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:

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