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. Walther, again, in his dictionary of music,[1] which appeared at Leipzig in 1732, describes a sonata as a "grave artistic composition for instruments, especially violins." The idea of grouping movements was already in vogue in the sixteenth century. Morley in his _Plain and Easy Introduction to Practical Music_, printed in 1597, speaks of the desirableness of _alternating_ Pavans and Galliards, the one being "a kind of staid musick ordained for grave dancing," and the other "a lighter and more stirring kind of dancing." Contrast was obtained, too, not only by difference in the character, but also, in the measure of the music; the former was in common, the latter in triple time. With regard to the grouping of movements, Corelli's sonatas show several varieties. The usual number, however, was four, and the order generally--slow, fast, slow, fast. Among the forty-eight (Op. 1, 2, 3, and 4, published 1685, 1690, 1694, and 1700 respectively) we find the majority in four movements, in the order given above[2]; of the twelve in Op. 3, no less than eleven have four movements, but-- No. 1 (in F) has Grave, Allegro, Vivace, Allegro. No. 6 (in G), Vivace, Grave, Allegro, Allegro. No. 10 (in A minor), Vivace, Allegro, Adagio, Allegro. There are, however, eight sonatas consisting of _three movements_; and as this, a century later, became the normal number, we will give the list:-- Op. 1, No. 7 (in C) Allegro, Grave, Allegro. (Middle movement begins in A minor, but ends in C.)