Chamber music - Knowledge

2676: 55: 1261: 669: 2038: 2326: 1093: 1378:, printed music became cheaper and thus more accessible while domestic music making gained widespread popularity. Composers began to incorporate new elements and techniques into their works to appeal to this open market, since there was an increased consumer desire for chamber music. While improvements in instruments led to more public performances of chamber music, it remained very much a type of music to be played as much as performed. Amateur quartet societies sprang up throughout Europe, and no middling-sized city in Germany or France was without one. These societies sponsored 1532: 2637: 491: 1367: 1720: 699:. Even here, Beethoven stretched the formal structures pioneered by Haydn and Mozart. In the quartet Op. 18, No. 1, in F major, for example, there is a long, lyrical solo for cello in the second movement, giving the cello a new type of voice in the quartet conversation. And the last movement of Op. 18, No. 6, "La Malincolia", creates a new type of formal structure, interleaving a slow, melancholic section with a manic dance. Beethoven was to use this form in later quartets, and Brahms and others adopted it as well. 2498: 2074: 1949: 1596: 1285: 1182: 1025: 401: 2390: 1912: 1002:

other auditor, an awestruck eavesdropper: you." In the late quartets, the quartet conversation is often disjointed, proceeding like a stream of consciousness. Melodies are broken off, or passed in the middle of the melodic line from instrument to instrument. Beethoven uses new effects, never before essayed in the string quartet literature: the ethereal, dreamlike effect of open intervals between the high E string and the open A string in the second movement of quartet Op. 132; the use of

2737: 628: 643:. Even these early works, written when Beethoven was only 22, while adhering to a strictly classical mold, showed signs of the new paths that Beethoven was to forge in the coming years. When he showed the manuscript of the trios to Haydn, his teacher, prior to publication, Haydn approved of the first two, but warned against publishing the third trio, in C minor, as too radical, warning it would not "...be understood and favorably received by the public." 394:. 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. 2277: 654:, established him as one of Europe's most popular composers. The septet, scored for violin, viola, cello, contrabass, clarinet, horn, and bassoon, was a huge hit. It was played in concerts again and again. It appeared in transcriptions for many combinations – one of which, for clarinet, cello and piano, was written by Beethoven himself – and was so popular that Beethoven feared it would eclipse his other works. So much so that by 1815, 1680: 1382:, compiled music libraries, and encouraged the playing of quartets and other ensembles. In European countries, in particular Germany and France, like minded musicians were brought together and started to develop a strong connection with the community. Composers were in high favor with orchestral works and solo virtuosi works, which made up the largest part of the public concert repertoire. Early French composers including 1578: 1765: 136: 1446: 2473:, for electric string quartet (1970). The players not only bow their amplified instruments, they also beat on them with thimbles, pluck them with paper clips and play on the wrong side of the bridge or between the fingers and the nut. Still other composers have sought to explore the timbres created by including instruments which are not often associated with a typical orchestral ensemble. For example, 286: 6803: 1938:, "startling to the classically-trained musician, but second-nature to the folk musician." Structurally, also, Bartók often invents or borrows from folk modes. In the sixth string quartet, for example, Bartók begins each movement with a slow, elegiac melody, followed by the main melodic material of the movement, and concludes the quartet with a slow movement that is built entirely on this 1790: 252: 456:, K. 581. He also tried other innovative ensembles, including the quintet for violin, two violas, cello, and horn, K. 407, quartets for flute and strings, and various wind instrument combinations. 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. 2846:, explores the life and love of the second violinist of a fictional quartet, the Maggiore. Central to the story is the tensions and the intimacy developed between the four members of the quartet. "A strange composite being we are , not ourselves any more, but the Maggiore, composed of so many disjunct parts: chairs, stands, music, bows, instruments, musicians ..." 312:. 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. These works were called serenades, nocturnes, divertimenti, or cassations (from gasse=street). The young 1257:, he opens the piece with a peaceful adagio section in A major, that contrasts with the stormy first movement in A minor. After the final, vigorous Presto movement, he returns to the opening adagio to conclude the piece. This string quartet is also Mendelssohn's homage to Beethoven; the work is studded with quotes from Beethoven's middle and late quartets. 2516: 282:; that is, each instrument played the same melodic materials at different times, creating a complex, interwoven fabric of sound. 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. 1991:

with an audible buzz), and creates modes of expression that set these works apart from all others. "Bartók's last two quartets proclaim the sanctity of life, progress and the victory of humanity despite the anti-humanistic dangers of the time", writes analyst John Herschel Baron. The last quartet, written when Bartók was preparing to flee the

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spiraling costs of orchestral concerts and the astronomical fees demanded by famous soloists, which have priced both out of the range of most audiences." The repertoire at these concerts is almost universally the classics of the 19th century. However, modern works are increasingly included in programs, and some groups, like the

2426:, an ensemble devoted to contemporary music: "When I write a score for them, it's an unedited score. I put in just a minimal amount of dynamics and phrasing marks ...we spend a lot of time trying out different ideas in order to shape the music, to form it. At the end of the process, it makes the performers actually 2619:

started the "Storefront Strings" program, offering impromptu concerts and lessons out of a storefront in one of Providence's poorer neighborhoods. "What really makes this for me", said Rajan Krishnaswami, cellist and founder of Simple Measures, "is the audience reaction ... you really get that audience feedback."

246:, and sometimes three or four instruments would join in the bass line in unison. Sometimes composers mixed movements for chamber ensembles with orchestral movements. Telemann's 'Tafelmusik' (1733), for example, has five sets of movements for various combinations of instruments, ending with a full orchestral section. 1330:, Schumann wrote a double fugue in the finale, using the theme of the first movement and the theme of the last movement. Both Schumann and Mendelssohn, following the example set by Beethoven, revived the fugue, which had fallen out of favor since the Baroque period. However, rather than writing strict, full-length 2571:, an organization to promote amateur playing, publishes a directory of music workshops that lists more than 500 workshops in 24 countries for amateurs in 2008 The Associated Chamber Music Players (ACMP) offers a directory of over 5,000 amateur players worldwide who welcome partners for chamber music sessions. 2546:

War, after which the increasing invasion of radio and recording reduced its scope considerably." This view is supported by subjective impressions. "Today there are so many more millions of people listening to music, but far fewer playing chamber music just for the pleasure of it", says conductor and pianist

2670:"For an individual, the problems of interpretation are challenging enough", writes Waterman, "but for a quartet grappling with some of the most profound, intimate and heartfelt compositions in the music literature, the communal nature of decision-making is often more testing than the decisions themselves." 2779:

Balance refers to the relative volume of each of the instruments. Because chamber music is a conversation, sometimes one instrument must stand out, sometimes another. It is not always a simple matter for members of an ensemble to determine the proper balance while playing; frequently, they require an

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What do these changes mean for the future of chamber music? "With the technological advances have come questions of aesthetics and sociological changes in music", writes analyst Baron. "These changes have often resulted in accusations that technology has destroyed chamber music and that technological

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The search for a new music took several directions. The first, led by Bartók, was toward the tonal and rhythmic constructs of folk music. Bartók's research into Hungarian and other eastern European and Middle Eastern folk music revealed to him a musical world built of musical scales that were neither

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created in his chamber music a new voice for the music of his native Bohemia. In 14 string quartets, three string quintets, two piano quartets, a string sextet, four piano trios, and numerous other chamber compositions, Dvořák incorporates folk music and modes as an integral part of his compositions.

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Apart from the "central" Austro-Germanic countries, there was an occurrence of the subculture of chamber music in other regions such as Britain. There chamber music was often performed by upper- and middle-class men with less advanced musical skills in an unexpected setting such as informal ensembles

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wrote that Beethoven "could not endure his septet and grew angry because of the universal applause which it has received." The septet is written as a classical divertimento in six movements, including two minuets, and a set of variations. It is full of catchy tunes, with solos for everyone, including

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attacks depending on how hard or soft the performer played the keys. The improved pianoforte was adopted by Mozart and other composers, who began composing chamber ensembles with the piano playing a leading role. The piano was to become more and more dominant through the 19th century, so much so that

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is generally credited with creating the modern form of chamber music as we know it, although scholars today such as Roger Hickman argue "the idea that Haydn invented the string quartet and single-handedly advanced the genre is based on only a vague notion of the true history of the eighteenth-century

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showing an increase in the sale of stringed instruments in America. Joe Lamond, president of the National Association of Music Manufacturers (NAMM) attributes the increase to a growth of home music-making by adults approaching retirement. "I would really look to the demographics of the boomers", he

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Analysts agree that the role of chamber music in society has changed profoundly in the last 50 years; yet there is little agreement as to what that change is. On the one hand, Baron contends that "chamber music in the home ... remained very important in Europe and America until the Second World

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Bartók's six string quartets are often compared with Beethoven's late quartets. In them, Bartók builds new musical structures, explores sonorities never previously produced in classical music (for example, the snap pizzicato, where the player lifts the string and lets it snap back on the fingerboard

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The Serioso is a transitional work that ushers in Beethoven's late period – a period of compositions of great introspection. "The particular kind of inwardness of Beethoven's last style period", writes Joseph Kerman, gives one the feeling that "the music is sounding only for the composer and for one

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quartets on a commission from Count Razumovsky, who played second violin in their first performance. These quartets, from Beethoven's middle period, were pioneers in the romantic style. Besides introducing many structural and stylistic innovations, these quartets were much more difficult technically

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Haydn was wrong—the third trio was the most popular of the set, and Haydn's criticisms caused a falling-out between him and the sensitive Beethoven. The trio is, indeed, a departure from the mold that Haydn and Mozart had formed. Beethoven makes dramatic deviations of tempo within phrases and within

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was one of the main instruments used in chamber music. 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. Between about 1750 and the late

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Players discuss issues of interpretation in rehearsal; but often, in mid-performance, players do things spontaneously, requiring the other players to respond in real time. "After twenty years in the Quartet, I'm happily surprised on occasion to find myself totally wrong about what I think a player

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The problem of finding agreement on musical issues is complicated by the fact that each player is playing a different part, that may appear to demand dynamics or gestures contrary to those of other parts in the same passage. Sometimes these differences are even specified in the score – for example,

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Chamber music performance is a specialized field, and requires a number of skills not normally required for the performance of symphonic or solo music. Many performers and authors have written about the specialized techniques required for a successful chamber musician. Chamber music playing, writes

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Regardless of whether the number of amateur players has grown or shrunk, the number of chamber music concerts in the west has increased greatly in the last 20 years. Concert halls have largely replaced the home as the venue for concerts. Baron suggests that one of the reasons for this surge is "the

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was another neoclassicist. His many chamber works are essentially tonal, though they use many dissonant harmonies. Hindemith wrote seven string quartets and two string trios, among other chamber works. At a time when composers were writing works of increasing complexity, beyond the reach of amateur

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Traditionally, composers wrote the first theme of a piece in the key of the piece, firmly establishing that key as the tonic, or home, key of the piece. The opening theme of Op. 36 starts in the tonic (G major), but already by the third measure has modulated to the unrelated key of E-flat major. As

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Because of its intimate nature, chamber music has been described as "the music of friends". For more than 100 years, chamber music was played primarily by amateur musicians in their homes, and even today, when chamber music performance has migrated from the home to the concert hall, many musicians,

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A study by the European Music Office in 1996 suggests that not only older people are playing music. "The number of adolescents today to have done music has almost doubled by comparison with those born before 1960", the study shows. While most of this growth is in popular music, some is in chamber

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But opposing forces were at work. The middle of the 19th century saw the rise of superstar virtuosi, who drew attention away from chamber music toward solo performance. The piano, which could be mass-produced, became an instrument of preference, and many composers, like Chopin and Liszt, composed

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of Vienna of the 1820s. On the other hand, his own short life was shrouded in tragedy, wracked by poverty and ill health. Chamber music was the ideal medium to express this conflict, "to reconcile his essentially lyric themes with his feeling for dramatic utterance within a form that provided the

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To create a unified chamber music sound – to blend – the players must coordinate the details of their technique. They must decide when to use vibrato and how much. They often need to coordinate their bowing and "breathing" between phrases, to ensure a unified sound. They need to agree on special

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Many composers sought new timbres within the framework of traditional instruments. "Composers begin to hear new timbres and new timbral combinations, which are as important to the new music of the twentieth century as the so-called breakdown of functional tonality," writes music historian James

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that was the basis of western harmony; the whole structure of western music – the relationships between movements and between structural elements within movements – was based on the relationships between different keys. So composers were challenged with building a whole new structure for music.

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and Simple Measures have taken classical chamber music out of the concert hall and into the streets. Simple Measures, a group of chamber musicians in Seattle (Washington, US), gives concerts in shopping centers, coffee shops, and streetcars. The Providence (Rhode Island, US) String Quartet has

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The composers of the first half of the 19th century were acutely aware of the conversational paradigm established by Haydn and Mozart. Schumann wrote that in a true quartet "everyone has something to say ... a conversation, often truly beautiful, often oddly and turbidly woven, among four

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In his 17 string quartets, composed over the course of 37 of his 56 years, Beethoven goes from classical composer par excellence to creator of musical Romanticism, and finally, with his late string quartets, he transcends classicism and romanticism to create a genre that defies categorization.

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described chamber music (specifically, string quartet music) as "four rational people conversing". This conversational paradigm – which refers to the way one instrument introduces a melody or motif and then other instruments subsequently "respond" with a similar motif – has been a thread woven

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Ensembles develop a close intimacy of shared musical experience. "It is on the concert stage where the moments of true intimacy occur", writes Steinhardt. "When a performance is in progress, all four of us together enter a zone of magic somewhere between our music stands and become a conduit,

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However, using true and expressive intonation requires careful coordination with the other players, especially when a piece is going through harmonic modulations. "The difficulty in string quartet intonation is to determine the degree of freedom you have at any given moment", says Steinhardt.

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was one of the most prolific of chamber music composers of the 20th century, writing 15 string quartets, two piano trios, the piano quintet, and numerous other chamber works. Shostakovich's music was for a long time banned in the Soviet Union and Shostakovich himself was in personal danger of

1710:, is considered a watershed in the history of chamber music. The quartet uses the cyclic structure, and constitutes a final divorce from the rules of classical harmony. "Any sounds in any combination and in any succession are henceforth free to be used in a musical continuity", Debussy wrote. 2661:

Mary Norton, a violinist who studied quartet playing with the Kneisel Quartet at the beginning of the last century, goes so far that players of different parts in a quartet have different personality traits. "By tradition the first violin is the leader" but "this does not mean a relentless

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The idea of composing music that could be played at home has been largely abandoned. Bartók was among the first to part with this idea. "Bartók never conceived these quartets for private performance but rather for large, public concerts." Aside from the many almost insurmountable technical

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With the decline of the aristocracy and the rise of 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

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Serenade, to name a few. In the 20th century the Decet/dixtuor in D, Op. 14 by Enescu written in 1906, is a well-known example. Frequently an additional bass instrument is added to the standard double wind quintet. Over 500 works have been written for these instruments and related ones.

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provinces, they transcribed, recorded, and classified tens of thousands of folk melodies. They used these tunes in their compositions, which are characterized by the asymmetrical rhythms and modal harmonies of that music. Their chamber music compositions, and those of the Czech composer

1145:, is an example of how this conflict is expressed in music. After a slow introduction, the first theme of the first movement, fiery and dramatic, leads to a bridge of rising tension, peaking suddenly and breaking into the second theme, a lilting duet in the lower voices. The alternating 556:

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.

463:, his friend and mentor, inspired the elder composer to say to Mozart's father, "I tell you before God as an honest man that your son is the greatest composer known to me either in person or by reputation. He has taste, and, what is more, the most profound knowledge of composition." 1460:. In the 1860s, a schism grew among romantic musicians over the direction of music. Many composers tend to express their romantic persona through their works. By the time, these chamber works are not necessarily dedicated for any specific dedicatee. Famous chamber works such as 181:(church sonata). These were compositions for one to five or more instruments. 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 551:

that gave these instruments a richer tone, more volume, and more carrying power. Also at this time, bowmakers made the violin bow longer, with a thicker ribbon of hair under higher tension. This improved projection, and also made possible new bowing techniques. In 1820,

2170:, that is, music where different instruments play in different keys at the same time. Milhaud wrote 18 string quartets; quartets number 14 and 15 are written so that each can be played by itself, or the two can be played at the same time as an octet. Milhaud also used 1010:, rarely heard in Western music for 200 years, in Op. 132; a cello melody played high above all the other strings in the finale of Op. 132. Yet for all this disjointedness, each quartet is tightly designed, with an overarching structure that ties the work together. 2140:

After developing the twelve-tone technique, Schoenberg wrote a number of chamber works, including two more string quartets, a string trio, and a wind quintet. He was followed by a number of other twelve-tone composers, the most prominent of whom were his students

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as the forger of "new paths" in music, Brahms's music is a bridge from the classical to the modern. On the one hand, Brahms was a traditionalist, conserving the musical traditions of Bach and Mozart. Throughout his chamber music, he uses traditional techniques of

1756:, "I was simply overwhelmed by the sweep of sonority, the sensation of colors constantly changing ..." For these composers, chamber ensembles were the ideal vehicle for transmitting this atmospheric sense, and chamber works constituted much of their oeuvre. 2566:

While there is no agreement about the number of chamber music players, the opportunities for amateurs to play have certainly grown. The number of chamber music camps and retreats, where amateurs can meet for a weekend or a month to play together, has burgeoned.

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Thousands of quartets were published by hundreds of composers; between 1770 and 1800, more than 2000 quartets were published, and the pace did not decline in the next century. Throughout the 19th century, composers published string quartets now long neglected:

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at the beginning of the 1700s, it did not become widely used until the end of that century, when technical improvements in its construction made it a more effective instrument. Unlike the harpsichord, the pianoforte could play soft or loud dynamics and sharp

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One of the issues that must be settled in rehearsal is who leads the ensemble at each point of the piece. Normally, the first violin leads the ensemble. By leading, this means that the violinist indicates the start of each movement and their tempos by a

1780:. Composers turned more and more to the rhythms and tonalities of their native lands for inspiration and material. "Europe was impelled by the Romantic tendency to establish in musical matters the national boundaries more and more sharply", wrote 1614: 1402:, in a way depicts the standard conception of the conventional "Victorian music making". In the middle of the 19th century, with the rise of the feminist movement, women also started to receive acceptability to be participated in chamber music. 2925:

In addition to these national and international organizations, there are also numerous regional and local organizations that support chamber music. Some of the most prominent professional American chamber music ensembles and organizations are:

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straddled this period of change as a giant of Western music. 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. His works, in the words of

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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

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As the century progressed, many composers created works for small ensembles that, while they formally might be considered chamber music, challenged many of the fundamental characteristics that had defined the genre over the last 150 years.

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Composers seek new timbres, remote from the traditional blend of strings, piano and woodwinds that characterized chamber music in the 19th century. This search led to the incorporation of new instruments in the 20th century, such as the

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predominance." The second violinist "is a little everybody's servant." "The artistic contribution of each member will be measured by his skill in asserting or subduing that individuality which he must possess to be at all interesting."

4421:), but in the 19th and 20th centuries they are plentiful. The most common instrumentation is 2 flutes (piccolo), 2 oboes (or English horn), two clarinets, two horns and two bassoons. Some of the best 19th-century compositions are the 2066:

as an alternative to the structure provided by the diatonic system. His method entails building a piece using a series of the twelve notes of the chromatic scale, permuting it and superimposing it on itself to create the composition.

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wrote music that was distinctly American. Ives gave programmatic titles to much of his chamber music; his first string quartet, for example, is called "From the Salvation Army", and quotes American Protestant hymns in several places.

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This was coupled with the feeling that the era that saw the invention of automobiles, the telephone, electric lighting, and world war needed new modes of expression. "The century of the aeroplane deserves its music", wrote Debussy.

423: 2878:– The Chamber Music Network, an international organization that encourages amateur and professional chamber music playing. ACMP has a fund to support chamber music projects, and publishes a directory of chamber musicians worldwide. 1200: 2833:

messenger, and missionary ... It is an experience too personal to talk about and yet it colors every aspect of our relationship, every good-natured musical confrontation, all the professional gossip, the latest viola joke."

1784:. "The collecting and sifting of old traditional melodic treasures ... formed the basis for a creative art-music." For many of these composers, chamber music was the natural vehicle for expressing their national characters. 1893:

The end of western tonality, begun subtly by Brahms and made explicit by Debussy, posed a crisis for composers of the 20th century. It was not merely an issue of finding new types of harmonies and melodic systems to replace the

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Although amateur playing thrived throughout the 19th century, this was also a period of increasing professionalization of chamber music performance. Professional quartets began to dominate the chamber music concert stage. The

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Throughout the 18th century, the composer was normally an employee of an aristocrat, and the chamber music he or she composed was for the pleasure of aristocratic players and listeners. Haydn, for example, was an employee of

1480:–in which music created "images" with its melodies–were the future of the art. The composers of this school had no use for chamber music. Opposing this view was Johannes Brahms and his associates, especially the powerful 108:

amateur and professional, still play chamber music for their own pleasure. Playing chamber music requires special skills, both musical and social, that differ from the skills required for playing solo or symphonic works.

162:, instruments were used primarily as accompaniment for singers. String players would play along with the melody line sung by the singer. There were also purely instrumental ensembles, often of stringed precursors of the 1272:

During his adult life, Mendelssohn wrote two piano trios, seven works for string quartet, two string quintets, the octet, a sextet for piano and strings, and numerous sonatas for piano with violin, cello, and clarinet.

425: 1885:, combined the nationalist trend with the 20th century search for new tonalities. Janáček's string quartets not only incorporate the tonalities of Czech folk music, they also reflect the rhythms of speech in Czech. 1648:

described as "developing variation". Rather than discretely defined phrases, Brahms often runs phrase into phrase, and mixes melodic motives to create a fabric of continuous melody. Schoenberg, the creator of the

1556:, incorporating fugues and canons into rich conversational and harmonic textures. On the other hand, Brahms expanded the structure and the harmonic vocabulary of chamber music, challenging traditional notions of 1303: 1041: 2921:, a large non-profit chamber music promoter working across Australia that tours local and international chamber music artists, as well as managing chamber music festivals and young artist development programs. 2816:

Players of chamber music, both amateur and professional, attest to a unique enchantment with playing in ensemble. "It is not an exaggeration to say that there opened out before me an enchanted world", writes

1817:, a Slavic folk ballad that alternates between a slow expressive song and a fast dance. Dvořák's fame in establishing a national art music was so great that the New York philanthropist and music connoisseur 1825:, nicknamed "The American". While composing the work, Dvořák was entertained by a group of Kickapoo Indians who performed native dances and songs, and these songs may have been incorporated in the quartet. 1612: 2628:

M. D. Herter Norton, requires that "individuals ... make a unified whole yet remain individuals. The soloist is a whole unto himself, and in the orchestra individuality is lost in numbers ...".

2090: 1831:, another Czech, wrote a piano trio and string quartet, both of which incorporate native Czech rhythms and melodies. In Russia, Russian folk music permeated the works of the late 19th-century composers. 2553:

However, recent surveys suggest there is, on the contrary, a resurgence of home music making. In the radio program "Amateurs Help Keep Chamber Music Alive" from 2005, reporter Theresa Schiavone cites a

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Beethoven wrote eight piano trios, five string trios, two string quintets, and numerous pieces for wind ensemble. He also wrote ten sonatas for violin and piano and five sonatas for cello and piano.

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advance is in inverse proportion to musical worth. The ferocity of these attacks only underscores how fundamental these changes are, and only time will tell if humankind will benefit from them."

1043: 1702:'s piano quintet in F minor, composed in 1879, further established the cyclic form first explored by Schumann and Mendelssohn, reusing the same thematic material in each of the three movements. 1230:

had a life of peace and prosperity. Born into a wealthy Jewish family in Hamburg, Mendelssohn proved himself a child prodigy. By the age of 16, he had written his first major chamber work, the

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through the history of chamber music composition from the end of the 18th century to the present. The analogy to conversation recurs in descriptions and analyses of chamber music compositions.

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Schubert's music, as his life, exemplified the contrasts and contradictions of his time. On the one hand, he was the darling of Viennese society: he starred in soirées that became known as

470:, 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 2091: 308:

style, with "thinner texture, ... and clearly defined melody and bass" to the complexities of counterpoint. Now a new custom arose that gave birth to a new form of chamber music: the

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is an autobiographical work, that expresses his deep depression from his ostracization, bordering on suicide: it quotes from previous compositions, and uses the four-note motif

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is scored for live string quartet and recorded tape, which layers together a carefully orchestrated sound collage of speech, recorded train sounds, and three string quartets.

2253: 2224: 2012:, in Stravinsky's own arrangement for clarinet, violin and piano, constantly shifts time signatures between two, three, four and five beats to the bar. In Britain, composers 2720:. However, there are passages that require other instruments to lead. For example, John Dalley, second violinist of the Guarneri Quartet, says, "We'll often ask to lead in 2301:

musicians, Hindemith explicitly recognized the importance of amateur music-making, and intentionally wrote pieces that were within the abilities of nonprofessional players.

212:

During the Baroque period, chamber music as a genre was not clearly defined. Often, works could be played on any variety of instruments, in orchestral or chamber ensembles.

1849:

contains references to folk music, and the slow Nocturne movement of that quartet recalls Middle Eastern modes that were current in the Muslim sections of southern Russia.

2654:, first violinist of the Guarneri Quartet, notes that many professional quartets suffer from frequent turnover of players. "Many musicians cannot take the strain of going 2008:

is structured as three Russian folksongs, rather than as a classical string quartet. Stravinsky, like Bartók, used asymmetrical rhythms throughout his chamber music; the

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drew on English folk music for much of their chamber music: Vaughan Williams incorporates folksongs and country fiddling in his first string quartet. American composer

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The turn of the 19th century saw dramatic changes in society and in music technology which had far-reaching effects on the way chamber music was composed and played.

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writes verbal instructions describing what the performers are to play. "Star constellations/with common points/and falling stars ... Abrupt end" is a sample.

2804:, changing the pitch of a note to create a musical or dramatic effect. "String intonation is more expressive and sensitive than equal-tempered piano intonation." 2595:

offer a new spin to the standard chamber ensemble. Cello Fury consists of three cellists and a drummer and Project Trio includes a flutist, bassist, and cellist.

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complained of their difficulty, Beethoven retorted, "Do you think I care about your wretched violin when the spirit moves me?" Among the difficulties are complex

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Piano quintet Op. 44 by Robert Schumann, last movement, is played by Steans Artists of Musicians from Ravinia in concert at the Isabella Stewart Gardner Museum.

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supports professional chamber music groups through grants for residencies and commissions, through award programs, and through professional development programs.

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David Waterman, cellist of the Endellion Quartet, writes that the chamber musician "needs to balance assertiveness and flexibility." Good rapport is essential.

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movements. He greatly increases the independence of the strings, especially the cello, allowing it to range above the piano and occasionally even the violin.

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said in an interview. These people "are starting to look for something that matters to them ... nothing makes them feel good more than playing music."

371:

Haydn was by no means the only composer developing new modes of chamber music. Even before Haydn, many composers were already experimenting with new forms.

1074: 1334:, they used counterpoint as another mode of conversation between the chamber music instruments. Many of Schumann's chamber works, including all three of 785: 104:

music, in which each string part is played by a number of performers). However, by convention, it usually does not include solo instrument performances.

2675: 2341:, Largo; Allegro molto; played by the Seraphina String Quartet (Sabrina Tabby and Caeli Smith, violins; Madeline Smith, viola; Genevieve Tabby, cello) 4680:, BWV 1079, by J. S. Bach, is from a performance in June 2001 by flutist Taka Konishi and Ensemble Brillante, at Faith Presbyterian Church in Detroit. 344:

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.

5997: 387:(1733-1803), with his Piano Quintet in A minor (1770) and 17 string quartets was also one of the pioneers of chamber music of the Classical period. 2752:

Playing together constitutes a major challenge to chamber music players. Many compositions pose difficulties in coordination, with figures such as

1173: 692: 4541:, p. 4. The expression "music of friends" was first used by Richard Walthew in a lecture published in South Place Institute, London, in 1909. 1430:

and others wrote to fill an insatiable demand for quartets. In addition, there was a lively market for string quartet arrangements of popular and

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Very popular form. Numerous major examples by Haydn (its creator), Mozart, Beethoven, Schubert, and many other leading composers (see article).

2267:, these composers looked to the music of preclassical Europe for inspiration and stability. While Stravinsky's neoclassical works – such as the 4379: 2083: 1253:

form in overall structure. This means the reuse of thematic material from one movement to the next, to give the total piece coherence. In his

1923:

major nor minor, and complex rhythms that were alien to the concert hall. In his fifth quartet, for example, Bartók uses a time signature of

527:

performance. Increasingly, they wrote chamber music not only for rich patrons, but for professional musicians playing for a paying audience.

4220:. A genre preferred by Spohr. Milhaud's Op. 291 Octet is, rather, a couple of String Quartets (his 14th and 15th) performed simultaneously 2463:

for two pianos tuned a quartertone apart. Other composers used electronics and extended techniques to create new sonorities. An example is

2004: 1995:

invasion of Hungary for a new and uncertain life in the U.S., is often seen as an autobiographical statement of the tragedy of his times.

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Traditionally, the composer wrote the notes, and the performer interpreted them. But this is no longer the case in much modern music. In

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form, a series of contrasting sections with a main refrain section opening and closing the movement, and repeating between each section.

482:, who both played pickup quartets with Haydn on second violin and Mozart on viola, were popular chamber music composers of the period. 5024: 6654:

Sicca, Luigi Maria (2000). "Chamber music and organization theory: some typical organizational phenomena seen under the microscope".

620:, in particular, were considered so daunting an accomplishment that many composers after him were afraid to try composing quartets; 3404: 1191: 1268:

and pianist Clara Schumann. Joachim and Schumann debuted many of the chamber works of Robert Schumann, Johannes Brahms and others.

753:, the "Harp" quartet, named for the unusual harp-like effect Beethoven creates with pizzicato passages in the first movement, and 5228: 3921: 2875: 2271:– sound contemporary, they are modeled on Baroque and early classical forms – the canon, the fugue, and the Baroque sonata form. 1958: 1109: 778: 2263:

The plethora of directions that music took in the first quarter of the 20th century led to a reaction by many composers. Led by

2127:; the last movement of this quartet, which includes a soprano, has no key signature. Schoenberg further explored atonality with 2124: 3188:

is an important example; Beethoven composed 5 trios near the beginning of his career. 2 Vln and vla trios have been written by

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composed and tore up 20 string quartets before he dared publish a work that he felt was worthy of the "giant marching behind".

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predating the piano. The basso continuo part is always present to provide rhythm and accompaniment, and is often played by a

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found in chamber music. The standard repertoire for chamber ensembles is rich, and the totality of chamber music in print in

466:

Many other composers wrote chamber compositions during this period that were popular at the time and are still played today.

4387: 3898:(who played with the left hand only), although they are almost always performed nowadays in a two-hands version arranged by 1776:

Parallel with the trend to seek new modes of tonality and texture was another new development in chamber music: the rise of

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shook the artistic world of the period, with vituperative exchanges between the two camps, concert boycotts, and petitions.

357:, a light movement in three quarter time, with a main section, a contrasting trio section, and a repeat of the main section. 3917: 2452: 1669: 4941:

Recording is by Caeli Smith and Ryan Shannon, violins, Nora Murphy, viola, and Nick Thompson and Rachel Grandstrand, celli

3242:'s trio "Let Evening Come" for Soprano, Viola and Piano, and Brahms' Zwei Gesänge, Op. 91, for Contralto, Viola and Piano 2780:

outside listener, or a recording of their rehearsal, to tell them that the relations between the instruments are correct.

1456:

The ascendance of the piano, and of symphonic composition, was not merely a matter of preference; it was also a matter of

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to perform – so much so that they were, and remain, beyond the reach of many amateur string players. When first violinist

431:

played by Roxana Pavel Goldstein, Elizabeth Choi, violins; Elias Goldstein, Sally Chisholm, violas; Jocelyn Butler, cello.

6833: 2911:, a non-profit organization that encourages public involvement and appreciation of chamber music. The OCMS has organized 2904:

publishes a newsletter on amateur chamber music activities worldwide, as well as a guide to music workshops for amateurs.

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the theme develops, it ranges through various keys before coming back to the tonic G major. This "harmonic audacity", as

1260: 855: 806: 2800:, that is, they can play specific intervals (such as fifths) exactly in tune. Moreover, string and wind players can use 2119:, was mostly a late German romantic work, though it was bold in its use of modulations. The first work that was frankly 1821:

invited him to America, to head a conservatory that would establish an American style of music. There, Dvořák wrote his

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in private residence with few audience members. In Britain, the most common form of chamber music compositions are the

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to the present, chamber music has been a reflection of the changes in the technology and the society that produced it.

5523: 1006:(playing on the bridge of the violin) for a brittle, scratchy sound in the Presto movement of Op. 131; the use of the 6632: 6602: 6583: 6560: 6538: 6515: 6493: 6469: 6450: 6412: 6377: 6358: 6339: 6315: 6296: 6255: 6220: 6194: 6156: 6133: 6105: 6084: 6061: 4744: 3269: 3248: 3100:

but other instruments can also be used. Contemporaneously, however, such a work was not called a "duo" but a "solo".

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when it is included in a traditional wind trio in his Divertimento for accordion, flute, clarinet and bassoon. and

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difficulties of many modern pieces, some of them are hardly suitable for performance in a small room. For example,

1644:

Not only in harmony, but also in overall musical structure, Brahms was an innovator. He developed a technique that

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player, for whom Haydn wrote many of his string trios. Mozart wrote three string quartets for the King of Prussia,

4098: 226:. The instrumentation of trio sonatas was also often flexibly specified; some of Handel's sonatas are scored for " 6838: 6734: 5675: 4410:

2 ob, 2 English hrn, 2 cl, 2 hrn, 2 bsn (Mozart's set) or 2 fl, ob, Eng hrn, 2 cl, 2 hrn and 2 bsn (Enescu's set)

2979: 2897: 1161: 696: 516: 688:, of the late quartets, as, "...this absolutely contemporary piece of music that will be contemporary forever." 616:, were "...the models against which nineteenth-century romanticism measured its achievements and failures." His 508: 474:, Boccherini gives flashy, virtuosic solos to the principal cello, as a showcase for his own playing. Violinist 4350: 2891:

for Chamber Music Research is an organization dedicated to the rediscovery of works of forgotten chamber music.

2647:

Many performers contend that the intimate nature of chamber music playing requires certain personality traits.

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Mozart's Duets KV 423 and 424 for vn and va and Sonata KV 292 for bsn and vc; Beethoven's Duet for va and vc;

1698:

The exploration of tonality and of structure begun by Brahms was continued by composers of the French school.

1073:

carried on and established the emerging romantic style. In his 31 years, Schubert devoted much of his life to

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All told, Brahms published 24 works of chamber music, including three string quartets, five piano trios, the

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Numerous societies are dedicated to the encouragement and performance of chamber music. Some of these are:

2822: 2580: 1854: 1621: 1561: 1511:, debuted many of the new string quartets by Brahms and other composers. Another famous quartet player was 1153: 632: 475: 372: 6692: 5662: 2854:, describes the trials of a string quartet in Palestine, before the establishment of the state of Israel. 2579:, devote themselves almost exclusively to contemporary music and new compositions; and ensembles like the 2292:, second movement, "Schnelle Achtel", played by Ana Farmer, David Boyden, Austin Han, and Dylan Mattingly 205:, for example) filling in the harmony. Both the bass instrument and the chordal instrument would play the 6753: 3337:. A 20th-century invention now with a surprisingly large repertoire. A variant is Flute, Cello and Harp. 2194: 222:, for example, can be played on a keyboard instrument (harpsichord or organ) or by a string quartet or a 5021:"A Guide to Arranging Late Eighteenth and Early Nineteenth Century Harmoniemusik in an Historical Style" 4422: 2098:

Played by the Carmel Quartet with soprano Rona Israel-Kolatt. This is the first explicitly atonal piece.

1127:: String Quintet in C, D. 956, first movement, recorded at the Fredonia Quartet Program, July 2008 304:

In the second half of the 18th century, tastes began to change: many composers preferred a new, lighter

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by Wayne Booth is a nonfictional account of the author's romance with cello playing and chamber music.

2836:

The playing of chamber music has been the inspiration for numerous books, both fiction and nonfiction.

2724:

passages. A cellist's preparatory motion for pizzicato is larger and slower than that of a violinist."

2688: 2606: 2487: 2338: 2289: 2037: 1732: 1587:, played by the Borromeo Quartet, and Liz Freivogel and Daniel McDonough of the Jupiter String Quartet 1335: 1124: 264: 111: 2997:

form is nearly boundless. See the articles on each instrument combination for examples of repertoire.

2712:

where cross-dynamics are indicated, with one instrument crescendoing while another is getting softer.

2133:, for singer, flute or piccolo, clarinet, violin, cello and piano. The singer uses a technique called 2115:

Schoenberg did not arrive immediately at the serial method. His first chamber work, the string sextet

5772: 4413:

There are few double wind quintets written in the 18th century (notable exceptions being partitas by

4347: 4338: 4109: 4012: 4005: 2692: 2229: 2200: 1661: 1500: 1142: 1077:, composing 15 string quartets, two piano trios, string trios, a piano quintet commonly known as the 741:

and cross-rhythms; synchronized runs of sixteenth, thirty-second, and sixty-fourth notes; and sudden

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said that Debussy freed chamber music from "rigid structure, frozen rhetoric and rigid aesthetics".

1653:

of composition, traced the roots of his modernism to Brahms, in his essay "Brahms the Progressive".

5657:

Antoine Hennion, "Music industry and music lovers, beyond Benjamin: The return of the amateur", in

4280: 4239: 4235: 3891: 3730: 3309: 1832: 1707: 1407: 1339: 1327: 749:. In addition to the Op. 59 quartets, Beethoven wrote two more quartets during his middle period – 6284: 4231: 3925: 3872: 3290: 3118: 2306: 1476:

led a movement that contended that "pure music" had run its course with Beethoven, and that new,

1423: 578:

became more popular as an instrument for performance. Even though the pianoforte was invented by

460: 391: 31: 5636: 3651:'s Flute Quartets (e.g. Op. 75), Clarinet Quartets, and Bassoon Quartets (e.g. his Op. 46 set); 704: 675: 100:

that is performed by a small number of performers, with one performer to a part (in contrast to

6828: 6823: 6807: 6143: 3787: 2966: 2818: 2013: 1858: 1753: 1657: 384: 167: 5508: 4784:

for a discussion of the effects of social change on music of the 18th and 19th centuries, see

3738: 3189: 2407: 1805: 1383: 717: 6387: 5641: 5495: 4591: 3758: 3644: 3615: 3321: 2918: 2482: 2316: 2063: 1625: 1496: 1375: 1099: 579: 479: 219: 6329: 4968: 3879:'s Quintet (in which the clarinet player must alternate between a B♭ and an E♭ instrument), 3365: 5504: 5133:"Historiography and Invisible Musics: Domestic Chamber Music in Nineteenth-Century Britain" 5094:"Historiography and Invisible Musics: Domestic Chamber Music in Nineteenth-Century Britain" 5041:, p. 10. For a detailed discussion of quartet societies in France, see Fauquet (1986). 5020: 3868: 3122: 2640:

Chamber musicians going at each other, from "The Short-tempered Clavichord" by illustrator

2615: 2469: 1837: 1814: 1664:, and a trio for clarinet, cello and piano. He wrote a trio for the unusual combination of 1531: 1488: 1465: 1427: 798: 608: 593: 269: 5156: 5132: 3652: 3432:

have established this typical combination, also well suited to transcriptions of Mozart's

1882: 1796: 763: 8: 6786: 4375: 4361: 4186: 3838: 3742: 2888: 2346: 1772:, led by Franz Kneisel. This American ensemble debuted Dvořák's American Quartet, Op. 96. 1749: 1584: 1342:

have contrapuntal sections interwoven seamlessly into the overall compositional texture.

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The Social Worlds of Nineteenth-Century Chamber Music: Composers, Consumers, Communities

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These contending forces are expressed in some of Schubert's other works: in the quartet

6777:, sponsor of the chamber music competitions and a supporter of chamber music education. 6679: 6401: 6244: 6073: 6050: 5152: 4992:

Stephen Hefling, "The Austro-Germanic quartet tradition of the nineteenth century", in

4831:

Stephen Hefling, "The Austro-Germanic quartet tradition in the nineteenth century", in

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by performing one of the first comprehensive studies of folk music. Ranging across the

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Mozart introduced the newly invented clarinet into the chamber music arsenal, with the

89: 2116: 1828: 1748:, created a new tone color for chamber music, a color and texture associated with the 6698: 6683: 6671: 6628: 6598: 6579: 6556: 6534: 6511: 6503: 6489: 6465: 6446: 6422: 6408: 6373: 6354: 6335: 6311: 6292: 6270: 6251: 6216: 6209: 6190: 6184: 6160: 6152: 6129: 6101: 6080: 6057: 5113: 5072: 4740: 4570: 4562: 4484: 4430: 4243: 4182: 3964: 3946: 3895: 3537: 3516: 3385: 3348: 3225: 3217: 2793: 2651: 2636: 2584: 2059: 1842: 1818: 1645: 1461: 1411: 1227: 520: 490: 159: 6748: 6095: 5054:

University of Rochester, Eastman School of Music, ProQuest Dissertations Publishing.

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Op. 11, as well as his own transcription, Op. 38, of the Septet, Op. 20; trios by

1745: 1519:

began taking their place on the concert stage: an all-women string quartet led by

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will do, or how he'll react in a particular passage", says violist Michael Tree.

2129: 2048: 2043: 1999: 1873: 1781: 1769: 1548: 1544: 1504: 1484: 1415: 1323: 1146: 621: 613: 519:, a cellist. Many of Beethoven's quartets were first performed with patron Count 449: 376: 85: 6075:

The Art of Quartet Playing: The Guarneri Quartet in conversation with David Blum

5323:

Debussy himself denied that he was an impressionist. See Thomson (1940), p. 161.

5093: 3955:, which was the first piece to demand this instrumentation. Other works include 3585: 3525: 2430:

the music. That to me is the best way for composers and musicians to interact."

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Some analysts consider the origin of classical instrumental ensembles to be the

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For a discussion of the impact of the piano on string quartet composition, see

5148: 5109: 4848: 4488: 4343: 4325: 4266: 4213: 4198: 4094: 4077: 4040:

Important among these are Brahms's Op. 18 and Op. 36 Sextets, and Schoenberg's

3996: 3972: 3880: 3876: 3808: 3795: 3779: 3762: 3597: 3561: 3549: 3493: 3449: 3381: 3377: 3330: 3286: 3282: 3239: 3126: 3070: 2838: 2773: 2576: 2423: 2297: 2163: 2017: 1895: 1703: 1691: 1650: 1536: 1516: 1508: 1473: 1469: 1395: 1265: 1070: 794: 721: 471: 459:

Mozart's string quartets are considered the pinnacle of the classical art. The

206: 6667: 6483: 5766:"Storefront Strings: How the Providence Quartet built an Inner City Residency" 2682: 2600: 2332: 2283: 1911: 1835:

uses a typical Russian folk dance in the final movement of his string sextet,

1726: 1118: 258: 6817: 6675: 6647: 6620: 6426: 6325: 5117: 5071:. The University of Michigan: The University of Michigan Press. p. 115. 4900: 4872: 4402: 4333: 4305: 4290: 4285: 4255: 4247: 4194: 4151: 4140: 4113: 4032: 4019:'s Quintet for Flute and Strings, Op. 66, Bax's Quintet for Oboe and Strings 4016: 3846: 3804: 3754: 3721: 3687: 3673: 3648: 3640: 3623: 3593: 3568: 3462: 3093: 3050: 2851: 2474: 2393: 1752:. Violist James Dunham, of the Cleveland and Sequoia Quartets, writes of the 1741: 1711: 1547:

who carried the torch of Romantic music toward the 20th century. Heralded by

1520: 1477: 1379: 1250: 1104: 1079: 695:, were written in the classical style, in the same year that Haydn wrote his 566: 289: 163: 93: 74: 6023: 4391: 2736: 2389: 685: 6548: 6171: 5897:

For a detailed discussion of problems of blending in a string quartet, see

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people." Their awareness is exemplified by composer and virtuoso violinist

627: 324: 313: 298: 279: 227: 190: 3656: 1515:, also known as Lady Hallé. Indeed, during the last third of the century, 6438: 4504: 4476: 4460: 4426: 4317: 4167: 3783: 3631: 3619: 3497: 3470:

Mozart's KV 478 and 493; Beethoven youth compositions; Schumann, Brahms,

3433: 3313: 3176: 3097: 3062: 2994: 2843: 2757: 2641: 2555: 2444: 2419: 2412: 2383: 1777: 1347: 1007: 968: 738: 655: 589: 574:

1700s, the harpsichord gradually fell out of use. By the late 1700s, the

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Audience and style in nineteenth-century chamber music, c. 1830 to 1880.

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Home music-making in the 19th century; painting by Jules-Alexandre Grün.

40:"Chamber piece" redirects here. For films set in a single location, see 5564: 5511:/For Times to Come/Pour les temps a venir: 17 Texte für Intuitive Musik 4951: 3956: 3696: 3373: 3334: 3205: 2717: 2588: 2528: 2355: 2264: 2142: 2107: 1982: 1636: 1435: 1399: 1374:

During the 19th century, with the rise of new technology driven by the

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accompanying on keyboard, and unidentified string players; painting by

5683: 2894: 1136:, where he played his light, mannered compositions that expressed the 5586: 3611: 3262: 2942: 2930: 2769: 2721: 2478: 2190: 2120: 2055: 1673: 1431: 597: 143: 101: 97: 62: 4875:, "Beethoven Quartet Audiences: Actual Potential, Ideal", p. 21, in 2745: 2054:

A second direction in the search for a new tonality was twelve-tone

1523:, and the Lucas quartet, also all women, were two notable examples. 1354:, essentially a violin concerto with string trio accompaniment; and 5795:"Classical Music Sans Stuffiness", radio interview with Dave Beck, 4512: 4480: 4217: 2908: 2765: 2741: 2440: 2311: 2162:

Twelve-tone technique was not the only new experiment in tonality.

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As Beethoven, in his last quartets, went off in his own direction,

650:

If his Op. 1 trios introduced Beethoven's works to the public, his

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By Mozart there are the two types; Beethoven used the one with cl

2310:, a collection of eight extended compositions, consists mostly of 1694:

music and art sought similar effects of the ethereal, atmospheric.

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cl, hrn, bsn, 2 vln, vla, vc, cb or cl, 2 hrn, vln, 2 vla, vc, cb

3716: 3444: 2753: 1764: 1087:, and his famous quintet for two violins, viola, and two cellos. 536: 512: 353: 243: 239: 231: 186: 135: 27:

Form of classical music composed for a small group of instruments

6763: 3521:

s. sax, a. sax, t. sax, b. sax or a. sax, a. sax, t. sax, b. sax

2881: 2583:, that combine classical, jazz, rock and other styles to create 1445: 1361: 328:

genre." A typical string quartet of the period would consist of

4448: 4124: 4027: 3046: 2960: 2948: 1207: 540: 349: 305: 4603:

For a detailed discussion of the origins of chamber music see

2915:, the largest chamber music festival in the world, since 1994. 1174:

List of compositions by Felix Mendelssohn § Chamber music

596:, wrote almost exclusively for solo piano (or solo piano with 30:"Kammermusik" redirects here. For the works by Hindemith, see 5860:

David Waterman, "Playing quartets: the view from inside", in

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he writes a section where the first violin and viola play in

2041:

Painting of Pierrot, the object of Schoenberg's atonal suite

1939: 1572:

describes it, opened the way for bolder experiments to come.

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on second violin. Boccherini composed for the king of Spain.

390:

Another renowned composer of chamber music of the period was

364: 285: 235: 151: 139: 6768: 6597:. Berkeley and Los Angeles: University of California Press. 4950:

For an analysis of these works, as well as the quintet, see

4797:

David Boyden, "The Violin", pp. 31–35, in Sadie (1989).

3676:'s Divertimento for flute, clarinet, bassoon, and accordion 1472:

Piano Quintet in A major are all highly personal. Liszt and

6774: 6433:. Berkeley and Los Angeles: University of California Press. 5246: 4472: 3705: 3145: 3105: 3066: 2171: 1992: 1539:. The quartet debuted many of the works of Johannes Brahms. 1350:. Spohr divided his 36 string quartets into two types: the 793: 759: 202: 6234:. Istvans Farkas and Gyula Gulyas (translators). Collet's. 5362: 3753:

An uncommon instrumentation used by Franz Schubert in his

2508:

Excerpt from Bartók's Sonata for two pianos and percussion

2032: 5646: 5530:(May 6, 1990), Section H, p. 24. Retrieved 20 April 2010. 5350: 4537:

Christina Bashford, "The String Quartet and Society", in

2936: 2084:

Arnold Schoenberg: Second string quartet, fourth movement

1249:

Another characteristic that Mendelssohn pioneered is the

319: 154:

play a piece on viols in this fanciful woodcut from 1516.

5942: 5398: 4586:

Christina Bashford, "The String Quartet and Society" in

4261:

many written by Franz Krommer. Including one written by

3436:

trios (if not to Beethoven's 2 ob. + English horn trio)

2691:– Daniel Epstein teaching the Schumann piano quartet at 1998:

Bartók was not alone in his explorations of folk music.

988:

String quartet arrangement of Op. 14, No. 1 by Beethoven

728:

In the years 1805 to 1806, Beethoven composed the three

6431:

Style and Ideal: Selected Writings of Arnold Schoenberg

5842: 5830: 5338: 4766: 4695: 4683: 4634: 4561:(Bloomington: Indiana University Press, 2008): 153–54. 4201:, and a pair of pieces by Shostakovich) have followed. 4178:

4 vln, 2 vla, 2 vc (less commonly 4 vln, 2 vla, vc, cb)

3979:

itself, augment the ensemble with voice or percussion.

3786:

and others) and 20th-century composers (Carl Nielsen's

1735:, first movement, played by the Cypress String Quartet 6533:. Cambridge and New York: Cambridge University Press. 6052:

Intimate Music: A History of the Idea of Chamber Music

5386: 5374: 5258: 5234: 2871: 2234: 2205: 1326:

continued the development of cyclic structure. In his

501: 292:

playing a trio sonata, 18th-century anonymous painting

193:, often with a keyboard or other chording instrument ( 6791: 5533: 5513:, Werk Nr. 33 (Kürten: Stockhausen-Verlag, 1976), 66. 5439: 5437: 5326: 4923: 2400: 2396:

performing a trio for voice, piano and theremin, 1924

2232: 2203: 1942:. This is a form common in many folk music cultures. 1676:

that had been virtually abandoned since the Baroque.

1398:, sentimental songs and piano chamber works like the 678:, first movement, played by the Ensemble Mediterrain 6780: 5805: 5721: 5704: 5605: 5593: 5565:"Robert Davine Interview with Bruce Duffie . . . . " 5461: 5449: 5422: 5410: 4882: 4854: 4658: 6787:

Annotated bibliography of double wind quintet music

5617: 4759:J.A. Fuller Maitland, "Pianoforte and Strings", in 4622: 4610: 3704:Used by Beethoven and Joseph Haydn for settings of 2788:Chamber music playing presents special problems of 1853:used the musical style of his native Norway in his 639:Beethoven made his formal debut as a composer with 6571: 6400: 6243: 6208: 6072: 6049: 5966: 5954: 5917: 5867: 5434: 4916:For a complete analysis of the late quartets, see 4806:Cecil Glutton, "The Pianoforte", in Baines (1969). 2247: 2218: 230:, Hoboy or Violin" Bass lines could be played by 6771:, an online database of over 50,000 chamber works 5978: 5879: 5545: 5208:Tully Potter, "From chamber to concert hall", in 4851:'s recollections of conversations with Beethoven. 3351:'s Divertimento for flute, oboe and English horn 1672:, Op. 91, reviving the form of voice with string 1660:, and other works. Among his last works were the 1149:and relaxation continue throughout the movement. 1052:, first movement, performed on period instruments 6815: 6656:Studies in Cultures, Organizations and Societies 6269:. Oxford and New York: Oxford University Press. 531:Changes in the structure of stringed instruments 6643:The New Grove Dictionary of Music and Musicians 6119:. Oxford and New York: Oxford University Press. 2811: 2748:'s String Quartet No. 6, by artist Joel Epstein 2731: 2631: 2226:time while the second violin and cello play in 1959:Bartók string quartet number 2, second movement 1799:, played by the Lincoln Center Chamber Players 1759: 1740:Debussy's quartet, like the string quartets of 452:for viola, clarinet and piano, K. 498, and the 96:or a large room. Most broadly, it includes any 5221:Robert Schumann, "Neue Bahnen" in the journal 1906: 1295:Cyclic structure in the Schumann piano quintet 560: 461:six string quartets that he dedicated to Haydn 6593:Winter, Robert; Martin, Robert, eds. (1994). 6527:The Cambridge Companion to the String Quartet 5137:Journal of the American Musicological Society 5098:Journal of the American Musicological Society 4653:Solos for a German Flute, a Hoboy or a Violin 3800:2 vln, vla, vc with additional vla, vc, or cb 2658:with the same three people year after year." 2563:music and art music, according to the study. 1888: 1362:Chamber music and society in the 19th century 1141:possibility of extreme color contrasts." The 779: 6592: 6148:Cobbett's Cyclopedic Survey of Chamber Music 4904: 4876: 4819: 4818:, "Beethoven: Beyond Classicism", p. 59, in 4590:, p. 4. The quote was from a letter to 2827:Cobbett's Cyclopedic Survey of Chamber Music 316:was commissioned to write several of these. 6775:Fischoff National Chamber Music Association 6123: 5368: 5356: 3894:'s chamber pieces dedicated to the pianist 2609:plays chamber music in a Seattle streetcar 1918:recording folksongs of Czech peasants, 1908 705:Beethoven: Quartet, Op. 59, No. 3 92:—traditionally a group that could fit in a 6502: 6421: 6264: 6002:Spotlight – Your Guide to What's Happening 5948: 5836: 5661:(volume 2, July 1999) available online at 5292: 5276: 4689: 2861: 2540: 2304:The works that the composer summarised as 1670:two songs for alto singer, viola and piano 1526: 786: 772: 539:developed new methods of constructing the 6305: 6283: 6238: 6182: 5404: 5392: 5196: 4772: 4722: 4640: 3712: 3440: 3167: 2821:, instigator of the Cobbett Competition, 2451:McCalla. Examples are numerous: Bartók's 2334:Dmitri Shostakovitch: String quartet no 8 6547: 6203: 6100:. Chicago: University of Chicago Press. 5637:"Amateurs Help Keep Chamber Music Alive" 5344: 5296: 5280: 5264: 5252: 5240: 5130: 5091: 4147: 4093:e.g. Mendelssohn's Op. 110, also one by 4052:2 ob, 2 bsn, 2 hrn or 2 cl, 2 hrn, 2 bsn 4023: 3156:2 of any instrument, either equal or not 3024: 2735: 2635: 2388: 2361: 2285:Hindemith: String Quartet 3 in C, Op. 22 2036: 1910: 1763: 1678: 1530: 1444: 1442:primarily if not exclusively for piano. 1365: 1259: 626: 489: 383:wrote precursors of the string quartet. 284: 134: 53: 6781:Associated Chamber Music Players (ACMP) 6524: 6478: 6348: 6142: 5936: 5911: 5861: 5824: 5539: 5307: 5305: 5209: 5183: 5170: 5038: 5006: 4993: 4980: 4955: 4844: 4832: 4760: 4718: 4587: 4542: 4538: 4441: 4265:and the delightful Petite Symphonie by 3932:. (The four wind instruments may vary) 3216:, Mozart, Beethoven, Schubert, Chopin, 2989:This is a partial list of the types of 2931:Chamber Music Society of Lincoln Center 2477:explores the orchestral timbres of the 2033:Serialism, polytonality and polyrhythms 1192:Mendelssohn: String quartet Op. 13 1110:Chamber Music Society of Lincoln Center 454:Quintet for Clarinet and String Quartet 14: 6816: 6569: 6459: 6398: 6394:. New York: Simon and Schuster (1962). 6386: 6367: 6324: 6114: 5972: 5898: 5848: 5811: 5332: 5311: 5066: 5062: 5060: 4929: 4917: 4888: 4860: 4785: 4734: 4701: 4664: 4628: 4616: 4604: 4313:fl, ob, cl, hrn, bsn, vln, vla, vc, cb 3883:'s Clarinet Quintet, and many others. 3610:Twentieth-century. Composers include: 1535:The Joachim Quartet, led by violinist 535:At the beginning of the 19th century, 320:Haydn, Mozart, and the classical style 88:that is composed for a small group of 42:List of films set in a single location 6229: 6170: 6093: 6047: 5984: 5727: 5623: 5611: 5599: 5551: 5467: 5455: 5443: 5428: 5416: 5380: 4189:. Others (among them works by Bruch, 4166:(inspired by Beethoven's Septet) and 1658:quintet for piano and strings, Op. 34 767: 158:During the Middle Ages and the early 6662:(2). Taylor & Francis: 145–168. 6437: 6186:Baroque Music: Style and Performance 6070: 5960: 5923: 5885: 5873: 5302: 5018: 3924:, and many others, including two by 2718:gesture with her head or bowing hand 2453:Sonata for Two Pianos and Percussion 1452:leading a string quartet, about 1880 1328:Piano Quintet in E flat, Op. 44 1167: 485: 123:From its earliest beginnings in the 5131:Bashford, Christina (Summer 2010). 5069:Chamber music: An essential history 5057: 3975:'s Triple Duo. Some works, such as 3867:Mozart's KV 581, Brahms's Op. 115, 2370: 2137:, halfway between speech and song. 1562:Brahms second string sextet, Op. 36 1410:wrote 36 quartets and 35 quintets; 1358:, in the conversational tradition. 1244:Piano Trio No. 1 in D minor, Op. 49 502:Collapse of the aristocratic system 130: 24: 6613: 6250:. University of California Press. 6150:. London: Oxford University Press. 5935:Cobbett, "Chamber Music Life", in 5705:"ACMP | The Chamber Music Network" 3144:Commonly used in the art song, or 2674: 2496: 2401:Relation of composer and performer 2324: 2275: 2072: 1947: 1788: 1718: 1594: 1576: 1283: 1276: 1180: 1091: 1023: 718:Piano Trio, Op. 70, No. 1, "Ghost" 667: 399: 250: 25: 6855: 6728: 6392:The Art of String Quartet Playing 6289:A Concise History of Modern Music 6024:"Earsense Chamberbase Statistics" 5998:"Spotlight on Ottawa Chamberfest" 5743:. Simple Measures. Archived from 5019:Ross, April Marie (August 2015). 4847:, p. 117. The quote is from 4655:published by John Walsh, c. 1730. 3045:Found especially as instrumental 2665: 2157:Five Movements for String Quartet 2064:twelve-tone method of composition 1855:string quartet in G minor, Op. 27 1823:string quartet in F major, Op. 96 1606:Brahms: Clarinet Quintet, Op. 115 1016: 411:String Quintet No. 4, K. 516 61:plays flute in his summer palace 6801: 6697:. University of Illinois Press. 6407:. Boston: Taplinger Publishing. 6232:Zoltan Kodaly, his life and work 6016: 5524:A New Look at a Major Minimalist 5027:from the original on 2021-05-01. 4545:The Development of Chamber Music 4013:Quintet for Clarinet and Strings 4006:Quintet for Clarinet and Strings 3508:3 B♭ Clarinets and Bass Clarinet 2872:Associated Chamber Music Players 2740:A graphic interpretation of the 2527:Problems playing this file? See 2512: 2422:describes how he works with the 2258: 2178:for clarinet, violin and piano. 2106:Problems playing this file? See 2088: 1981:Problems playing this file? See 1963: 1811:piano quintet in A major, Op. 81 1635:Problems playing this file? See 1610: 1314:Problems playing this file? See 1299: 1217:Problems playing this file? See 1196: 1160:and in the stormy, one-movement 1108:, D. 667, performed by the 1060:Problems playing this file? See 1039: 439:Problems playing this file? See 421: 278:Baroque chamber music was often 6595:The Beethoven Quartet Companion 6488:. Granada Publishing, Limited. 6351:Twentieth-Century Chamber Music 6246:Haydn: a Creative Life in Music 6040: 5990: 5929: 5904: 5891: 5854: 5817: 5789: 5758: 5733: 5697: 5668: 5651: 5629: 5575: 5557: 5516: 5489: 5473: 5317: 5286: 5270: 5215: 5202: 5189: 5176: 5163: 5124: 5085: 5044: 5031: 5012: 4999: 4986: 4973: 4961: 4944: 4935: 4910: 4894: 4866: 4838: 4825: 4809: 4800: 4791: 4778: 4753: 4728: 4707: 4670: 3428:20th-century composers such as 2980:List of chamber music festivals 2447:in chamber music compositions. 2269:Double Canon for String Quartet 2248:{\displaystyle {\tfrac {4}{4}}} 2219:{\displaystyle {\tfrac {3}{4}}} 2189:in his chamber works, but also 2005:Three Pieces for String Quartet 1560:. An example of this is in the 1434:, piano works, symphonies, and 745:requiring special attention to 273:, played by Ensemble Brillante 189:– two treble instruments and a 5799:, Seattle, December 28, 2008, 4646: 4597: 4580: 4551: 4531: 4132:cl, hrn, bsn, vln, vla, vc, cb 3636:vn, va, vc and fl, ob, cl, bsn 3573:4 fls or fl, vln, vla, and vlc 3478:Violin, clarinet, cello, piano 3261:, other works by Schumann and 2622: 494:Copy of a pianoforte from 1805 49:Chamber music (disambiguation) 13: 1: 6578:. Columbia University Press. 6531:Cambridge Companions to Music 6525:Stowell, Robert, ed. (2003). 6510:. Farrar, Straus and Giroux. 6308:The String Quartet: a History 6117:The History of Violin Playing 6079:. New York: Alfred A. Knopf. 6048:Baron, John Herschel (1998). 5502:, no. 16 (July 7, 1970) from 4979:Fannie Davies, "Schumann" in 4547:. London: Boosey. p. 42. 4001:wind instrument, 2 vn, va, vc 3888:cl, pno left hand, vn, va, vc 3807:, Mozart, Beethoven, Brahms, 2951:based in New York and Toronto 2913:Ottawa Chamber Music Festival 2783: 2433: 1797:Dvořák: piano quintet, Op. 81 1620:First movement, performed by 6754:Resources in other libraries 5092:Bashford, Christina (2010). 4543:Walthew, Richard H. (1909). 4398: 4301: 4277:2 sop, 2 alto, 2 ten, 2 bass 4120: 4044:, Op. 4 (original version). 3511:Twentieth-century composers 3490:Quatuor pour la fin du temps 2984: 2973: 2909:Ottawa Chamber Music Society 2812:The chamber music experience 2732:Ensemble, blend, and balance 2602:The Simple Measures ensemble 2581:Turtle Island String Quartet 2350:deportation to Siberia. His 1973:Played by the Carmel Quartet 1760:Nationalism in chamber music 887:Other middle period quartets 603: 511:, a music lover and amateur 509:Nikolaus I, Prince Esterházy 476:Carl Ditters von Dittersdorf 373:Giovanni Battista Sammartini 7: 6691:Sumner Lott, Marie (2015). 6625:The New Grove Violin Family 6265:Gjerdingen, Robert (2007). 4135:Popularized by Beethoven's 3841:. In six movements. (1925) 3417:Schubert's "Auf Dem Strom" 2792:. The piano is tuned using 2358:, the composer's initials. 1907:Inspiration from folk music 1478:programmatic forms of music 1085:octet for strings and winds 909:No. 11 in F minor, Op. 95 ( 693:string quartets 1–6, Op. 18 684:Stravinsky referred to the 633:"Ghost" Trio, Op. 70, No. 1 561:Invention of the pianoforte 10: 6860: 6834:History of classical music 6627:. New York: W. W. Norton. 6334:. New York: W. W. Norton. 6215:. New York: W. W. Norton. 6189:. New York: W. W. Norton. 6183:Donington, Robert (1982). 6126:Dvorak, His Life and Times 6124:Butterworth, Neil (1980). 5676:"Music For The Love of It" 5224:Neue Zeitschrift für Musik 5157:10.1525/jams.2010.63.2.291 5149:10.1525/jams.2010.63.2.291 5110:10.1525/jams.2010.63.2.291 4905:Winter & Martin (1994) 4877:Winter & Martin (1994) 4820:Winter & Martin (1994) 3987:ob, cl, a. sax, bs cl, bsn 3851:2 tr, 1 hrn, 1 trm, 1 tuba 3828:Wind & strings quintet 3715: 3576:Examples include those by 3443: 3228:, Dvořák and many others. 3170: 2977: 1889:New sounds for a new world 1468:Trio in E-flat major, and 1414:wrote dozens of quartets, 1171: 1143:String Quintet in C, D.956 977:No. 16 in F major, Op. 135 964:No. 15 in A minor, Op. 132 118: 112:Johann Wolfgang von Goethe 46: 39: 29: 6749:Resources in your library 6668:10.1080/10245280008523545 6372:. Concert Artists Guild. 6267:Music in the Galant Style 6211:Music in the Romantic Era 4559:The Art of Teaching Music 4438: 4150: 4110:Overture on Hebrew Themes 4084: 4069:fl, ob, cl, bsn, hrn, pno 4026: 3990:20th and 21st centuries. 3858: 3839:Quintet in G minor Op. 39 3720: 3342:Flute, oboe, English horn 3302:Voice, clarinet and piano 3289:, Brahms's trio Op. 114, 3270:Clarinet–cello–piano trio 3249:Clarinet–viola–piano trio 3104: 3038: 3027: 2693:Manhattan School of Music 2488:Helicopter String Quartet 1872:pioneered the science of 1813:, the slow movement is a 1662:clarinet quintet, Op. 115 1242:, and the scherzo of the 985: 921: 886: 854: 805: 676:Beethoven: Septet, Op. 20 409:Wolfgang Amadeus Mozart: 177:(chamber sonata) and the 71:Carl Philipp Emanuel Bach 6719:Thompson, Oscar (1940). 6306:Griffiths, Paul (1985). 5067:Radice, Mark A. (2012). 4739:. Taylor & Francis. 4557:Estelle Ruth Jorgensen, 4524: 4316:Grand Nonetto (1813) by 4281:Robert Lucas de Pearsall 4228:2 ob, 2 cl, 2 hrn, 2 bsn 3310:The Shepherd on the Rock 3042:any instrument and piano 2955:Juilliard String Quartet 2895:Music for the Love of It 2569:Music for the Love of It 2151:for string quartet, and 1833:Pyotr Ilyich Tchaikovsky 1668:, Op. 40. He also wrote 641:three Piano Trios, Op. 1 588:many composers, such as 6721:Debussy: Man and Artist 6403:Social History of Music 6349:McCalla, James (2003). 6144:Cobbett, Walter Willson 5680:musicfortheloveofit.com 5590:(March 2008):52–53, 55. 5584:, "Flight of Fantasy", 4105:cl, 2 vln, vla, vc, pno 4090:vln, 2 vla, vc, cb, pno 4076:Sextet, and another by 3926:Nikolai Rimsky-Korsakov 3873:Samuel Coleridge-Taylor 3708:based on folk melodies 3667:Accordion and wind trio 3364:Famous compositions by 3357:Clarinet, violin, piano 3291:Alexander von Zemlinsky 2937:Southwest Chamber Music 2862:Chamber music societies 2614:Several groups such as 2541:In contemporary society 2314:, comparable to Bach's 1728:Debussy: String Quartet 1527:Toward the 20th century 392:Wolfgang Amadeus Mozart 333:An opening movement in 260:J. S. Bach: Trio sonata 6839:Classical music styles 6570:Ulrich, Homer (1966). 6460:Shaham, Natan (1994). 6399:Raynor, Henry (1978). 6331:The Beethoven Quartets 6230:Eosze, Laszlo (1962). 6115:Boyden, David (1965). 5231:(accessed 2007-10-30). 5050:Lott, Marie S. (2008) 4129:Wind and string septet 3558:Jean-Baptiste Singelée 3484:Rare; famous example: 3233:Voice, viola and piano 2967:Emerson String Quartet 2933:based in New York City 2819:Walter Willson Cobbett 2749: 2708: 2679: 2644: 2611: 2501: 2397: 2343: 2329: 2294: 2280: 2249: 2220: 2181:The American composer 2077: 2051: 2014:Ralph Vaughan Williams 1952: 1919: 1864:In Hungary, composers 1801: 1793: 1773: 1770:Kneisel String Quartet 1750:Impressionist movement 1737: 1723: 1708:string quartet, Op. 10 1695: 1684:The Seine at Lavacourt 1666:piano, violin and horn 1599: 1589: 1581: 1540: 1513:Vilemina Norman Neruda 1466:Ludwig van Beethoven's 1453: 1450:Vilemina Norman Neruda 1371: 1288: 1269: 1240:String Quartet, Op. 12 1206:third movement by the 1185: 1129: 1113: 1096: 1028: 725: 712: 697:Op. 76 string quartets 680: 672: 636: 495: 404: 385:Franz Ignaz von Beecke 293: 275: 255: 155: 78: 6764:Chamber Music America 6462:The Rosendorf Quartet 6368:Miller, Lucy (2006). 6310:. Thames and Hudson. 6291:. Thames and Hudson. 6094:Booth, Wayne (1999). 5642:All Things Considered 5496:Karlheinz Stockhausen 4735:Parker, Mara (2017). 4310:Wind and string nonet 4156:Wind and string octet 4143:'s, and many others. 3913:pno, ob, cl, bsn, hrn 3815:, Schubert; with cb: 3759:Johann Nepomuk Hummel 3750:vln, vla, vc, cb, pno 3411:Voice, horn and piano 3322:Flute, viola and harp 2961:Kronos String Quartet 2943:Chicago Chamber Music 2919:Musica Viva Australia 2882:Chamber Music America 2848:The Rosendorf Quartet 2802:expressive intonation 2739: 2678: 2673: 2639: 2598: 2500: 2483:Karlheinz Stockhausen 2455:(1937), Schoenberg's 2411:(For Times to Come), 2392: 2362:Stretching the limits 2328: 2323: 2317:Brandenburg Concertos 2279: 2274: 2250: 2221: 2166:developed the use of 2125:second string quartet 2076: 2040: 1951: 1914: 1847:second string quartet 1792: 1787: 1767: 1722: 1717: 1682: 1626:Orford String Quartet 1598: 1580: 1575: 1534: 1497:Hellmesberger Quartet 1448: 1376:Industrial Revolution 1369: 1287: 1263: 1255:second string quartet 1184: 1116: 1095: 1090: 1027: 715: 702: 671: 666: 630: 580:Bartolomeo Cristofori 493: 480:Johann Baptist Wanhal 403: 361:A fast finale section 288: 254: 249: 220:Johann Sebastian Bach 138: 57: 6769:earsense chamberbase 6388:Norton, M. D. Herter 6071:Blum, David (1986). 5522:K. Robert Schwarz, " 5505:Aus den sieben Tagen 4678:The Musical Offering 3995:Wind instrument and 3942:fl, cl, vln, vc, pno 3864:cl, 2 vn, 1 va, 1 vc 3831:ob, cl, vln, vla, cb 3775:fl, cl, ob, bsn, hrn 3655:'s Bassoon Quartet, 3630:Wind instrument and 3399:Two masterpieces by 2939:based in Los Angeles 2764:techniques, such as 2616:Classical Revolution 2230: 2201: 2195:first string quartet 1838:Souvenir de Florence 1809:For example, in the 1585:Brahms sextet Op. 36 1501:Joseph Hellmesberger 1489:War of the Romantics 1464:D minor Piano Trio, 1232:String Octet, Op. 20 1162:Quartettsatz, D. 703 1154:Death and the Maiden 799:Ludwig van Beethoven 609:Ludwig van Beethoven 517:Frederick William II 270:The Musical Offering 47:For other uses, see 6844:Musical terminology 6723:. Tudor Publishing. 6508:Indivisible by Four 6056:. Pendragon Press. 5801:Simplepleasures.org 5645:, August 27, 2005, 5635:Theresa Schiavone, 5509:Für kommende Zeiten 5255:, pp. 290–292. 5229:W3.rz-berlin.mpg.de 4983:, pp. 368–394. 4958:, pp. 352–364. 4594:, November 9, 1829. 4407:Double wind quintet 4376:Silvestre Revueltas 4199:String Octet, Op. 7 4187:String Octet Op. 20 3854:Mostly after 1950. 3726:2 vln, vla, vc, pno 3681:Piano and wind trio 3388:(all 20th-century) 3186:Divertimento K. 563 3163:'s Duets for 2 vn. 3086:any instrument and 3003:Number of musicians 2889:Cobbett Association 2408:Für kommende Zeiten 2347:Dmitri Shostakovich 1384:Camille Saint-Saëns 1336:his string quartets 381:Franz Xaver Richter 59:Frederick the Great 6504:Steinhardt, Arnold 6423:Schoenberg, Arnold 6370:Adams to Zemlinsky 6097:For the Love of It 5528:The New York Times 5369:Butterworth (1980) 5357:Butterworth (1980) 4969:Traffic.libsyn.com 4737:The String Quartet 4497:baritone saxophone 4366:Heitor Villa-Lobos 4209:4 vln, 2 vla, 2 vc 4170:'s Octet, Op. 32. 4037:2 vln, 2 vla, 2 vc 3701:voice, pno, vn, vc 3604:Percussion quartet 3546:Alexander Glazunov 2900:2017-11-14 at the 2856:For the Love of It 2750: 2680: 2645: 2632:"Music of friends" 2502: 2461:Quartertone Pieces 2398: 2330: 2281: 2245: 2243: 2216: 2214: 2174:idioms, as in his 2078: 2052: 2010:Histoire du soldat 1953: 1920: 1794: 1774: 1724: 1696: 1600: 1582: 1541: 1454: 1372: 1289: 1270: 1186: 1097: 1029: 735:Ignaz Schuppanzigh 709:Modigliani Quartet 673: 637: 631:Manuscript of the 496: 405: 342:A lyrical movement 294: 256: 156: 79: 6735:Library resources 6704:978-0-252-03922-5 6555:. Vintage Books. 6276:978-0-19-531371-0 6178:. Edition Peters. 5949:Steinhardt (1998) 5851:, pp. 25–32. 5837:Steinhardt (1998) 5741:"Simple Measures" 5383:, pp. 20–40. 5293:Schoenberg (1984) 5277:Schoenberg (1984) 5078:978-0-472-02811-5 4954:, "Schubert", in 4704:, pp. 20–21. 4690:Gjerdingen (2007) 4676:Trio sonata from 4575:978-0-253-21963-3 4567:978-0-253-35078-7 4522: 4521: 4485:soprano saxophone 4431:Salomon Jadassohn 4429:'s Suite and the 3965:Sebastian Currier 3947:Arnold Schoenberg 3896:Paul Wittgenstein 3684:pno, cl, hrn, bsn 3538:Pierre Max Dubois 3517:Saxophone quartet 3467:vln, vla, vc, pno 3349:Nicholas Laucella 3153:Instrumental duet 2794:equal temperament 2652:Arnold Steinhardt 2517: 2459:, Charles Ives's 2312:concertante works 2242: 2213: 2093: 2060:Arnold Schoenberg 1968: 1843:Alexander Borodin 1819:Jeannette Thurber 1646:Arnold Schoenberg 1615: 1462:Fanny Mendelssohn 1412:Gaetano Donizetti 1340:his piano quartet 1304: 1228:Felix Mendelssohn 1226:Unlike Schubert, 1201: 1168:Felix Mendelssohn 1158:Rosamunde quartet 1044: 999: 998: 994: 993: 757:, the "Serioso". 521:Andrey Razumovsky 486:From home to hall 426: 290:Baroque musicians 16:(Redirected from 6851: 6806: 6805: 6804: 6797: 6724: 6715: 6713: 6711: 6687: 6638: 6608: 6589: 6577: 6566: 6544: 6521: 6499: 6480:Solomon, Maynard 6475: 6456: 6434: 6418: 6406: 6395: 6383: 6364: 6345: 6321: 6302: 6280: 6261: 6249: 6235: 6226: 6214: 6205:Einstein, Alfred 6200: 6179: 6151: 6139: 6120: 6111: 6090: 6078: 6067: 6055: 6034: 6033: 6031: 6030: 6020: 6014: 6013: 6011: 6009: 6004:. 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Archived from 5672: 5666: 5663:Soundscapes.info 5655: 5649: 5633: 5627: 5621: 5615: 5609: 5603: 5597: 5591: 5579: 5573: 5572: 5569:www.kcstudio.com 5561: 5555: 5549: 5543: 5537: 5531: 5520: 5514: 5493: 5487: 5481:Composer's Notes 5477: 5471: 5465: 5459: 5453: 5447: 5441: 5432: 5426: 5420: 5414: 5408: 5405:Griffiths (1978) 5402: 5396: 5393:Griffiths (1978) 5390: 5384: 5378: 5372: 5366: 5360: 5354: 5348: 5342: 5336: 5330: 5324: 5321: 5315: 5309: 5300: 5290: 5284: 5274: 5268: 5262: 5256: 5250: 5244: 5238: 5232: 5227:, October 1853, 5219: 5213: 5206: 5200: 5197:Griffiths (1985) 5193: 5187: 5180: 5174: 5167: 5161: 5160: 5128: 5122: 5121: 5089: 5083: 5082: 5064: 5055: 5048: 5042: 5035: 5029: 5028: 5016: 5010: 5003: 4997: 4990: 4984: 4977: 4971: 4965: 4959: 4948: 4942: 4939: 4933: 4927: 4921: 4914: 4908: 4898: 4892: 4886: 4880: 4870: 4864: 4858: 4852: 4842: 4836: 4829: 4823: 4813: 4807: 4804: 4798: 4795: 4789: 4782: 4776: 4773:Geiringer (1982) 4770: 4764: 4763:, p. 220 (v.II). 4757: 4751: 4750: 4732: 4726: 4723:Geiringer (1982) 4711: 4705: 4699: 4693: 4687: 4681: 4674: 4668: 4662: 4656: 4650: 4644: 4641:Donington (1982) 4638: 4632: 4626: 4620: 4614: 4608: 4601: 4595: 4584: 4578: 4555: 4549: 4548: 4535: 4515: 4445: 4425:Divertissement, 4384:Bohuslav Martinů 4339:Petite Symphonie 4191:Woldemar Bargiel 3938:Pierrot ensemble 3930:Anton Rubinstein 3910:and wind quartet 3900:Friedrich Wührer 3860:Clarinet quintet 3690:'s Op. 1 (1819) 3670:acc, fl, cl, bsn 3661:Finnish Quartets 3645:one Oboe Quartet 3596:. 20th Century: 3578:Friedrich Kuhlau 3534:Alfred Desenclos 3505:Clarinet quartet 3481:vln, cl, vc, pno 3329:Famous works by 3297:'s Fantasy-Trio 3295:Robert Muczynski 3251: 3114:1 piano, 4 hands 3039:Instrumental duo 3000: 2999: 2963:in San Francisco 2945:based in Chicago 2699:The Music Lesson 2685: 2603: 2548:Daniel Barenboim 2519: 2518: 2499: 2379:Different Trains 2371:Music of friends 2335: 2327: 2286: 2278: 2254: 2252: 2251: 2246: 2244: 2235: 2225: 2223: 2222: 2217: 2215: 2206: 2145:, who wrote the 2095: 2094: 2075: 2022:Benjamin Britten 1970: 1969: 1950: 1937: 1936: 1935: 1934: 1791: 1729: 1721: 1617: 1616: 1597: 1579: 1517:women performers 1470:Franz Schubert's 1356:quatuor dialogue 1352:quatuor brillant 1306: 1305: 1286: 1238:movement of the 1203: 1202: 1183: 1121: 1094: 1046: 1045: 1026: 958: 957: 947: 946: 936: 935: 899: 898: 878:No. 9 in C major 873:No. 8 in E minor 868:No. 7 in F major 845: 844: 835:No. 5 in A major 830:No. 4 in C minor 825:No. 3 in D major 820:No. 2 in G major 815:No. 1 in F major 788: 781: 774: 765: 764: 760: 720:, played by the 707:, played by the 670: 468:Luigi Boccherini 428: 427: 402: 261: 253: 224:string orchestra 215:The Art of Fugue 179:sonata da chiesa 175:sonata da camera 131:Early beginnings 69:playing violin, 21: 6859: 6858: 6854: 6853: 6852: 6850: 6849: 6848: 6814: 6813: 6812: 6808:Classical music 6802: 6800: 6792: 6783:, New York City 6760: 6759: 6758: 6743: 6742: 6738: 6731: 6718: 6709: 6707: 6705: 6690: 6653: 6635: 6619: 6616: 6614:Further reading 6611: 6605: 6586: 6563: 6553:Johannes Brahms 6541: 6518: 6496: 6472: 6464:. 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Midas Books. 6108: 6087: 6064: 6043: 6038: 6037: 6028: 6026: 6022: 6021: 6017: 6007: 6005: 5996: 5995: 5991: 5983: 5979: 5971: 5967: 5959: 5955: 5947: 5943: 5934: 5930: 5922: 5918: 5909: 5905: 5896: 5892: 5884: 5880: 5872: 5868: 5859: 5855: 5847: 5843: 5835: 5831: 5822: 5818: 5810: 5806: 5794: 5790: 5781: 5779: 5775: 5768: 5764: 5763: 5759: 5750: 5748: 5739: 5738: 5734: 5726: 5722: 5713: 5711: 5703: 5702: 5698: 5689: 5687: 5674: 5673: 5669: 5656: 5652: 5634: 5630: 5622: 5618: 5610: 5606: 5598: 5594: 5580: 5576: 5563: 5562: 5558: 5550: 5546: 5538: 5534: 5521: 5517: 5494: 5490: 5478: 5474: 5466: 5462: 5454: 5450: 5442: 5435: 5427: 5423: 5415: 5411: 5403: 5399: 5391: 5387: 5379: 5375: 5367: 5363: 5355: 5351: 5345:Einstein (1947) 5343: 5339: 5331: 5327: 5322: 5318: 5310: 5303: 5297:Swafford (1997) 5291: 5287: 5281:Swafford (1997) 5275: 5271: 5265:Swafford (1997) 5263: 5259: 5253:Swafford (1997) 5251: 5247: 5241:Swafford (1997) 5239: 5235: 5220: 5216: 5207: 5203: 5194: 5190: 5181: 5177: 5168: 5164: 5129: 5125: 5090: 5086: 5079: 5065: 5058: 5049: 5045: 5036: 5032: 5017: 5013: 5004: 5000: 4991: 4987: 4978: 4974: 4966: 4962: 4949: 4945: 4940: 4936: 4928: 4924: 4915: 4911: 4899: 4895: 4887: 4883: 4871: 4867: 4859: 4855: 4843: 4839: 4830: 4826: 4816:Maynard Solomon 4814: 4810: 4805: 4801: 4796: 4792: 4783: 4779: 4771: 4767: 4758: 4754: 4747: 4733: 4729: 4712: 4708: 4700: 4696: 4688: 4684: 4675: 4671: 4663: 4659: 4651: 4647: 4639: 4635: 4627: 4623: 4615: 4611: 4602: 4598: 4585: 4581: 4556: 4552: 4536: 4532: 4527: 4518: 4493:tenor saxophone 4446: 4442: 4419:Antonio Rosetti 4214:string quartets 4181:Popularized by 4042:Verklärte Nacht 3977:Pierrot Lunaire 3952:Pierrot Lunaire 3811:; with 2nd vc: 3590:Florent Schmitt 3554:Florent Schmitt 3500:(Op. 1; 1896). 3492:; less famous: 3414:voice, hrn, pno 3247: 3236:Voice, vla, pno 3016:Instrumentation 2987: 2982: 2976: 2902:Wayback Machine 2864: 2814: 2798:just intonation 2786: 2734: 2709: 2695: 2683: 2668: 2634: 2625: 2612: 2601: 2585:crossover music 2543: 2534: 2533: 2525: 2523: 2522: 2521: 2520: 2513: 2510: 2503: 2497: 2457:Pierrot lunaire 2436: 2403: 2373: 2364: 2344: 2333: 2325: 2295: 2284: 2276: 2261: 2233: 2231: 2228: 2227: 2204: 2202: 2199: 2198: 2130:Pierrot Lunaire 2117:Verklärte Nacht 2113: 2112: 2104: 2102: 2101: 2100: 2099: 2096: 2089: 2086: 2079: 2073: 2049:Antoine Watteau 2044:Pierrot Lunaire 2035: 2000:Igor Stravinsky 1988: 1987: 1979: 1977: 1976: 1975: 1974: 1971: 1964: 1961: 1954: 1948: 1933: 1928: 1927: 1926: 1925: 1924: 1909: 1891: 1874:ethnomusicology 1829:Bedřich Smetana 1804:Czech composer 1802: 1789: 1782:Alfred Einstein 1762: 1738: 1727: 1719: 1642: 1641: 1633: 1631: 1630: 1629: 1628: 1618: 1611: 1608: 1601: 1595: 1590: 1577: 1549:Robert Schumann 1545:Johannes Brahms 1529: 1505:Joachim Quartet 1485:Eduard Hanslick 1416:Antonio Bazzini 1396:string quartets 1364: 1324:Robert Schumann 1321: 1320: 1312: 1310: 1309: 1308: 1307: 1300: 1297: 1290: 1284: 1279: 1277:Robert Schumann 1224: 1223: 1215: 1213: 1212: 1211: 1210: 1204: 1197: 1194: 1187: 1181: 1176: 1170: 1147:Sturm und Drang 1130: 1119: 1114: 1092: 1067: 1066: 1058: 1056: 1055: 1054: 1053: 1047: 1040: 1037: 1030: 1024: 1019: 995: 990: 981: 955: 954: 944: 943: 933: 932: 917: 900:major, Op. 74 ( 896: 895: 882: 850: 842: 841: 801: 795:String quartets 792: 726: 713: 681: 668: 622:Johannes Brahms 614:Maynard Solomon 606: 594:Frédéric Chopin 565:Throughout the 563: 533: 504: 488: 450:Kegelstatt Trio 446: 445: 437: 435: 434: 433: 432: 429: 422: 419: 413: 406: 400: 377:Ignaz Holzbauer 322: 276: 259: 251: 191:bass instrument 133: 125:Medieval period 121: 86:classical music 52: 45: 38: 28: 23: 22: 15: 12: 11: 5: 6857: 6847: 6846: 6841: 6836: 6831: 6826: 6811: 6810: 6790: 6789: 6784: 6778: 6772: 6766: 6757: 6756: 6751: 6745: 6744: 6733: 6732: 6730: 6729:External links 6727: 6726: 6725: 6716: 6703: 6688: 6651: 6639: 6633: 6623:, ed. 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Routledge. 6352: 6347: 6343: 6341:0-393-00909-2 6337: 6333: 6332: 6327: 6323: 6319: 6317:0-500-27383-9 6313: 6309: 6304: 6300: 6298:0-500-20164-1 6294: 6290: 6286: 6282: 6278: 6272: 6268: 6263: 6259: 6257:0-520-04317-0 6253: 6248: 6247: 6241: 6237: 6233: 6228: 6224: 6222:9780393097337 6218: 6213: 6212: 6206: 6202: 6198: 6196:0-393-30052-8 6192: 6188: 6187: 6181: 6177: 6173: 6172:Crumb, George 6169: 6166: 6162: 6158: 6157:9781906857820 6154: 6149: 6145: 6141: 6137: 6135:0-85936-142-X 6131: 6127: 6122: 6118: 6113: 6109: 6107:0-226-06585-5 6103: 6099: 6098: 6092: 6088: 6086:0-8014-9456-7 6082: 6077: 6076: 6069: 6065: 6063:1-57647-018-0 6059: 6054: 6053: 6046: 6045: 6025: 6019: 6003: 5999: 5993: 5986: 5981: 5974: 5973:Shaham (1994) 5969: 5963:, p. 86. 5962: 5957: 5951:, p. 10. 5950: 5945: 5938: 5932: 5926:, p. 28. 5925: 5920: 5913: 5910:Waterman, in 5907: 5900: 5899:Norton (1925) 5894: 5887: 5882: 5876:, p. 11. 5875: 5870: 5864:, p. 99. 5863: 5857: 5850: 5849:Norton (1925) 5845: 5838: 5833: 5826: 5823:Waterman, in 5820: 5814:, p. 18. 5813: 5812:Norton (1925) 5808: 5802: 5798: 5792: 5778:on 2012-05-07 5774: 5767: 5761: 5747:on 2006-05-13 5746: 5742: 5736: 5729: 5724: 5710: 5706: 5700: 5686:on 2017-11-14 5685: 5681: 5677: 5671: 5664: 5660: 5654: 5648: 5644: 5643: 5638: 5632: 5626:, p. 15. 5625: 5620: 5613: 5608: 5601: 5596: 5589: 5588: 5583: 5578: 5570: 5566: 5560: 5553: 5548: 5542:, p. 88. 5541: 5536: 5529: 5525: 5519: 5512: 5510: 5506: 5501: 5497: 5492: 5485: 5482: 5479:Steve Reich, 5476: 5469: 5464: 5457: 5452: 5446:, p. 383 5445: 5440: 5438: 5430: 5425: 5418: 5413: 5406: 5401: 5394: 5389: 5382: 5377: 5370: 5365: 5359:, p. 91. 5358: 5353: 5346: 5341: 5334: 5333:Miller (2006) 5329: 5320: 5314:, p. 104 5313: 5312:Miller (2006) 5308: 5306: 5298: 5294: 5289: 5282: 5278: 5273: 5267:, p. 95. 5266: 5261: 5254: 5249: 5243:, p. 52. 5242: 5237: 5230: 5226: 5225: 5218: 5212:, p. 50. 5211: 5205: 5198: 5192: 5185: 5182:Bashford, in 5179: 5172: 5169:Bashford, in 5166: 5158: 5154: 5150: 5146: 5142: 5138: 5134: 5127: 5119: 5115: 5111: 5107: 5103: 5099: 5095: 5088: 5080: 5074: 5070: 5063: 5061: 5053: 5047: 5040: 5037:Bashford, in 5034: 5026: 5022: 5015: 5008: 5002: 4995: 4989: 4982: 4976: 4970: 4964: 4957: 4953: 4947: 4938: 4931: 4930:Ulrich (1966) 4926: 4919: 4918:Kerman (1979) 4913: 4907:, p. 27. 4906: 4902: 4897: 4891:, p. 28. 4890: 4889:Miller (2006) 4885: 4878: 4874: 4873:Joseph Kerman 4869: 4863:, p. 57. 4862: 4861:Miller (2006) 4857: 4850: 4846: 4841: 4834: 4828: 4821: 4817: 4812: 4803: 4794: 4787: 4786:Raynor (1978) 4781: 4775:, p. 80. 4774: 4769: 4762: 4756: 4748: 4746:9781351540278 4742: 4738: 4731: 4724: 4720: 4716: 4710: 4703: 4702:Ulrich (1966) 4698: 4691: 4686: 4679: 4673: 4666: 4665:Ulrich (1966) 4661: 4654: 4649: 4642: 4637: 4631:, p. 18. 4630: 4629:Ulrich (1966) 4625: 4619:, p. 12. 4618: 4617:Boyden (1965) 4613: 4606: 4605:Ulrich (1966) 4600: 4593: 4589: 4583: 4576: 4572: 4568: 4564: 4560: 4554: 4546: 4540: 4534: 4530: 4514: 4510: 4506: 4502: 4498: 4494: 4490: 4486: 4482: 4478: 4474: 4470: 4466: 4462: 4458: 4454: 4450: 4444: 4440: 4437: 4432: 4428: 4424: 4423:Émile Bernard 4420: 4416: 4412: 4409: 4406: 4404: 4401: 4397: 4393: 4389: 4385: 4381: 4377: 4373: 4372: 4367: 4363: 4359: 4356: 4352: 4349: 4345: 4341: 4340: 4335: 4334:Franz Lachner 4331: 4327: 4323: 4319: 4315: 4312: 4309: 4307: 4304: 4300: 4296: 4292: 4288: 4287: 4286:Lay a garland 4282: 4279: 4276: 4273: 4272: 4268: 4264: 4260: 4257: 4253: 4249: 4248:Franz Lachner 4245: 4241: 4237: 4233: 4230: 4227: 4224: 4223: 4219: 4215: 4211: 4208: 4205: 4204: 4200: 4196: 4195:George Enescu 4192: 4188: 4184: 4180: 4177: 4174: 4173: 4169: 4165: 4161: 4158: 4155: 4153: 4146: 4142: 4138: 4134: 4131: 4128: 4126: 4123: 4119: 4115: 4111: 4107: 4104: 4103: 4099: 4096: 4092: 4089: 4087: 4083: 4079: 4075: 4071: 4068: 4066: 4062: 4059: 4058: 4054: 4051: 4048: 4047: 4043: 4039: 4036: 4034: 4033:String sextet 4031: 4029: 4022: 4018: 4017:Franz Krommer 4014: 4010: 4007: 4003: 4000: 3998: 3994: 3993: 3989: 3986: 3983: 3982: 3978: 3974: 3970: 3966: 3962: 3961:Petroushkates 3958: 3954: 3953: 3948: 3944: 3941: 3939: 3936: 3935: 3931: 3927: 3923: 3919: 3915: 3912: 3909: 3906: 3905: 3901: 3897: 3893: 3890: 3887: 3886: 3882: 3878: 3874: 3870: 3866: 3863: 3861: 3857: 3853: 3850: 3848: 3847:Brass quintet 3845: 3844: 3840: 3836: 3833: 3830: 3827: 3826: 3822: 3818: 3814: 3810: 3806: 3805:Michael Haydn 3802: 3799: 3797: 3794: 3793: 3789: 3785: 3781: 3777: 3774: 3772: 3769: 3768: 3764: 3760: 3756: 3755:Trout Quintet 3752: 3749: 3748: 3744: 3740: 3736: 3732: 3728: 3725: 3723: 3722:Piano quintet 3718: 3711: 3707: 3703: 3700: 3698: 3694: 3693: 3689: 3688:Franz Berwald 3686: 3683: 3680: 3679: 3675: 3674:Robert Davine 3672: 3669: 3666: 3665: 3662: 3658: 3654: 3650: 3646: 3642: 3638: 3635: 3633: 3629: 3628: 3625: 3624:So Percussion 3621: 3617: 3613: 3609: 3606: 3603: 3602: 3599: 3595: 3594:Joseph Jongen 3591: 3587: 3583: 3579: 3575: 3572: 3570: 3569:Flute quartet 3567: 3566: 3563: 3559: 3555: 3551: 3547: 3543: 3539: 3535: 3531: 3527: 3523: 3520: 3518: 3515: 3514: 3510: 3507: 3504: 3503: 3499: 3495: 3491: 3487: 3483: 3480: 3477: 3476: 3473: 3469: 3466: 3464: 3463:Piano quartet 3461: 3460: 3456: 3453: 3451: 3448: 3446: 3439: 3435: 3431: 3427: 3424: 3421: 3420: 3416: 3413: 3410: 3409: 3406: 3402: 3398: 3396:hrn, vln, pno 3395: 3392: 3391: 3387: 3383: 3379: 3375: 3371: 3367: 3363: 3360: 3358: 3355: 3354: 3350: 3347: 3345:fl, ob, E hrn 3344: 3341: 3340: 3336: 3332: 3328: 3325: 3323: 3320: 3319: 3315: 3311: 3307: 3304: 3301: 3300: 3296: 3292: 3288: 3284: 3280: 3276: 3273: 3271: 3268: 3267: 3264: 3260: 3256: 3253: 3250: 3246: 3245: 3241: 3238: 3235: 3232: 3231: 3227: 3223: 3219: 3215: 3212: 3209: 3207: 3204: 3203: 3199: 3195: 3191: 3187: 3183: 3180: 3178: 3175: 3173: 3166: 3162: 3158: 3155: 3152: 3151: 3147: 3143: 3140: 3137: 3136: 3132: 3128: 3124: 3120: 3117: 3115: 3112: 3109: 3107: 3103: 3099: 3095: 3094:baroque music 3091: 3089: 3085: 3084: 3080: 3076: 3072: 3068: 3064: 3060: 3056: 3052: 3048: 3044: 3041: 3037: 3033: 3030: 3023: 3019: 3017: 3014: 3012: 3008: 3005: 3002: 3001: 2998: 2996: 2992: 2981: 2968: 2965: 2962: 2959: 2956: 2953: 2950: 2947: 2944: 2941: 2938: 2935: 2932: 2929: 2928: 2927: 2920: 2917: 2914: 2910: 2906: 2903: 2899: 2896: 2893: 2890: 2886: 2883: 2880: 2877: 2873: 2869: 2868: 2867: 2859: 2857: 2853: 2852:Nathan Shaham 2849: 2845: 2841: 2840: 2834: 2830: 2828: 2824: 2823:Cobbett Medal 2820: 2809: 2805: 2803: 2799: 2795: 2791: 2781: 2777: 2776:, and so on. 2775: 2771: 2767: 2761: 2759: 2755: 2747: 2743: 2738: 2729: 2725: 2723: 2719: 2713: 2707: 2705: 2701: 2700: 2694: 2690: 2686: 2677: 2671: 2663: 2659: 2657: 2653: 2648: 2643: 2638: 2629: 2620: 2617: 2610: 2608: 2604: 2596: 2594: 2590: 2586: 2582: 2578: 2572: 2570: 2564: 2560: 2557: 2551: 2549: 2538: 2532: 2530: 2509: 2492: 2490: 2489: 2484: 2480: 2476: 2475:Robert Davine 2472: 2471: 2466: 2462: 2458: 2454: 2448: 2446: 2442: 2431: 2429: 2425: 2421: 2416: 2414: 2410: 2409: 2395: 2394:Leon Theremin 2391: 2387: 2385: 2381: 2380: 2368: 2359: 2357: 2353: 2348: 2342: 2340: 2336: 2321: 2319: 2318: 2313: 2309: 2308: 2302: 2299: 2293: 2291: 2287: 2272: 2270: 2266: 2259:Neoclassicism 2256: 2239: 2236: 2210: 2207: 2196: 2192: 2188: 2184: 2179: 2177: 2173: 2169: 2165: 2160: 2158: 2154: 2150: 2149: 2144: 2138: 2136: 2132: 2131: 2126: 2122: 2118: 2111: 2109: 2085: 2068: 2065: 2061: 2057: 2050: 2047:, painted by 2046: 2045: 2039: 2030: 2027: 2023: 2019: 2015: 2011: 2007: 2006: 2001: 1996: 1994: 1986: 1984: 1960: 1943: 1941: 1932: 1917: 1913: 1904: 1900: 1897: 1886: 1884: 1879: 1875: 1871: 1867: 1866:Zoltán Kodály 1862: 1860: 1856: 1852: 1848: 1844: 1840: 1839: 1834: 1830: 1826: 1824: 1820: 1816: 1812: 1807: 1800: 1798: 1785: 1783: 1779: 1771: 1766: 1757: 1755: 1754:Ravel quartet 1751: 1747: 1746:Gabriel Fauré 1743: 1742:Maurice Ravel 1736: 1734: 1730: 1715: 1713: 1712:Pierre Boulez 1709: 1705: 1701: 1693: 1692:Impressionist 1689: 1685: 1681: 1677: 1675: 1671: 1667: 1663: 1659: 1654: 1652: 1647: 1640: 1638: 1627: 1623: 1607: 1588: 1586: 1573: 1571: 1565: 1563: 1559: 1555: 1550: 1546: 1538: 1533: 1524: 1522: 1521:Emily Shinner 1518: 1514: 1510: 1506: 1502: 1498: 1492: 1490: 1486: 1483: 1479: 1475: 1471: 1467: 1463: 1459: 1451: 1447: 1443: 1439: 1437: 1433: 1429: 1425: 1421: 1417: 1413: 1409: 1408:George Onslow 1403: 1401: 1397: 1391: 1389: 1385: 1381: 1377: 1368: 1359: 1357: 1353: 1349: 1343: 1341: 1337: 1333: 1329: 1325: 1319: 1317: 1296: 1274: 1267: 1262: 1258: 1256: 1252: 1247: 1245: 1241: 1237: 1233: 1229: 1222: 1220: 1209: 1193: 1175: 1165: 1163: 1159: 1155: 1150: 1148: 1144: 1139: 1138:gemütlichkeit 1135: 1134:Schubertiaden 1128: 1126: 1122: 1112: 1111: 1107: 1106: 1105:Trout Quintet 1101: 1088: 1086: 1082: 1081: 1080:Trout Quintet 1076: 1075:chamber music 1072: 1065: 1063: 1051: 1036: 1014: 1011: 1009: 1005: 989: 984: 978: 975: 973: 971: 967: 965: 962: 960: 951: 949: 940: 938: 929: 928: 926: 924: 923:Late quartets 920: 914: 912: 907: 905: 903: 892: 891: 889: 885: 879: 876: 874: 871: 869: 866: 865: 863: 861: 859: 853: 847: 838: 836: 833: 831: 828: 826: 823: 821: 818: 816: 813: 812: 810: 808: 804: 800: 796: 789: 784: 782: 777: 775: 770: 769: 766: 762: 761: 758: 756: 752: 748: 744: 740: 736: 731: 724: 723: 719: 711: 710: 706: 700: 698: 694: 689: 687: 679: 677: 664: 662: 657: 653: 648: 644: 642: 634: 629: 625: 623: 619: 618:late quartets 615: 610: 601: 599: 595: 591: 586: 581: 577: 572: 568: 558: 555: 550: 546: 542: 538: 528: 524: 522: 518: 514: 510: 499: 492: 483: 481: 477: 473: 469: 464: 462: 457: 455: 451: 444: 442: 418: 412: 395: 393: 388: 386: 382: 378: 374: 366: 362: 359: 356: 355: 351: 346: 343: 340: 337: 336: 331: 330: 329: 326: 317: 315: 311: 307: 302: 300: 291: 287: 283: 281: 274: 272: 271: 266: 262: 247: 245: 241: 237: 233: 229: 225: 221: 217: 216: 210: 208: 204: 200: 196: 192: 188: 184: 180: 176: 171: 169: 165: 164:violin family 161: 153: 149: 145: 141: 137: 128: 126: 116: 113: 109: 105: 103: 99: 95: 91: 87: 84:is a form of 83: 82:Chamber music 76: 75:Adolph Menzel 72: 68: 64: 60: 56: 50: 43: 36: 34: 19: 18:Chamber Music 6739: 6720: 6708:. Retrieved 6693: 6659: 6655: 6641: 6624: 6594: 6573: 6552: 6526: 6507: 6484: 6461: 6442: 6439:Seth, Vikram 6430: 6402: 6391: 6369: 6350: 6330: 6307: 6288: 6266: 6245: 6231: 6210: 6185: 6176:Black Angels 6175: 6147: 6125: 6116: 6096: 6074: 6051: 6041:Bibliography 6027:. Retrieved 6018: 6006:. Retrieved 6001: 5992: 5985:Booth (1999) 5980: 5968: 5956: 5944: 5931: 5919: 5906: 5893: 5888:, p. 5. 5881: 5869: 5856: 5844: 5839:, p. 6. 5832: 5819: 5807: 5791: 5780:. Retrieved 5773:the original 5760: 5749:. Retrieved 5745:the original 5735: 5728:Baron (1998) 5723: 5712:. Retrieved 5708: 5699: 5688:. Retrieved 5684:the original 5679: 5670: 5658: 5653: 5640: 5631: 5624:Booth (1999) 5619: 5612:Baron (1998) 5607: 5600:Baron (1998) 5595: 5585: 5577: 5568: 5559: 5552:Crumb (1971) 5547: 5535: 5527: 5518: 5503: 5499: 5491: 5480: 5475: 5468:Baron (1998) 5463: 5456:Baron (1998) 5451: 5444:Baron (1998) 5429:Baron (1998) 5424: 5417:Baron (1998) 5412: 5400: 5395:, p. 7. 5388: 5381:Eosze (1962) 5376: 5364: 5352: 5340: 5328: 5319: 5288: 5272: 5260: 5248: 5236: 5222: 5217: 5204: 5191: 5186:, p. 6. 5178: 5173:, p. 5. 5165: 5140: 5136: 5126: 5101: 5097: 5087: 5068: 5051: 5046: 5033: 5014: 5005:Hefling, in 5001: 4988: 4975: 4963: 4946: 4937: 4925: 4912: 4896: 4884: 4868: 4856: 4840: 4827: 4811: 4802: 4793: 4780: 4768: 4755: 4736: 4730: 4715:Donald Tovey 4709: 4697: 4692:, p. 6. 4685: 4677: 4672: 4660: 4652: 4648: 4636: 4624: 4612: 4599: 4592:C. F. Zelter 4582: 4558: 4553: 4544: 4533: 4477:English horn 4475:; Eng hrn – 4443: 4415:Josef Reicha 4369: 4362:Nonet (1923) 4337: 4330:Nonet (1875) 4322:Nonet (1849) 4294: 4284: 4175:String octet 4164:Octet D. 803 4108:Prokofiev's 4086:Piano sextet 4072:Such as the 4065:wind quintet 4041: 3984:Reed quintet 3976: 3968: 3960: 3950: 3945:Named after 3817:Vagn Holmboe 3771:Wind quintet 3743:Shostakovich 3660: 3607:4 Percussion 3586:Eugène Bozza 3582:Anton Reicha 3542:Philip Glass 3530:Paul Creston 3526:Eugène Bozza 3386:Khachaturian 3361:cl, vln, pno 3326:fl, vla, hrp 3308:Schubert's " 3277:Beethoven's 3254:cl, vla, pno 3210:vln, vc, pno 3181:vln, vla, vc 3141:voice, piano 2988: 2924: 2865: 2855: 2847: 2837: 2835: 2831: 2826: 2815: 2806: 2801: 2787: 2778: 2762: 2751: 2744:movement of 2726: 2714: 2710: 2697: 2681: 2669: 2660: 2655: 2649: 2646: 2626: 2613: 2599: 2593:Project Trio 2573: 2568: 2565: 2561: 2552: 2544: 2535: 2526: 2486: 2470:Black Angels 2468: 2465:George Crumb 2460: 2456: 2449: 2437: 2427: 2417: 2406: 2404: 2377: 2374: 2365: 2345: 2331: 2315: 2305: 2303: 2296: 2282: 2268: 2262: 2187:polytonality 2183:Charles Ives 2180: 2175: 2168:polytonality 2161: 2156: 2155:, who wrote 2153:Anton Webern 2146: 2139: 2135:Sprechstimme 2128: 2114: 2105: 2053: 2042: 2026:Charles Ives 2003: 1997: 1989: 1980: 1930: 1921: 1901: 1892: 1883:Leoš Janáček 1863: 1851:Edvard Grieg 1836: 1827: 1803: 1795: 1775: 1739: 1725: 1700:César Franck 1697: 1688:Claude Monet 1683: 1655: 1643: 1634: 1583: 1566: 1554:counterpoint 1542: 1493: 1482:music critic 1455: 1440: 1420:Anton Reicha 1404: 1392: 1388:César Franck 1373: 1355: 1351: 1344: 1322: 1313: 1271: 1248: 1235: 1225: 1216: 1151: 1133: 1131: 1117: 1103: 1098: 1078: 1068: 1059: 1012: 1003: 1000: 969: 910: 901: 857: 739:syncopations 727: 716: 703: 690: 682: 674: 649: 645: 638: 607: 564: 534: 525: 505: 497: 478:and cellist 465: 458: 447: 438: 389: 370: 360: 347: 341: 332: 325:Joseph Haydn 323: 314:Joseph Haydn 303: 299:figured bass 295: 280:contrapuntal 277: 268: 257: 228:German flute 213: 211: 172: 157: 122: 110: 106: 81: 80: 32: 6710:12 February 6445:. Vintage. 5961:Seth (1999) 5924:Blum (1986) 5901:, chapter 7 5886:Blum (1986) 5874:Blum (1986) 5659:Soundscapes 5295:, cited in 5279:, cited in 4495:; b. sax – 4491:; t. sax – 4487:; a. sax – 4483:; s. sax – 4461:double bass 4447:Key: vln – 4427:Arthur Bird 4274:Vocal octet 4183:Mendelssohn 4162:Schubert's 4116:'s Sextet. 4049:Wind sextet 3875:'s Op. 10, 3871:'s Op. 34, 3745:and others 3729:Schumann's 3632:String trio 3620:Paul Lansky 3498:Walter Rabl 3434:Basset horn 3430:Villa-Lobos 3425:ob, cl, bsn 3274:cl, vc, pno 3226:Tchaikovsky 3218:Mendelssohn 3177:String trio 3098:harpsichord 2995:sheet music 2969:in New York 2957:in New York 2844:Vikram Seth 2758:syncopation 2704:Jan Vermeer 2656:mano a mano 2623:Performance 2556:Gallup poll 2445:synthesizer 2420:Terry Riley 2413:Stockhausen 2384:Steve Reich 2307:Kammermusik 2148:Lyric Suite 1916:Béla Bartók 1870:Béla Bartók 1778:nationalism 1436:opera arias 1348:Louis Spohr 1008:Lydian mode 953:No. 14 in C 942:No. 13 in B 931:No. 12 in E 894:No. 10 in E 743:modulations 656:Carl Czerny 590:Franz Liszt 571:harpsichord 567:Baroque era 554:Louis Spohr 335:sonata form 195:harpsichord 183:trio sonata 160:Renaissance 148:Hippocrates 90:instruments 67:Franz Benda 35:(Hindemith) 33:Kammermusik 6818:Categories 6029:2012-05-12 5782:2012-05-12 5751:2012-05-12 5714:2017-12-12 5690:2017-12-12 4952:Willi Kahl 4392:Alois Hába 4374:(1934) by 4358:Wind Nonet 4348:Stanford's 4342:(1885) by 4263:Stravinsky 4256:Reinecke's 4225:Wind octet 3957:Joan Tower 3813:Boccherini 3733:, Brahms, 3697:piano trio 3695:Voice and 3616:David Lang 3524:Examples: 3316:'s Lieder 3293:'s Op. 3, 3224:, Brahms, 3206:Piano trio 3138:Vocal duet 3110:Piano duet 3092:Common in 2790:intonation 2784:Intonation 2696:(Picture: 2589:Cello Fury 2529:media help 2434:New sounds 2265:Stravinsky 2143:Alban Berg 2108:media help 1983:media help 1841:, Op. 70. 1637:media help 1503:, and the 1432:folk tunes 1428:Joseph Suk 1400:piano trio 1316:media help 1264:Violinist 1236:Canzonetta 1219:media help 1172:See also: 1062:media help 970:Große Fuge 858:Rasumovsky 840:No. 6 in B 747:intonation 686:Große Fuge 661:contrabass 576:pianoforte 441:media help 201:, harp or 102:orchestral 6684:145538145 6676:1024-5286 6485:Beethoven 5587:The Strad 5118:0003-0139 4569:(cloth); 4216:arranged 4004:Mozart's 3916:Mozart's 3877:Hindemith 3835:Prokofiev 3657:Jörg Duda 3612:John Cage 3494:Hindemith 3422:Reed trio 3393:Horn trio 3312:", D965; 3184:Mozart's 3123:Beethoven 3081:sonatas. 3034:2 pianos 3031:Piano duo 3020:Comments 3011:ensembles 2991:ensembles 2985:Ensembles 2974:Festivals 2770:sul tasto 2722:pizzicato 2479:accordion 2418:Composer 2193:. In his 2191:polymeter 2159:, op. 5. 2056:serialism 1674:obbligato 1507:, led by 1499:, led by 972:, Op. 133 856:Opus 59 ( 604:Beethoven 598:orchestra 585:sforzando 166:, called 144:Aristotle 98:art music 77:(1850–52) 63:Sanssouci 6551:(1997). 6506:(1998). 6482:(1980). 6441:(1999). 6425:(1984). 6390:(1925). 6328:(1979). 6287:(1978). 6242:(1982). 6207:(1947). 6174:(1971). 5709:acmp.net 5025:Archived 4513:trombone 4511:; trm – 4503:; hrn – 4499:; bsn – 4481:clarinet 4463:; pno – 4451:; vla – 4360:(1877); 4353:(1905); 4351:Serenade 4139:Op. 20, 4112:Op. 34, 4011:Brahms' 3809:Bruckner 3653:Devienne 3496:(1938), 3486:Messiaen 3222:Schumann 3127:Schubert 3075:clarinet 3049:; i.e., 2898:Archived 2766:spiccato 2754:hemiolas 2742:Burletta 2485:wrote a 2443:and the 2441:theremin 2123:was the 1857:and his 1624:and the 1570:Swafford 1558:tonality 1458:ideology 1120:Schubert 956:♯ 945:♭ 934:♭ 897:♭ 843:♭ 537:luthiers 472:Schubert 310:serenade 168:consorts 6650:, 1980) 6429:(ed.). 6008:May 30, 5797:KUOW-FM 4509:trumpet 4507:; tr – 4501:bassoon 4479:; cl – 4471:; ob – 4467:; fl – 4459:; cb – 4455:; vc – 4355:Parry's 4291:Purcell 4259:Op. 216 4252:Op. 156 4244:Op. 103 4141:Berwald 4114:Copland 4074:Poulenc 3892:Schmidt 3717:Quintet 3649:Krommer 3445:Quartet 3382:Milhaud 3331:Debussy 3071:bassoon 3047:sonatas 3009:Common 2689:YouTube 2607:YouTube 2339:YouTube 2290:YouTube 1744:and of 1733:YouTube 1543:It was 1487:. This 1125:YouTube 911:Serioso 807:Opus 18 513:baryton 354:scherzo 265:YouTube 244:bassoon 240:theorbo 232:violone 187:Baroque 185:of the 119:History 65:, with 6794:Portal 6737:about 6701: 6682: 6674: 6631: 6601: 6582: 6559: 6537: 6514: 6492: 6468: 6449: 6411: 6376: 6357: 6338: 6314: 6295: 6273: 6254: 6219: 6193: 6163: 6155: 6132: 6104: 6083: 6060: 5526:", in 5155: 5116: 5075: 4901:Kerman 4743: 4577:(pbk). 4573: 4565: 4449:violin 4371:Planos 4267:Gounod 4236:KV 375 4232:Mozart 4137:Septet 4125:Septet 4028:Sextet 3971:, and 3969:Static 3922:Op. 16 3918:KV 452 3821:Dvořák 3788:Op. 43 3780:Reicha 3739:Dvořák 3735:Bartók 3731:Op. 44 3706:Lieder 3622:. See 3618:, and 3405:Ligeti 3401:Brahms 3366:Bartók 3259:K. 498 3198:Kodály 3194:Bridge 3190:Dvořák 3161:Bartók 3131:Brahms 3119:Mozart 3051:violin 2746:Bartók 2121:atonal 1878:Magyar 1332:fugues 1251:cyclic 1156:, the 1050:D. 803 755:Op. 95 751:Op. 74 730:Op. 59 569:, the 541:violin 379:, and 350:minuet 306:Galant 209:part. 6680:S2CID 6646:(ed. 5776:(PDF) 5769:(PDF) 5500:Awake 5483:, at 5153:JSTOR 4903:, in 4721:, or 4525:Notes 4469:flute 4465:piano 4457:cello 4453:viola 4403:Decet 4380:three 4318:Spohr 4306:Nonet 4168:Spohr 4152:Octet 4061:Piano 3908:Piano 3869:Weber 3784:Danzi 3472:Fauré 3314:Spohr 3263:Bruch 3214:Haydn 3079:flute 3059:viola 3055:cello 2874:, or 2850:, by 2176:Suite 1940:elegy 1815:Dumka 1083:, an 846:major 549:cello 545:viola 365:rondo 267:from 242:, or 236:cello 199:organ 152:Galen 140:Plato 6712:2017 6699:ISBN 6672:ISSN 6629:ISBN 6599:ISBN 6580:ISBN 6557:ISBN 6535:ISBN 6512:ISBN 6490:ISBN 6466:ISBN 6447:ISBN 6409:ISBN 6374:ISBN 6355:ISBN 6336:ISBN 6312:ISBN 6293:ISBN 6271:ISBN 6252:ISBN 6217:ISBN 6191:ISBN 6161:ISBN 6159:and 6153:ISBN 6130:ISBN 6102:ISBN 6081:ISBN 6058:ISBN 6010:2011 5114:ISSN 5073:ISBN 4741:ISBN 4713:See 4571:ISBN 4563:ISBN 4505:horn 4473:oboe 4417:and 4388:four 4289:and 4238:and 4212:Two 4063:and 3928:and 3761:and 3643:and 3592:and 3403:and 3384:and 3374:Berg 3370:Ives 3333:and 3285:and 3279:Trio 3196:and 3172:Trio 3146:Lied 3106:Duet 3067:oboe 3063:horn 3006:Name 2907:the 2887:the 2876:ACMP 2870:the 2591:and 2356:DSCH 2172:jazz 2020:and 1993:Nazi 1868:and 1768:The 1386:and 1338:and 902:Harp 691:The 659:the 592:and 547:and 203:lute 150:and 6664:doi 5647:NPR 5145:doi 5106:doi 4390:by 4382:by 4364:by 4332:by 4324:by 4293:'s 4283:'s 4250:'s 4240:388 4234:'s 4197:'s 4185:'s 4097:. 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