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Similar to Schein’s suites in the character of their variations are those by Paul Bäuerl, edited six years earlier. Variations in suites were so popular that in a work by Andreas Hammerschmidt (1639) the author gave instructions for playing ‘Gaillarde on the 1, 2, 7, Pavane.’ Change in the order and in the number of the single movements is to be found in the suites of Johann Neubauer (1649). They contain only four movements, Pavane, Gaillarde, Balletto, and Courante. The Balletto stands for the Allemanda and Tripla, having two parts, the first in common, the second in triple, time.

The four movement form of suite was adopted by Froberger (1649), and by K. Briegel (1652). After the middle of the century composers began to include in their suites movements that were not dances, such as Canzonas, Symphonias, Sonatas, Sonatinas or Præludia. The earliest examples of those are by I. R. Ahle (1650), Martin Rubert, Joh. Jak. Löwe (1658), Diedrich Becker (Musikalische Frühlingsfrüchte, 1668), Joh. Rosenmüller (Sonata da camera, 1667), Joh. Petzolds (Leipzigische Abendmusik, 1669), Esajas Reusser (Suites for two violins with continuo, containing the following movements: Allemande, Courante, Sarabande or Gavotte, Gigue, with an Adagio—called Sonata—as introduction, 1670). Thus through the mixture of ‘suites’ with ‘sonatas’ the way was prepared for the classical chamber-sonata.

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.