Sonata da camera (or chamber sonata) is a type of trio sonata intended for secular performance. The trio sonata is a musical form which was particularly popular around the end of the 17th century and the beginning of the 18th century. ...
'Chamber sonata': an instrumental work of the Baroque period, in three or more stylized dance movements (sometimes with a prefatory movement), scored for one or more melody instruments and continuo. Corelli's opp.2 and 4 contain typical examples. After circa 1700 the genre overlapped increasingly with the sonata da chiesa and the title survived alone to describe the church or the fused type, such titles as partita, suite or ordre serving to describe collections of dance movements.
The sonatadacamera (chamber sonata) is often more lively and incorporates a dance theme, while the sonatada chiesa is more sombre (suited to a church).
The sonatada chiesa is an instrumental composition dating from the Baroque period, generally consisting of four movements.
One of the greatest exponents of the sonatada chiesa was the Milanese Arcangelo Corelli (1653–1713).
The sonatada chiesa, generally for one or more violins and bass, consisted normally of a slow introduction, a loosely fugued allegro, a cantabile[?] slow movement and a lively finale in some such binary form as suggests affinity with the dance-tunes of the suite.
The sonatas of Domenico Scarlatti are a special type determined chiefly by those kinds of keyboard technique that are equally opposed, on the one hand, to contrapuntal style, and, on the other hand, to the supporting of melodies on a lifetess accompaniment.
Longo's complete collection of Scarlatti's sonatas shows that, short of the true developed sonata-style, there is nothing between the old sonatada chiesa and Beethovenish experiments in unorthodox 'complementary keys' that Scarlatti does not carry off with a delightfully irresponsible “impressionism” that enables him to be modern in effect without any serious modern principle.
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