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86-479: The Scharoun Ensemble is a German chamber music group, consisting of members of the Berliner Philharmoniker . The repertoire ranges from baroque to contemporary music . The Scharoun Ensemble Berlin was founded in 1983 by members of the Berliner Philharmoniker . The group made its public debut with Schubert 's Octet in F major D. 803 . The ensemble is named after architect Hans Scharoun , designer of

172-450: A 3 + 1 ⁄ 2 octave range). It's also clear that both women and men played instruments of this size – the preface to Bonizzi's 1626 collection is dedicated to the three daughters of his Ferrarese patron, for example, and there are also numerous paintings that depict women playing very large viol family instruments. A technological advance occurred in the 1660s, centred in Bologna. This

258-531: A contrabass/double bass tuned in fourths, but with a top string a fourth higher than is standard (A 1 –D 2 –G 2 –C 3 ) or another contrabass/double bass tuned in fourths but with its bottom string tuned down to a low C. Looking only at modern Viol de Gamba based instruments, there are five. Both the violin and viol families came into use in the Western world at approximately the same time ( c. 1480) and co-existed for many centuries. That being said, during

344-401: A conversation, often truly beautiful, often oddly and turbidly woven, among four people." Their awareness is exemplified by composer and virtuoso violinist Louis Spohr . Spohr divided his 36 string quartets into two types: the quatuor brillant , essentially a violin concerto with string trio accompaniment; and quatuor dialogue , in the conversational tradition. During the 19th century, with

430-410: A full orchestral section. J. S. Bach: Trio sonata on YouTube from The Musical Offering , played by Ensemble Brillante Baroque chamber music was often contrapuntal ; 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

516-567: 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 Maynard Solomon , were "...the models against which nineteenth-century romanticism measured its achievements and failures." His late quartets , in particular, were considered so daunting an accomplishment that many composers after him were afraid to try composing quartets; Johannes Brahms composed and tore up 20 string quartets before he dared publish

602-423: A hall and collecting the receipts from the performance. Increasingly, they wrote chamber music not only for rich patrons, but for professional musicians playing for a paying audience. At the beginning of the 19th century, luthiers developed new methods of constructing the violin , viola and cello that gave these instruments a richer tone, more volume, and more carrying power. Also at this time, bowmakers made

688-454: A hundred string quartets, and more than one hundred quintets for two violins, viola and two cellos. In this innovative ensemble, later used by Schubert , Boccherini gives flashy, virtuosic solos to the principal cello, as a showcase for his own playing. Violinist Carl Ditters von Dittersdorf and cellist Johann Baptist Wanhal , who both played pickup quartets with Haydn on second violin and Mozart on viola, were popular chamber music composers of

774-462: A movement that contended that "pure music" had run its course with Beethoven, and that new, programmatic forms of music –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 music critic Eduard Hanslick . This War of the Romantics shook

860-630: A music lover and amateur baryton player, for whom Haydn wrote many of his string trios. Mozart wrote three string quartets for the King of Prussia, Frederick William II , a cellist. Many of Beethoven's quartets were first performed with patron Count Andrey Razumovsky on second violin. Boccherini composed for the king of Spain. With the 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

946-413: A solo repertoire for the 'cello started to appear, and the 'cello started to replace the G violone or A violone as the preferred bowed basso continuo instrument (see articles by Stephen Bonta for more detailed information). These advances for the 'cello were likely the first seeds of decline for the G violone/A violone. However, it was also this time period that saw the growth of instrumental ensembles, and

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1032-424: 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 Camille Saint-Saëns and César Franck . 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

1118-475: 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 house concerts , 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

1204-635: 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 String Octet, Op. 20 . Already in this work, Mendelssohn showed some of the unique style that was to characterize his later works; notably, the gossamer light texture of his scherzo movements, exemplified also by the Canzonetta movement of the String Quartet, Op. 12 , and

1290-434: A work that he felt was worthy of the "giant marching behind". Beethoven made his formal debut as a composer with three Piano Trios, Op. 1 . 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

1376-544: Is a stub . You can help Misplaced Pages by expanding it . Chamber music 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, amateur and professional, still play chamber music for their own pleasure. Playing chamber music requires special skills, both musical and social, that differ from

1462-432: 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. Beethoven: Quartet, Op. 59, No. 3 , played by

1548-405: Is much evidence to show that Renaissance viol consorts were made of many large-bodied instruments. Great bass viols (with both A and G tunings) are described in numerous treatises, and there is a lot of solo and chamber music that necessitates their use because of its low compass. Some of this music is extremely virtuosic in nature (the viola bastarda pieces by Vincenzo Bonizzi, for example, exploit

1634-455: The Baroque era , the harpsichord 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 1700s, the harpsichord gradually fell out of use. By the late 1700s,

1720-538: The Berliner Philharmonie . The permanent core of the ensemble is a standard octet comprising clarinet, horn, bassoon, two violins, viola, cello and double bass. Since 2005, the annually Zermatt Festival is organized by and around the Scharoun Ensemble. This article about a classical ensemble is a stub . You can help Misplaced Pages by expanding it . This article about a German band or other musical ensemble

1806-463: The Große Fuge , of the late quartets, as, "...this absolutely contemporary piece of music that will be contemporary forever." The string quartets 1–6, Op. 18 , were written in the classical style, in the same year that Haydn wrote his Op. 76 string quartets . 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

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1892-679: The Joachim Quartet , led by Joseph Joachim , debuted many of the new string quartets by Brahms and other composers. Another famous quartet player was Vilemina Norman Neruda , also known as Lady Hallé. Indeed, during the last third of the century, women performers began taking their place on the concert stage: an all-women string quartet led by Emily Shinner , and the Lucas quartet, also all women, were two notable examples. Violone The term violone ( Italian pronunciation: [vi.oˈloːne, vjo-] ; literally 'large viol', -one being

1978-652: The Modigliani Quartet Piano Trio, Op. 70, No. 1, "Ghost" , played by the Claremont Trio In the years 1805 to 1806, Beethoven composed the three Op. 59 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 to perform – so much so that they were, and remain, beyond

2064-415: The augmentative suffix) can refer to several distinct large, bowed musical instruments which belong to either the viol or violin family . The violone is sometimes a fretted instrument, and may have six, five, four, or even only three strings. The violone is also not always a contrabass instrument. In modern parlance, one usually tries to clarify the 'type' of violone by adding a qualifier based on

2150-485: The contrabass . Beethoven: Septet, Op. 20 , first movement, played by the Ensemble Mediterrain 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. Stravinsky referred to

2236-446: The pianoforte became more popular as an instrument for performance. Even though the pianoforte was invented by Bartolomeo Cristofori 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 sforzando attacks depending on how hard or soft

2322-506: The soprano and bass instruments corresponding to the lowest vocal range (or even lower, down to the "contrabass" register). Members of the violin family are the easiest to identify in this way: with the violin corresponding to the soprano, the viola to the alto singer, violoncello to the tenor, and bass to the bass ranges of the human voice (historically, the violin family was made in more than just these four sizes: there were originally several sizes of violas, as well as instruments smaller than

2408-669: The 18th century, tastes began to change: many composers preferred a new, lighter Galant 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 serenade . 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 Joseph Haydn

2494-432: The D violone tuning descriptions are documented. By this point, most of the other sized members of the viol family had died out (with the exception of the bass viol, which was cherished as a solo and chamber instrument). The largest members of the viol family (G and D violoni) were used in some regions even when other places had started to replace them with three- and four-string contrabasses/double basses. This may explain why

2580-534: The Fredonia Quartet Program, July 2008 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 Schubertiaden , where he played his light, mannered compositions that expressed the gemütlichkeit 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

2666-570: The Op. 59 quartets, Beethoven wrote two more quartets during his middle period – Op. 74 , the "Harp" quartet, named for the unusual harp-like effect Beethoven creates with pizzicato passages in the first movement, and Op. 95 , the "Serioso". 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

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2752-468: The Renaissance and early Baroque eras, the two families had different uses, and in particular, different social standings. Viols were primarily household instruments, played by well-to-do, educated members of society, as a pleasant and cultured way of passing time. In contrast, violin family instruments were primarily used for social functions, performed on by professional players. During this 'early' period,

2838-523: The alto (and even soprano) range, and their lower compass may enable them to play in the bass (and even contra-bass) range. There are 3 types of instruments in this category: There are a number of instruments in this category, but not all so easy to differentiate by name. One is a true member of the viol family, and the others have much in common with the violin, but can't necessarily be described as genuine violin family instruments because their tunings, proportions and/or construction issues may be at odds with

2924-405: The artistic world of the period, with vituperative exchanges between the two camps, concert boycotts, and petitions. 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 Hellmesberger Quartet , led by Joseph Hellmesberger , and

3010-411: The beginning of a taste for 'concerti' and 'symphonies.' For players and musical communities that had previously favoured G violoni/A violoni as their main bowed basses, once the cello took over the 8' role, the larger bodied G violini/A violoni could be used as 16′ doubling instruments, playing an octave below the cello-sized instruments. It is also from this time period (early 18th century) that most of

3096-438: The chamber music instruments. Many of Schumann's chamber works, including all three of his string quartets and his piano quartet have contrapuntal sections interwoven seamlessly into the overall compositional texture. 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 ...

3182-493: The chordal instrument would play the basso continuo part. 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. The Art of Fugue by Johann Sebastian Bach , for example, can be played on a keyboard instrument (harpsichord or organ) or by a string quartet or a string orchestra . The instrumentation of trio sonatas

3268-448: The classification of violoni according to tuning, family and function makes it start to be possible to clarify composers' intentions at different times and places. The most important thing to remember is that different types of violoni sound (and often function) quite differently from each other. Cello-sized instruments are typically the 'tenor' members of the viol or violin families, though in fact their upper compass allows them to play in

3354-520: The development of cyclic structure. In his Piano Quintet in E ;flat, Op. 44 , 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 fugues , they used counterpoint as another mode of conversation between

3440-464: The different parts, leaving it up to ensemble leaders to choose the instruments. This contrasts sharply with the standardization of instrumentation which developed during the Classical music period ; for example, during this period, a string quartet , with only a few exceptions, is intended to be performed by two violins , a viola and a cello . In the 2000s, musicologists and historians acknowledge

3526-440: 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." Many other composers wrote chamber compositions during this period that were popular at the time and are still played today. Luigi Boccherini , Italian composer and cellist, wrote nearly

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3612-633: The emerging romantic style. In his 31 years, Schubert devoted much of his life to chamber music , composing 15 string quartets, two piano trios, string trios, a piano quintet commonly known as the Trout Quintet , an octet for strings and winds , and his famous quintet for two violins, viola, and two cellos. Franz Schubert , Trout Quintet , D. 667, performed by the Chamber Music Society of Lincoln Center Schubert on YouTube : String Quintet in C, D. 956, first movement, recorded at

3698-571: The end of the 18th century to the present. The analogy to conversation recurs in descriptions and analyses of chamber music compositions. From its earliest beginnings in the Medieval period to the present, chamber music has been a reflection of the changes in the technology and the society that produced it. During the Middle Ages and the early Renaissance , instruments were used primarily as accompaniment for singers. String players would play along with

3784-512: 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 sul ponticello (playing on the bridge of the violin) for a brittle, scratchy sound in the Presto movement of Op. 131; the use of the Lydian mode , rarely heard in Western music for 200 years, in Op. 132; a cello melody played high above all the other strings in

3870-416: The feeling that "the music is sounding only for the composer and for one 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:

3956-481: 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. 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. Robert Schumann continued

4042-463: The finale of Op. 132. Yet for all this disjointedness, each quartet is tightly designed, with an overarching structure that ties the work together. 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. As Beethoven, in his last quartets, went off in his own direction, Franz Schubert carried on and established

4128-502: 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." 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 movements. He greatly increases

4214-469: The importance of distinguishing specifically which instrument a composer intended, or if the composer allowed the ensemble leader to choose the instruments for each part. Assigning specific names and classifying violoni as different types, as we are doing here, is a modern attempt to clarify things. Loosely described, bowed string instruments are made in families so that different sized members can play in different ranges, with treble instruments corresponding to

4300-515: The independence of the strings, especially the cello, allowing it to range above the piano and occasionally even the violin. If his Op. 1 trios introduced Beethoven's works to the public, his Septet, Op. 20 , 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,

4386-437: The largest member of the violin family in common use was a cello-sized instrument, but quite often tuned a whole step lower than the modern cello (B ♭ 1 –F 2 –C 3 –G 3 ). This is not to say that there were no larger sized violoni described in the violin family at that time, it's just that descriptions of those larger basses are fewer, and there are many different tunings possible. Also, at this early period, there

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4472-400: The melody line sung by the singer. There were also purely instrumental ensembles, often of stringed precursors of the violin family , called consorts . Some analysts consider the origin of classical instrumental ensembles to be the sonata da camera (chamber sonata) and the sonata da chiesa (church sonata). These were compositions for one to five or more instruments. The sonata da camera

4558-658: 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. 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: George Onslow wrote 36 quartets and 35 quintets; Gaetano Donizetti wrote dozens of quartets, Antonio Bazzini , Anton Reicha , Carl Reissiger , Joseph Suk and others wrote to fill an insatiable demand for quartets. In addition, there

4644-412: The modern double bass to this day is so varied, and lacks a standard form, tuning or playing style. Professional bassists in orchestras have basses with flat backs, curved backs, sloping "shoulders" or rounded shoulders, and tunings including E 1 –A 1 –D 2 –G 2 and less commonly "C 1 –G 1 –D 2 –A 2 . The modern double bass combines features of both the viol and violin families. When use of

4730-405: The modern violin, for example). The viol family also comprises instruments in a multitude of sizes. In North America in the 21st century, they are classified as 'treble' viols (soprano), 'tenor' viols (alto range), 'bass' viols (tenor range), and 'great bass' viols, 'violoni' and violones (bass range). When we refer to the historical term 'violone', we must include almost all the instruments of both

4816-409: The notated pitch. Other types of violone are larger-bodied than the cello (sometimes as large or even larger than modern double basses ) – most of those sound their parts an octave below notated pitch, but certain types are flexible about which octave they play in, and sometimes switch back and forth. Ultimately, however, it is not the family or size of the instrument that determines the type, but rather

4902-807: The other sizes. In the Renaissance and Baroque era and even in the 2000s, there are players who changed or adapted their instruments in unique ways, for example Ganassi's Regola Rubertina (1542-43). In this category we might find bass viols that are tuned in E (E 2 -A 2 -D 3 -F ♯ 3 -B 3 -E 4 ) (instead of D), or where the bottom string is tuned an extra step lower, to a C 2 (a pitch found in numerous Baroque works). We might find tenor viols that are tuned in F (F 2 -B ♭ 2 -E ♭ 3 -G 3 -C 4 -F 4 ) (instead of G) (called baritone viols). We might find treble viols that are tuned in B ♭ (B ♭ 2 -E ♭ 3 -A ♭ 3 -C 4 -F 4 -B ♭ 4 ) (instead of D) (called contralto viols). [1] Or we might find

4988-459: 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 many composers, such as Franz Liszt and Frédéric Chopin , wrote almost exclusively for solo piano (or solo piano with orchestra ). Ludwig van Beethoven straddled this period of change as

5074-404: The period would consist of 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. Giovanni Battista Sammartini , Ignaz Holzbauer , and Franz Xaver Richter wrote precursors of the string quartet. Franz Ignaz von Beecke (1733-1803), with his Piano Quintet in A minor (1770) and 17 string quartets

5160-439: The period. 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. 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 Nikolaus I, Prince Esterházy ,

5246-633: The piano, and of symphonic composition, was not merely a matter of preference; it was also a matter of ideology . 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 Fanny Mendelssohn D minor Piano Trio, Ludwig van Beethoven's Trio in E-flat major, and Franz Schubert's Piano Quintet in A major are all highly personal. Liszt and Richard Wagner led

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5332-474: 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. Mozart's string quartets are considered the pinnacle of the classical art. The six string quartets that he dedicated to Haydn , his friend and mentor, inspired

5418-436: The reach of many amateur string players. When first violinist Ignaz Schuppanzigh 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 syncopations and cross-rhythms; synchronized runs of sixteenth, thirty-second, and sixty-fourth notes; and sudden modulations requiring special attention to intonation . In addition to

5504-518: The rise of new technology driven by the Industrial Revolution , 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

5590-473: The scherzo of the Piano Trio No. 1 in D minor, Op. 49 . Another characteristic that Mendelssohn pioneered is the cyclic 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 second string quartet , he opens the piece with a peaceful adagio section in A major, that contrasts with the stormy first movement in A minor. After

5676-517: The second theme, a lilting duet in the lower voices. The alternating Sturm und Drang and relaxation continue throughout the movement. These contending forces are expressed in some of Schubert's other works: in the quartet Death and the Maiden , the Rosamunde quartet and in the stormy, one-movement Quartettsatz, D. 703 . Unlike Schubert, Felix Mendelssohn had a life of peace and prosperity. Born into

5762-438: The skills required for playing solo or symphonic works. Johann Wolfgang von Goethe 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 through the history of chamber music composition from

5848-567: 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. Mozart introduced the newly invented clarinet into the chamber music arsenal, with the Kegelstatt Trio for viola, clarinet and piano, K. 498, and the Quintet for Clarinet and String Quartet , K. 581. He also tried other innovative ensembles, including

5934-399: The trio sonata, there is often no ascendent or solo instrument, but all three instruments share equal importance. The harmonic role played by the keyboard or other chording instrument was subsidiary, and usually the keyboard part was not even written out; rather, the chordal structure of the piece was specified by numeric codes over the bass line, called figured bass . In the second half of

6020-413: The tuning (such as "G violone" or "D violone") or on geography (such as "Viennese violone"), or by using other terms that have a more precise connotation (such as "bass violin", "violoncello", or "bass viol"). The term violone may be used correctly to describe many different instruments, yet distinguishing among these types can be difficult, especially for those not familiar with the historical instruments of

6106-467: The tuning that is utilized, which generally makes it possible to classify the instrument as a member of either the viol or violin family. During the Renaissance music and Baroque music eras, most players and composers were not precise in describing the specific type of violone they had in mind when that name was written on the page. Some ensemble works do not even indicate which instruments should play

6192-451: The viol and violin families and their respective variations in tuning. In modern usage, the term most often refers to the double bass viol, a bowed bass string instrument sounding its part an octave lower than notated pitch in early music groups performing Renaissance, Baroque and Classical era music on period instruments. However, the term can rightly be applied to members of the violin family, and also to ‘cello sized’ instruments, of both

6278-427: The violin and viol families (plus some hybrid instruments) that functioned as either tenor or bass members of those families. As the name 'violone' really means (see below), truly, these are all large string instruments. It was not until the 20th century that players and scholars started to realize that there were so many types of violoni and that not all of them functioned or sounded like double basses . Because of this,

6364-429: The violin and viol families, where those instruments play their parts at notated pitch. Only a few players specialize in these instruments, some of whom use contemporary reproductions rather than actual historical instruments. There are several different instruments that have historically been called by the name "violone". Some of these can be loosely described as 'cello-sized' instruments, and play their parts sounding at

6450-468: 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, Louis Spohr invented the chinrest, which gave violinists more freedom of movement in their left hands, for a more nimble technique. These changes contributed to the effectiveness of public performances in large halls, and expanded the repertoire of techniques available to chamber music composers. Throughout

6536-408: The word "violone" began in the early sixteenth century, "viola" simply meant a bowed, stringed instrument, and did not specify viol or violin. Historically "violone" has referred to any number of large fiddles, regardless of family. The term violone is sometimes used to refer to the modern double bass, but most often nowadays implies a period instrument. As a period instrument, it can refer to any of

6622-486: Was a lively market for string quartet arrangements of popular and folk tunes , piano works, symphonies, and opera arias . 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 primarily if not exclusively for piano. The ascendance of

6708-415: Was a suite of slow and fast movements, interspersed with dance tunes; the sonata da chiesa was the same, but the dances were omitted. These forms gradually developed into the trio sonata of the Baroque – two treble instruments and a bass instrument , often with a keyboard or other chording instrument ( harpsichord , organ , harp or lute , for example) filling in the harmony. Both the bass instrument and

6794-480: Was also often flexibly specified; some of Handel's sonatas are scored for " German flute , Hoboy [oboe] or Violin" Bass lines could be played by violone , cello , theorbo , or bassoon , 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

6880-462: Was also one of the pioneers of chamber music of the Classical period. Another renowned composer of chamber music of the period was Wolfgang Amadeus Mozart . 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

6966-401: Was commissioned to write several of these. Joseph Haydn 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 genre." A typical string quartet of

7052-442: Was minimal need for an instrument that would function at 16′ doubling an 8′ bass line. Human-sized members of the violin family were at first used primarily for dramatic effect in operas (and other dramatic works), and later for similar dramatic effect in concerto grosso type 'orchestral' settings. In contrast, large members of the viol family were much more common, and used from earliest times, playing their lines at 8′ pitch. There

7138-431: Was often performed by upper- and middle-class men with less advanced musical skills in an unexpected setting such as informal ensembles in private residence with few audience members. In Britain, the most common form of chamber music compositions are the string quartets , sentimental songs and piano chamber works like the piano trio , in a way depicts the standard conception of the conventional "Victorian music making". In

7224-453: 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 possibility of extreme color contrasts." The String Quintet in C, D.956 , 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

7310-412: Was the invention of wound ("overspun" or "overwound") strings. For bass instruments, this was important, because it meant one could now obtain good sounding low strings (that were not thick and rope-like in diameter) without having an excessively long string length. This was also when the term "violoncello" came into use, and the 'standard' cello tuning (C 2 –G 2 –D 3 –A 3 ) became the norm. As well,

7396-451: Was written by Beethoven himself – and was so popular that Beethoven feared it would eclipse his other works. So much so that by 1815, Carl Czerny 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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