The Growth of Instrumental Music in 

the Seventeenth Century  

    The growth of opera had a great influence on the rapid development of musical instruments.  A solo voice is accompanied better by instruments than by other voices, as it stands out more.  Also a variety of instruments gives plenty of tone contrast, and aids the dramatic effect of the music.  So, during this century, the makers experimented, and began to provide more efficient instruments; the performers developed a better technique; and composers gradually leant how to write in a distinctive instrumental style.

    The violin family began to supersede the viol family, as its instruments were less clumsy and offered greater opportunities for virtuosity.  Following on the great Italian makers of the seventeenth century, Amati, Guarneri, and Stradivari (see p. 3) came the first great violin performer, teacher and composer, Corelli (1653-17I3).  His life is summarized at the 'end of this chapter.  See also the reference to his music on p. 10.

    The harpsichord was used as a continuo to accompany the opera singers in recitativo secco, and was also thought of as the indispensable foundation of all orchestral combinations (see p. 8).  But, in addition, composers began to write solos for keyboard instruments.  The Elizabethan virginal composers have already been referred to.  During the seventeenth century the Frenchman Couperin (1668-1733) wrote 27 suites of harpsichord pieces, called "ordres ". The movements are mostly dance-like, and in binary form, though some are in rondo form with contrasting couplets.  They have fanciful titles such as 'The Enchantress', 'Butterflies’, and 'The little Windmills'.  Couperin was an early writer of programme music.  Purcell also wrote groups of harpsichord pieces which he called "lessons".  See "Dances Of the Suite" on p. 69, and the life of Purcell at the end of this chapter.