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Chamber music - Wikipedia. Chamber music is a form of classical music that is composed for a small group of instruments—traditionally a group that could fit in a palace chamber or a large room. Most broadly, it includes any art music that is performed by a small number of performers, with one performer to a part (in contrast to orchestral music, in which each string part is played by a number of performers). However, by convention, it usually does not include solo instrument performances. Because of its intimate nature, chamber music has been described as . Playing chamber music requires special skills, both musical and social, that differ from the skills required for playing solo or symphonic works.
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The analogy to conversation recurs in descriptions and analyses of chamber music compositions. History. There were also purely instrumental ensembles, often of stringed precursors of the violin family, called consorts. The sonata da camera was a suite of slow and fast movements, interspersed with dance tunes; the sonata da chiesa was the same, but the dances were omitted.
These forms gradually developed into the trio sonata of the Baroque – two treble instruments and a bass instrument, often with a keyboard or other chording instrument (harpsichord, organ, harp or lute, for example) filling in the harmony. Often, works could be played on any variety of instruments, in orchestral or chamber ensembles. The Art of Fugue by Johann Sebastian Bach, for example, can be played on a keyboard instrument (harpsichord or organ) or by a string quartet or a string orchestra. The instrumentation of trio sonatas was also often flexibly specified; some of Handel's sonatas are scored for . Sometimes composers mixed movements for chamber ensembles with orchestral movements.
Telemann's 'Tafelmusik' (1. Because each instrument was playing essentially the same melodies, all the instruments were equal. In the trio sonata, there is often no ascendent or solo instrument, but all three instruments share equal importance. The harmonic role played by the keyboard or other chording instrument was subsidiary, and usually the keyboard part was not even written out; rather, the chordal structure of the piece was specified by numeric codes over the bass line, called figured bass.
In the second half of the 1. Galant style, with .
Patrons invited street musicians to play evening concerts below the balconies of their homes, their friends and their lovers. Patrons and musicians commissioned composers to write suitable suites of dances and tunes, for groups of two to five or six players. Corel Photo Paint Registration Crack Codes.
These works were called serenades (sera=night), nocturnes, divertimenti, or cassations (from gasse=street). The young Joseph Haydn was commissioned to write several of these. D major. In the first movement, after a statement of the main theme by all the instruments, the first violin breaks into a triplet figure, supported by the second violin, viola and cello. The cello answers with its own triplet figure, then the viola, while the other instruments play a secondary theme against this movement. Unlike counterpoint, where each part plays essentially the same melodic role as the others, here each instrument contributes its own character, its own comment on the music as it develops. Haydn also settled on an overall form for his chamber music compositions, which would become the standard, with slight variations, to the present day.
The characteristic Haydn string quartet has four movements: An opening movement in sonata form, usually with two contrasting themes, followed by a development section where the thematic material is transformed and transposed, and ending with a recapitulation of the initial two themes. A lyrical movement in a slow or moderate tempo, sometimes built out of three sections that repeat themselves in the order A–B–C–A–B–C, and sometimes a set of variations. A minuet or scherzo, a light movement in three quarter time, with a main section, a contrasting trio section, and a repeat of the main section. A fast finale section in rondo form, a series of contrasting sections with a main refrain section opening and closing the movement, and repeating between each section. His innovations earned Haydn the title . But he was by no means the only composer developing new modes of chamber music. Even before Haydn, many composers were already experimenting with new forms.
Giovanni Battista Sammartini, Ignaz Holzbauer, and Franz Xaver Richter wrote precursors of the string quartet. His chamber music added numerous masterpieces to the chamber music repertoire.
Mozart's seven piano trios and two piano quartets were the first to apply the conversational principle to chamber music with piano. Haydn's piano trios are essentially piano sonatas with the violin and cello playing mostly supporting roles, doubling the treble and bass lines of the piano score. But Mozart gives the strings an independent role, using them as a counter to the piano, and adding their individual voices to the chamber music conversation.
Quintet for Clarinet and String Quartet, K. He also tried other innovative ensembles, including the quintet for violin, two violas, cello, and horn, K. He wrote six string quintets for two violins, two violas and cello, which explore the rich tenor tones of the violas, adding a new dimension to the string quartet conversation.
Mozart's string quartets are considered the pinnacle of the classical art. The six string quartets that he dedicated to Haydn, his friend and mentor, inspired the elder composer to say to Mozart's father, .
He has taste, and, what is more, the most profound knowledge of composition. Luigi Boccherini, Italian composer and cellist, wrote nearly a hundred string quartets, and more than one hundred quintets for two violins, viola and two cellos. In this innovative ensemble, later used by Schubert, Boccherini gives flashy, virtuosic solos to the principal cello, as a showcase for his own playing. Violinist Carl Ditters von Dittersdorf and cellist Johann Baptist Wanhal, who both played pickup quartets with Haydn on second violin and Mozart on viola, were popular chamber music composers of the period. From home to hall.
Mozart wrote three string quartets for the King of Prussia, Frederick William II, a cellist. Many of Beethoven's quartets were first performed with patron Count Andrey Razumovsky on second violin. Boccherini composed for the king of Spain. With the bankruptcy of the aristocracy and new social orders throughout Europe, composers increasingly had to make money by selling their compositions and performing concerts. They often gave subscription concerts, which involved renting a hall and collecting the receipts from the performance. Increasingly, they wrote chamber music not only for rich patrons, but for professional musicians playing for a paying audience.
Changes in the structure of stringed instruments. This improved projection, and also made possible new bowing techniques. In 1. 82. 0, Louis Spohr invented the chinrest, which gave violinists more freedom of movement in their left hands, for a more nimble technique. These changes contributed to the effectiveness of public performances in large halls, and expanded the repertoire of techniques available to chamber music composers. Invention of the pianoforte.
The harpsichord used quills to pluck strings, and it had a delicate sound. Due to the design of the harpsichord, the attack or weight with which the performer played the keyboard did not change the volume or tone. In between about 1. By the late 1. 70. Even though the pianoforte was invented by Bartolomeo Cristofori at the beginning of the 1. Unlike the harpsichord, the pianoforte could play soft or loud dynamics and sharp sforzando attacks depending on how hard or soft the performer played the keys.
The piano was to become more and more dominant through the 1. Franz Liszt and Fr.
Beethoven transformed chamber music, raising it to a new plane, both in terms of content and in terms of the technical demands on performers and audiences.