

Of far more eminence is Giovanni Legrenzi, the first composer of chamber music who abandoned entirely the term canzone. He is rightly called a ‘master of first rank,’ and his harmonies, chromatics (in the Sonata La Cornava, 1655), and modulations are noteworthy. In his trio sonatas (La Rosetta, 1671) and in his Sonata a 5: La Fugazza, he demonstrated that a few instruments could be made to express musical ideas of genuine value.

Among the minor sonata writers of this period we may mention Mazzolini (Sonate per camera a 3, containing preludes and dances), Mazzaferrata (Sonate a due violini: con un basetto viola, 1674, all in four movements), Bononcini (Sonate da chiesa and ‘Symphonie’ for two to eight instruments 1666, 1678), Tonini, C. A. Marini, Grossi, Taglietti, Rugieri, Vinacesi, Zanata, Charelli, and Gighi.

Practically all the compositions we have noticed possess for us little interest apart from their significance in the evolution of chamber music. To a modern ear their appeal is very slight. Historically, however, they are of importance, constituting as it were the substructure upon which the edifice of chamber music has been reared. Between them and the music which has a genuine artistic appeal and an emotional content lies a sort of transition stage in which the most notable names are Giovanni Battista Vitali, Antonio Veracini, and Giovanni Bassani.