How did the sonata da chiesa differ from the sonata da camera during the Baroque period?

During the Baroque period, the sonata da chiesa (church sonata) and sonata da camera (chamber sonata) were the two primary types of trio sonata. While they began to influence one another toward the end of the 17th century, they were originally distinguished by their intended function, structure, and style.12

Sonata da chiesa

• Purpose: Originally intended for performance in church.32
• Structure: Typically consisted of four movements arranged in a slow–fast–slow–fast sequence.12
• Style: Characterized by a serious mood and a contrapuntal texture, often featuring imitative or fugal writing.12

Sonata da camera

• Purpose: Intended for secular performance.2
• Structure: Less standardized than the church sonata, it often consisted of a nondance prelude followed by a series of idealized dance forms. The number of movements could vary significantly, ranging from three to eight or more.1
• Style: Derived from the dance suite, it was generally lighter in mood and dominated by a homophonic style, where a single melody is supported by chords.12

By the end of the 17th century, these distinctions blurred as composers began incorporating contrapuntal elements into chamber sonatas and dance rhythms into church sonatas.12