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:

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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