will, probably, remind
readers of "the first (_i.e._ sonatas) that my (_i.e._ Dr. Burney)
musical inquiries have discovered, viz., some sonatas by Francesco
Turini, which consisted of only a single movement, in fugue and
imitation throughout."

[Music illustration]

Turini was organist of Brescia Cathedral, and in 1624 published
_Madrigali a una, due, tre voci, con alcune Sonate e a tre, Ven.
1624_. Between Turini, also Carlo Farina, who published violin
sonatas at Dresden in 1628, and Corelli (_b._ 1653), who brought out
his first work in 1683, one name of great importance is Giovanni
Legrenzi.

In the eighth volume of Dr. Burney's musical extracts there are two
sonatas, _a tre, a due violini e violone_, by Legrenzi (opera ottava,
1677). The first is in B flat. It commences with a movement in common
time entitled _La Benivoglia_.

[Music illustration]

An Adagio in G minor (only six bars) is followed by an Allegro in D
minor, six-eight time, closing on a major chord; then eight bars
common time in B flat (no heading); and, finally, a Presto
(three-four) commencing in G minor and closing in B flat. None of the
movements is in binary form.

The 2nd Sonata, in D, has five short movements. No. 1 has an opening
of thirty-seven bars in common time, fugato. There is a modulation in
the ninth bar to the dominant, and, later on, a return to the opening
theme and key; in the intervening space, however, in spite of
modulation, the principal key is not altogether avoided.

Sonatas of various kinds by Legrenzi appeared between 1655 and 1677.
Then there were the "Varii Fiori del Giardino Musicale ouero Sonate da
Camera, etc.," of Gio. Maria Bononcini, father of Battista Bononcini,
the famous rival of Handel, published at Bologna in 1669, and the
sonatas of Gio. Battista Vitali (Bologna, 1677). Giambatista Bassani
of Bologna, although his junior by birth, was the violin master of the
great Corelli. His sonatas only appeared after those of his
illustrious pupil, yet may have been composed before. Of the twelve in
Op. 5, most have many short movements; some, indeed, are so short as
to be scarcely deserving of the name.

By the time of Arcangelo Corelli, who, as mentioned, published his
first work (Op. 1, twelve sonatas for two violins and a bass) in 1683,
sonatas answered to the definition given by Mattheson in his _Das neu
eroeffnete Orchester_ (1713), in which they are said to consist of
alternate Adagio and Allegro. J.G.