Moreover, the instinct of the composers was right in adopting
a serious style to put the audience in proper mood for what
was to follow. It is a familiar experience that when people
are appealed to on trival and light grounds they can with
difficulty be brought to attend to anything serious after-
wards. The principal allegro movement which follows the
introduction always tends to be the most elaborately or-
ganised of all the movements, and to appeal to the intel-
lectual side of the audience. In this the composer puts
forth all his resources of development and mastery of
design. The intellectual tendency was illustrated in the
early days by the fugal form in which the movement was
usually cast, as in the Sonate da Chiesa; and when in
harmonic form it was the one in which the design above
described was adopted. Sometimes it was an allemande, as
in the Sonate da Camera, and the suites and partitas and
ordres. The allemande was nominally a dance form, and
was distributed in regular groups of bars in accordance
with the requirements of the dance ; but it was always
the most solid and elaborate of all the movements in the
group in which it occurred (except sometimes the French
courante), and it often contained imitations and elaborate
counterpoint. The position of a movement of this char-
acter fiW with the requirements of an audience, for people
are more capable of entering into and enjoying serious
matters and subtleties of intellectual skill when their attention
is fresh and unwearied.
After the intellectual came the emotional. The slow
movement which follows, not only serves as a marked con



MODERN INSTRUMENTAL MUSIC 201

trast, but appeals to the opposite side of men's natures.
