Chamber music - Knowledge

2665: 44: 1250: 658: 2027: 2315: 1082: 1367:, 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 1521: 2626: 480: 1356: 1709: 688:. 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. 2487: 2063: 1938: 1585: 1274: 1171: 1014: 390: 2379: 1901: 991:

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

2726: 617: 632:. 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." 383:. 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. 2266: 643:, 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, 1669: 1371:, 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 1567: 1754: 125: 1435: 2462:, 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, 275: 6792: 1927:, "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 1779: 241: 445:, 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. 2835:, 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 ..." 301:. 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 1246:, 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. 2505: 271:; 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. 1980:

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

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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."

235:, 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. 1319:, 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 2560:, 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. 2535:

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

2659:"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." 2768:

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

1699:, 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. 2650:

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

1134:, 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 545:

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.

452:, 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." 1449:. 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 170:(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 540:

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,

2159:, 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 999:, 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. 2129:

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

1745:, "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. 2555:

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

2749:, fast unison passages and simultaneously sounded notes that form chords that are challenging to play in tune. But beyond the challenge of merely playing together from a rhythmic or intonation perspective is the greater challenge of sounding good together. 1031: 2704:

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

1769:. 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 1603: 1391:, 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. 2914:

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

2785:, that is, the 12 notes of the scale are spaced exactly equally. This method makes it possible for the piano to play in any key; however, all the intervals except the octave sound very slightly out of tune. String players can play with 2651:

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."

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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.

412: 2867:– 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. 1189: 2822:

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."

1773:. "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. 1882:

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

1469:–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 97:

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.

151:, 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 1261:

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.

414: 1874:, 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. 1637:

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

1545:, 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 1292: 1030: 2910:, 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. 2805:

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

1806:, 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 1814:, 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. 1601: 2617:

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 ...".

2079: 1820:, 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. 2542:

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."

1032: 1691:'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. 1219:

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

459:, 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 2080: 297:

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.

2242: 2213: 2001:, 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 2709:. 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 2290:

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

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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.

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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.

2643:, 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 1997:

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.

2793:, 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." 2584:

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."

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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.

1063: 1323:, they used counterpoint as another mode of conversation between the chamber music instruments. Many of Schumann's chamber works, including all three of 774: 93:

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

2664: 2330:, Largo; Allegro molto; played by the Seraphina String Quartet (Sabrina Tabby and Caeli Smith, violins; Madeline Smith, viola; Genevieve Tabby, cello) 4669:, 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. 333:

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.

5986: 376:(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. 2741:

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

1162: 681: 4530:, p. 4. The expression "music of friends" was first used by Richard Walthew in a lecture published in South Place Institute, London, in 1909. 1419:

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).

2256:, these composers looked to the music of preclassical Europe for inspiration and stability. While Stravinsky's neoclassical works – such as the 4368: 2072: 1242:

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

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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

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

4209:. A genre preferred by Spohr. Milhaud's Op. 291 Octet is, rather, a couple of String Quartets (his 14th and 15th) performed simultaneously 2452:

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

1993: 1984:

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.

471:, who both played pickup quartets with Haydn on second violin and Mozart on viola, were popular chamber music composers of the period. 5013: 6643:

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

609:, in particular, were considered so daunting an accomplishment that many composers after him were afraid to try composing quartets; 3393: 1180: 1257:

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

742:, the "Harp" quartet, named for the unusual harp-like effect Beethoven creates with pizzicato passages in the first movement, and 5217: 3910: 2864: 2260:– sound contemporary, they are modeled on Baroque and early classical forms – the canon, the fugue, and the Baroque sonata form. 1947: 1098: 767: 2252:

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

2116:; the last movement of this quartet, which includes a soprano, has no key signature. Schoenberg further explored atonality with 2113: 3177:

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

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

4376: 3887:(who played with the left hand only), although they are almost always performed nowadays in a two-hands version arranged by 1765:

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.

346:, a light movement in three quarter time, with a main section, a contrasting trio section, and a repeat of the main section. 3906: 2441: 1658: 4930:

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

3231:'s trio "Let Evening Come" for Soprano, Viola and Piano, and Brahms' Zwei Gesänge, Op. 91, for Contralto, Viola and Piano 2769:

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

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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

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

6822: 2900:, a non-profit organization that encourages public involvement and appreciation of chamber music. The OCMS has organized 2893:

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

1249: 844: 795: 2789:, that is, they can play specific intervals (such as fifths) exactly in tune. Moreover, string and wind players can use 2108:, was mostly a late German romantic work, though it was bold in its use of modulations. The first work that was frankly 1810:

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.

5512: 995:(playing on the bridge of the violin) for a brittle, scratchy sound in the Presto movement of Op. 131; the use of the 6621: 6591: 6572: 6549: 6527: 6504: 6482: 6458: 6439: 6401: 6366: 6347: 6328: 6304: 6285: 6244: 6209: 6183: 6145: 6122: 6094: 6073: 6050: 4733: 3258: 3237: 3089:

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,

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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,

4087: 215:. The instrumentation of trio sonatas was also often flexibly specified; some of Handel's sonatas are scored for " 6827: 6723: 5664: 4399:

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)

2968: 2886: 1150: 685: 505: 677:, of the late quartets, as, "...this absolutely contemporary piece of music that will be contemporary forever." 605:, were "...the models against which nineteenth-century romanticism measured its achievements and failures." His 497: 463:, Boccherini gives flashy, virtuosic solos to the principal cello, as a showcase for his own playing. Violinist 4339: 2880:

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

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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;

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

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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:

2811: 2569: 1843: 1610: 1550: 1500:, debuted many of the new string quartets by Brahms and other composers. Another famous quartet player was 1142: 621: 464: 361: 6681: 5651: 2843:, describes the trials of a string quartet in Palestine, before the establishment of the state of Israel. 2568:, devote themselves almost exclusively to contemporary music and new compositions; and ensembles like the 2281:, second movement, "Schnelle Achtel", played by Ana Farmer, David Boyden, Austin Han, and Dylan Mattingly 194:, for example) filling in the harmony. Both the bass instrument and the chordal instrument would play the 6742: 3326:. A 20th-century invention now with a surprisingly large repertoire. A variant is Flute, Cello and Harp. 2183: 211:, for example, can be played on a keyboard instrument (harpsichord or organ) or by a string quartet or a 5010:"A Guide to Arranging Late Eighteenth and Early Nineteenth Century Harmoniemusik in an Historical Style" 4411: 2087:

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

1116:: String Quintet in C, D. 956, first movement, recorded at the Fredonia Quartet Program, July 2008 293:

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.

2825:

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

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

2677: 2595: 2476: 2327: 2278: 2026: 1721: 1576:, played by the Borromeo Quartet, and Liz Freivogel and Daniel McDonough of the Jupiter String Quartet 1324: 1113: 253: 100: 2986:

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

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

2122:, for singer, flute or piccolo, clarinet, violin, cello and piano. The singer uses a technique called 2104:

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

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

4336: 4327: 4098: 4001: 3994: 2681: 2218: 2189: 1650: 1489: 1131: 1066:, composing 15 string quartets, two piano trios, string trios, a piano quintet commonly known as the 730:

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".

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

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

4269: 4228: 4224: 3880: 3719: 3298: 1821: 1696: 1396: 1328: 1316: 738:. In addition to the Op. 59 quartets, Beethoven wrote two more quartets during his middle period – 6273: 4220: 3914: 3861: 3279: 3107: 2295: 1465:

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

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

449: 380: 20: 5625: 3640:'s Flute Quartets (e.g. Op. 75), Clarinet Quartets, and Bassoon Quartets (e.g. his Op. 46 set); 693: 664: 89:

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

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

3727: 3178: 2396: 1794: 1372: 706: 6376: 5630: 5484: 4580: 3747: 3633: 3604: 3310: 2907: 2471: 2305: 2052: 1614: 1485: 1364: 1088: 568: 468: 208: 6318: 4957: 3868:'s Quintet (in which the clarinet player must alternate between a B♭ and an E♭ instrument), 3354: 5493: 5122:"Historiography and Invisible Musics: Domestic Chamber Music in Nineteenth-Century Britain" 5083:"Historiography and Invisible Musics: Domestic Chamber Music in Nineteenth-Century Britain" 5030:, p. 10. For a detailed discussion of quartet societies in France, see Fauquet (1986). 5009: 3857: 3111: 2629:

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

2604: 2458: 1826: 1803: 1653:, and a trio for clarinet, cello and piano. He wrote a trio for the unusual combination of 1520: 1477: 1454: 1416: 787: 597: 582: 258: 5145: 5121: 3641: 3421:

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

1871: 1785: 752: 8: 6775: 4364: 4350: 4175: 3827: 3731: 2877: 2335: 1761:, led by Franz Kneisel. This American ensemble debuted Dvořák's American Quartet, Op. 96. 1738: 1573: 1331:

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

6766:, sponsor of the chamber music competitions and a supporter of chamber music education. 6668: 6390: 6233: 6062: 6039: 5141: 4981:

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

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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

78: 2105: 1817: 1737:, created a new tone color for chamber music, a color and texture associated with the 6687: 6672: 6660: 6617: 6587: 6568: 6545: 6523: 6500: 6492: 6478: 6454: 6435: 6411: 6397: 6362: 6343: 6324: 6300: 6281: 6259: 6240: 6205: 6198: 6179: 6173: 6149: 6141: 6118: 6090: 6069: 6046: 5102: 5061: 4729: 4559: 4551: 4473: 4419: 4232: 4171: 3953: 3935: 3884: 3526: 3505: 3374: 3337: 3214: 3206: 2782: 2640: 2625: 2573: 2048: 1831: 1807: 1634: 1450: 1400: 1216: 509: 479: 148: 6737: 6084: 5043:

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

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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.

2118: 2037: 2032: 1988: 1862: 1770: 1758: 1537: 1533: 1493: 1473: 1404: 1312: 1135: 610: 602: 508:, a cellist. Many of Beethoven's quartets were first performed with patron Count 438: 365: 74: 6064:

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

5312:

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

5082: 3944:, which was the first piece to demand this instrumentation. Other works include 3574: 3514: 2419:

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

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

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

195: 6656: 6472: 5755:"Storefront Strings: How the Providence Quartet built an Inner City Residency" 2671: 2589: 2321: 2272: 1900: 1824:

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

1715: 1107: 247: 6806: 6664: 6636: 6609: 6415: 6314: 5106: 5060:. The University of Michigan: The University of Michigan Press. p. 115. 4889: 4861: 4391: 4322: 4294: 4279: 4274: 4244: 4236: 4183: 4140: 4129: 4102: 4021: 4008:'s Quintet for Flute and Strings, Op. 66, Bax's Quintet for Oboe and Strings 4005: 3835: 3793: 3743: 3710: 3676: 3662: 3637: 3629: 3612: 3582: 3557: 3451: 3082: 3039: 2840: 2463: 2382: 1741:. Violist James Dunham, of the Cleveland and Sequoia Quartets, writes of the 1730: 1700: 1536:

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

1509: 1466: 1368: 1239: 1093: 1068: 684:, were written in the classical style, in the same year that Haydn wrote his 555: 278: 152: 82: 63: 6012: 4380: 2725: 2378: 674: 6537: 6160: 5886:

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

616: 313: 302: 287: 268: 216: 179: 3645: 1504:, also known as Lady Hallé. Indeed, during the last third of the century, 6427: 4493: 4465: 4449: 4415: 4306: 4156: 3772: 3620: 3608: 3486: 3459:

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

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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.

29:"Chamber piece" redirects here. For films set in a single location, see 5553: 5500:/For Times to Come/Pour les temps a venir: 17 Texte für Intuitive Musik 4940: 3945: 3685: 3362: 3323: 3194: 2706: 2577: 2517: 2344: 2253: 2131: 2096: 1971: 1625: 1424: 1388: 1363:

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

5672: 2883: 1125:, where he played his light, mannered compositions that expressed the 5575: 3600: 3251: 2931: 2919: 2758: 2710: 2467: 2179: 2109: 2044: 1662: 1420: 586: 132: 90: 86: 51: 4864:, "Beethoven Quartet Audiences: Actual Potential, Ideal", p. 21, in 2734: 2043:

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

1512:, and the Lucas quartet, also all women, were two notable examples. 1343:, essentially a violin concerto with string trio accompaniment; and 5784:"Classical Music Sans Stuffiness", radio interview with Dave Beck, 4501: 4469: 4206: 2897: 2754: 2730: 2429: 2300: 2151:

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,

639:

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

519: 298: 4044:

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

2299:, a collection of eight extended compositions, consists mostly of 1683:

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

3705: 3433: 2742: 1753: 1076:, and his famous quintet for two violins, viola, and two cellos. 525: 501: 342: 232: 228: 220: 175: 124: 16:

Form of classical music composed for a small group of instruments

6752: 3510:

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

2870: 2572:, that combine classical, jazz, rock and other styles to create 1434: 1350: 317:

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

4437: 4113: 4016: 3035: 2949: 2937: 1196: 529: 338: 294: 4592:

For a detailed discussion of the origins of chamber music see

2904:, the largest chamber music festival in the world, since 1994. 1163:

List of compositions by Felix Mendelssohn § Chamber music

585:, wrote almost exclusively for solo piano (or solo piano with 19:"Kammermusik" redirects here. For the works by Hindemith, see 5849:

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

4457: 4453: 4445: 4441: 4049: 3896: 2186:

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

2030:

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

1928: 1561:

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

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

379:

Another renowned composer of chamber music of the period was

353: 274: 224: 140: 128: 6757: 6586:. Berkeley and Los Angeles: University of California Press. 4939:

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

4786:

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

3665:'s Divertimento for flute, clarinet, bassoon, and accordion 1461:

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

6763: 6422:. Berkeley and Los Angeles: University of California Press. 5235: 4461: 3694: 3134: 3094: 3055: 2160: 1981: 1528:. The quartet debuted many of the works of Johannes Brahms. 1339:. Spohr divided his 36 string quartets into two types: the 782: 748: 191: 6223:. Istvans Farkas and Gyula Gulyas (translators). Collet's. 5351: 3742:

An uncommon instrumentation used by Franz Schubert in his

2497:

Excerpt from Bartók's Sonata for two pianos and percussion

2021: 5635: 5519:(May 6, 1990), Section H, p. 24. Retrieved 20 April 2010. 5339: 4526:

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

2925: 2073:

Arnold Schoenberg: Second string quartet, fourth movement

1238:

Another characteristic that Mendelssohn pioneered is the

308: 143:

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

5931: 5387: 4575:

Christina Bashford, "The String Quartet and Society" in

4250:

many written by Franz Krommer. Including one written by

3425:

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

2680:– Daniel Epstein teaching the Schumann piano quartet at 1987:

Bartók was not alone in his explorations of folk music.

977:

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

717:

In the years 1805 to 1806, Beethoven composed the three

6420:

Style and Ideal: Selected Writings of Arnold Schoenberg

5831: 5819: 5327: 4755: 4684: 4672: 4623: 4550:(Bloomington: Indiana University Press, 2008): 153–54. 4190:, and a pair of pieces by Shostakovich) have followed. 4167:

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

3968:

itself, augment the ensemble with voice or percussion.

3775:

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

1724:, first movement, played by the Cypress String Quartet 6522:. Cambridge and New York: Cambridge University Press. 6041:

Intimate Music: A History of the Idea of Chamber Music

5375: 5363: 5247: 5223: 2860: 2223: 2194: 1315:

continued the development of cyclic structure. In his

490: 281:

playing a trio sonata, 18th-century anonymous painting

182:, often with a keyboard or other chording instrument ( 6780: 5522: 5502:, Werk Nr. 33 (Kürten: Stockhausen-Verlag, 1976), 66. 5428: 5426: 5315: 4912: 2389: 2385:

performing a trio for voice, piano and theremin, 1924

2221: 2192: 1931:. This is a form common in many folk music cultures. 1665:

that had been virtually abandoned since the Baroque.

1387:, sentimental songs and piano chamber works like the 667:, first movement, played by the Ensemble Mediterrain 6769: 5794: 5710: 5693: 5594: 5582: 5554:"Robert Davine Interview with Bruce Duffie . . . . " 5450: 5438: 5411: 5399: 4871: 4843: 4647: 6776:

Annotated bibliography of double wind quintet music

5606: 4748:J.A. Fuller Maitland, "Pianoforte and Strings", in 4611: 4599: 3693:Used by Beethoven and Joseph Haydn for settings of 2777:Chamber music playing presents special problems of 1842:used the musical style of his native Norway in his 628:Beethoven made his formal debut as a composer with 6560: 6389: 6232: 6197: 6061: 6038: 5955: 5943: 5906: 5856: 5423: 4905:For a complete analysis of the late quartets, see 4795:Cecil Glutton, "The Pianoforte", in Baines (1969). 2236: 2207: 219:, Hoboy or Violin" Bass lines could be played by 6760:, an online database of over 50,000 chamber works 5967: 5868: 5534: 5197:Tully Potter, "From chamber to concert hall", in 4840:'s recollections of conversations with Beethoven. 3340:'s Divertimento for flute, oboe and English horn 1661:, Op. 91, reviving the form of voice with string 1649:, and other works. Among his last works were the 1138:and relaxation continue throughout the movement. 1041:, first movement, performed on period instruments 6804: 6645:Studies in Cultures, Organizations and Societies 6258:. Oxford and New York: Oxford University Press. 520:Changes in the structure of stringed instruments 6632:The New Grove Dictionary of Music and Musicians 6108:. Oxford and New York: Oxford University Press. 2800: 2737:'s String Quartet No. 6, by artist Joel Epstein 2720: 2620: 2215:time while the second violin and cello play in 1948:Bartók string quartet number 2, second movement 1788:, played by the Lincoln Center Chamber Players 1748: 1729:Debussy's quartet, like the string quartets of 441:for viola, clarinet and piano, K. 498, and the 85:or a large room. Most broadly, it includes any 5210:Robert Schumann, "Neue Bahnen" in the journal 1895: 1284:Cyclic structure in the Schumann piano quintet 549: 450:six string quartets that he dedicated to Haydn 6582:Winter, Robert; Martin, Robert, eds. (1994). 6516:The Cambridge Companion to the String Quartet 5126:Journal of the American Musicological Society 5087:Journal of the American Musicological Society 4642:Solos for a German Flute, a Hoboy or a Violin 3789:2 vln, vla, vc with additional vla, vc, or cb 2647:with the same three people year after year." 2552:music and art music, according to the study. 1877: 1351:Chamber music and society in the 19th century 1130:possibility of extreme color contrasts." The 768: 6581: 6137:Cobbett's Cyclopedic Survey of Chamber Music 4893: 4865: 4808: 4807:, "Beethoven: Beyond Classicism", p. 59, in 4579:, p. 4. The quote was from a letter to 2816:Cobbett's Cyclopedic Survey of Chamber Music 305:was commissioned to write several of these. 6764:Fischoff National Chamber Music Association 6112: 5357: 5345: 3883:'s chamber pieces dedicated to the pianist 2598:plays chamber music in a Seattle streetcar 1907:recording folksongs of Czech peasants, 1908 694:Beethoven: Quartet, Op. 59, No. 3 81:—traditionally a group that could fit in a 6491: 6410: 6253: 5991:Spotlight – Your Guide to What's Happening 5937: 5825: 5650:(volume 2, July 1999) available online at 5281: 5265: 4678: 2850: 2529: 2293:The works that the composer summarised as 1659:two songs for alto singer, viola and piano 1515: 775: 761: 528:developed new methods of constructing the 6294: 6272: 6227: 6171: 5393: 5381: 5185: 4761: 4711: 4629: 3701: 3429: 3156: 2810:, instigator of the Cobbett Competition, 2440:McCalla. Examples are numerous: Bartók's 2323:Dmitri Shostakovitch: String quartet no 8 6536: 6192: 6089:. Chicago: University of Chicago Press. 5626:"Amateurs Help Keep Chamber Music Alive" 5333: 5285: 5269: 5253: 5241: 5229: 5119: 5080: 4136: 4082:e.g. Mendelssohn's Op. 110, also one by 4041:2 ob, 2 bsn, 2 hrn or 2 cl, 2 hrn, 2 bsn 4012: 3145:2 of any instrument, either equal or not 3013: 2724: 2624: 2377: 2350: 2274:Hindemith: String Quartet 3 in C, Op. 22 2025: 1899: 1752: 1667: 1519: 1433: 1431:primarily if not exclusively for piano. 1354: 1248: 615: 478: 372:wrote precursors of the string quartet. 273: 123: 42: 6770:Associated Chamber Music Players (ACMP) 6513: 6467: 6337: 6131: 5925: 5900: 5850: 5813: 5528: 5296: 5294: 5198: 5172: 5159: 5027: 4995: 4982: 4969: 4944: 4833: 4821: 4749: 4707: 4576: 4531: 4527: 4430: 4254:and the delightful Petite Symphonie by 3921:. (The four wind instruments may vary) 3205:, Mozart, Beethoven, Schubert, Chopin, 2978:This is a partial list of the types of 2920:Chamber Music Society of Lincoln Center 2466:explores the orchestral timbres of the 2022:Serialism, polytonality and polyrhythms 1181:Mendelssohn: String quartet Op. 13 1099:Chamber Music Society of Lincoln Center 443:Quintet for Clarinet and String Quartet 6805: 6558: 6448: 6387: 6383:. New York: Simon and Schuster (1962). 6375: 6356: 6313: 6103: 5961: 5887: 5837: 5800: 5321: 5300: 5055: 5051: 5049: 4918: 4906: 4877: 4849: 4774: 4723: 4690: 4653: 4617: 4605: 4593: 4302:fl, ob, cl, hrn, bsn, vln, vla, vc, cb 3872:'s Clarinet Quintet, and many others. 3599:Twentieth-century. Composers include: 1524:The Joachim Quartet, led by violinist 524:At the beginning of the 19th century, 309:Haydn, Mozart, and the classical style 77:that is composed for a small group of 31:List of films set in a single location 6218: 6159: 6082: 6036: 5973: 5716: 5612: 5600: 5588: 5540: 5456: 5444: 5432: 5417: 5405: 5369: 4178:. Others (among them works by Bruch, 4155:(inspired by Beethoven's Septet) and 1647:quintet for piano and strings, Op. 34 756: 147:During the Middle Ages and the early 6651:(2). Taylor & Francis: 145–168. 6426: 6175:Baroque Music: Style and Performance 6059: 5949: 5912: 5874: 5862: 5291: 5007: 3913:, and many others, including two by 2707:gesture with her head or bowing hand 2442:Sonata for Two Pianos and Percussion 1441:leading a string quartet, about 1880 1317:Piano Quintet in E flat, Op. 44 1156: 474: 112:From its earliest beginnings in the 5120:Bashford, Christina (Summer 2010). 5058:Chamber music: An essential history 5046: 3964:'s Triple Duo. Some works, such as 3856:Mozart's KV 581, Brahms's Op. 115, 2359: 2126:, halfway between speech and song. 1551:Brahms second string sextet, Op. 36 1399:wrote 36 quartets and 35 quintets; 1347:, in the conversational tradition. 1233:Piano Trio No. 1 in D minor, Op. 49 491:Collapse of the aristocratic system 119: 13: 6602: 6239:. University of California Press. 6139:. London: Oxford University Press. 5924:Cobbett, "Chamber Music Life", in 5694:"ACMP | The Chamber Music Network" 3133:Commonly used in the art song, or 2663: 2485: 2390:Relation of composer and performer 2313: 2264: 2061: 1936: 1777: 1707: 1583: 1565: 1272: 1265: 1169: 1080: 1012: 707:Piano Trio, Op. 70, No. 1, "Ghost" 656: 388: 239: 14: 6844: 6717: 6381:The Art of String Quartet Playing 6278:A Concise History of Modern Music 6013:"Earsense Chamberbase Statistics" 5987:"Spotlight on Ottawa Chamberfest" 5732:. Simple Measures. Archived from 5008:Ross, April Marie (August 2015). 4836:, p. 117. The quote is from 4644:published by John Walsh, c. 1730. 3034:Found especially as instrumental 2654: 2146:Five Movements for String Quartet 2053:twelve-tone method of composition 1844:string quartet in G minor, Op. 27 1812:string quartet in F major, Op. 96 1595:Brahms: Clarinet Quintet, Op. 115 1005: 400:String Quintet No. 4, K. 516 50:plays flute in his summer palace 6790: 6686:. University of Illinois Press. 6396:. Boston: Taplinger Publishing. 6221:Zoltan Kodaly, his life and work 6005: 5513:A New Look at a Major Minimalist 5016:from the original on 2021-05-01. 4534:The Development of Chamber Music 4002:Quintet for Clarinet and Strings 3995:Quintet for Clarinet and Strings 3497:3 B♭ Clarinets and Bass Clarinet 2861:Associated Chamber Music Players 2729:A graphic interpretation of the 2516:Problems playing this file? See 2501: 2411:describes how he works with the 2247: 2167:for clarinet, violin and piano. 2095:Problems playing this file? See 2077: 1970:Problems playing this file? See 1952: 1800:piano quintet in A major, Op. 81 1624:Problems playing this file? See 1599: 1303:Problems playing this file? See 1288: 1206:Problems playing this file? See 1185: 1149:and in the stormy, one-movement 1097:, D. 667, performed by the 1049:Problems playing this file? See 1028: 428:Problems playing this file? See 410: 267:Baroque chamber music was often 6584:The Beethoven Quartet Companion 6477:. Granada Publishing, Limited. 6340:Twentieth-Century Chamber Music 6235:Haydn: a Creative Life in Music 6029: 5979: 5918: 5893: 5880: 5843: 5806: 5778: 5747: 5722: 5686: 5657: 5640: 5618: 5564: 5546: 5505: 5478: 5462: 5306: 5275: 5259: 5204: 5191: 5178: 5165: 5152: 5113: 5074: 5033: 5020: 5001: 4988: 4975: 4962: 4950: 4933: 4924: 4899: 4883: 4855: 4827: 4814: 4798: 4789: 4780: 4767: 4742: 4717: 4696: 4659: 3417:20th-century composers such as 2969:List of chamber music festivals 2436:in chamber music compositions. 2258:Double Canon for String Quartet 2237:{\displaystyle {\tfrac {4}{4}}} 2208:{\displaystyle {\tfrac {3}{4}}} 2178:in his chamber works, but also 1994:Three Pieces for String Quartet 1549:. An example of this is in the 1423:, piano works, symphonies, and 734:requiring special attention to 262:, played by Ensemble Brillante 178:– two treble instruments and a 5788:, Seattle, December 28, 2008, 4635: 4586: 4569: 4540: 4520: 4121:cl, hrn, bsn, vln, vla, vc, cb 3625:vn, va, vc and fl, ob, cl, bsn 3562:4 fls or fl, vln, vla, and vlc 3467:Violin, clarinet, cello, piano 3250:, other works by Schumann and 2611: 483:Copy of a pianoforte from 1805 38:Chamber music (disambiguation) 1: 6567:. Columbia University Press. 6520:Cambridge Companions to Music 6514:Stowell, Robert, ed. (2003). 6499:. Farrar, Straus and Giroux. 6297:The String Quartet: a History 6106:The History of Violin Playing 6068:. New York: Alfred A. Knopf. 6037:Baron, John Herschel (1998). 5491:, no. 16 (July 7, 1970) from 4968:Fannie Davies, "Schumann" in 4536:. London: Boosey. p. 42. 3990:wind instrument, 2 vn, va, vc 3877:cl, pno left hand, vn, va, vc 3796:, Mozart, Beethoven, Brahms, 2940:based in New York and Toronto 2902:Ottawa Chamber Music Festival 2772: 2422: 1786:Dvořák: piano quintet, Op. 81 1609:First movement, performed by 6743:Resources in other libraries 5081:Bashford, Christina (2010). 4532:Walthew, Richard H. (1909). 4387: 4290: 4266:2 sop, 2 alto, 2 ten, 2 bass 4109: 4033:, Op. 4 (original version). 3500:Twentieth-century composers 3479:Quatuor pour la fin du temps 2973: 2962: 2898:Ottawa Chamber Music Society 2801:The chamber music experience 2721:Ensemble, blend, and balance 2591:The Simple Measures ensemble 2570:Turtle Island String Quartet 2339:deportation to Siberia. His 1962:Played by the Carmel Quartet 1749:Nationalism in chamber music 876:Other middle period quartets 592: 500:, a music lover and amateur 498:Nikolaus I, Prince Esterházy 465:Carl Ditters von Dittersdorf 362:Giovanni Battista Sammartini 7: 6680:Sumner Lott, Marie (2015). 6614:The New Grove Violin Family 6254:Gjerdingen, Robert (2007). 4124:Popularized by Beethoven's 3830:. In six movements. (1925) 3406:Schubert's "Auf Dem Strom" 2781:. The piano is tuned using 2347:, the composer's initials. 1896:Inspiration from folk music 1467:programmatic forms of music 1074:octet for strings and winds 898:No. 11 in F minor, Op. 95 ( 682:string quartets 1–6, Op. 18 673:Stravinsky referred to the 622:"Ghost" Trio, Op. 70, No. 1 550:Invention of the pianoforte 10: 6849: 6823:History of classical music 6616:. New York: W. W. Norton. 6323:. New York: W. W. Norton. 6204:. New York: W. W. Norton. 6178:. New York: W. W. Norton. 6172:Donington, Robert (1982). 6115:Dvorak, His Life and Times 6113:Butterworth, Neil (1980). 5665:"Music For The Love of It" 5213:Neue Zeitschrift für Musik 5146:10.1525/jams.2010.63.2.291 5138:10.1525/jams.2010.63.2.291 5099:10.1525/jams.2010.63.2.291 4894:Winter & Martin (1994) 4866:Winter & Martin (1994) 4809:Winter & Martin (1994) 3976:ob, cl, a. sax, bs cl, bsn 3840:2 tr, 1 hrn, 1 trm, 1 tuba 3817:Wind & strings quintet 3704: 3565:Examples include those by 3432: 3217:, Dvořák and many others. 3159: 2966: 1878:New sounds for a new world 1457:Trio in E-flat major, and 1403:wrote dozens of quartets, 1160: 1132:String Quintet in C, D.956 966:No. 16 in F major, Op. 135 953:No. 15 in A minor, Op. 132 107: 101:Johann Wolfgang von Goethe 35: 28: 18: 6738:Resources in your library 6657:10.1080/10245280008523545 6361:. Concert Artists Guild. 6256:Music in the Galant Style 6200:Music in the Romantic Era 4548:The Art of Teaching Music 4427: 4139: 4099:Overture on Hebrew Themes 4073: 4058:fl, ob, cl, bsn, hrn, pno 4015: 3979:20th and 21st centuries. 3847: 3828:Quintet in G minor Op. 39 3709: 3331:Flute, oboe, English horn 3291:Voice, clarinet and piano 3278:, Brahms's trio Op. 114, 3259:Clarinet–cello–piano trio 3238:Clarinet–viola–piano trio 3093: 3027: 3016: 2682:Manhattan School of Music 2477:Helicopter String Quartet 1861:pioneered the science of 1802:, the slow movement is a 1651:clarinet quintet, Op. 115 1231:, and the scherzo of the 974: 910: 875: 843: 794: 665:Beethoven: Septet, Op. 20 398:Wolfgang Amadeus Mozart: 166:(chamber sonata) and the 60:Carl Philipp Emanuel Bach 6708:Thompson, Oscar (1940). 6295:Griffiths, Paul (1985). 5056:Radice, Mark A. (2012). 4728:. Taylor & Francis. 4546:Estelle Ruth Jorgensen, 4513: 4305:Grand Nonetto (1813) by 4270:Robert Lucas de Pearsall 4217:2 ob, 2 cl, 2 hrn, 2 bsn 3299:The Shepherd on the Rock 3031:any instrument and piano 2944:Juilliard String Quartet 2884:Music for the Love of It 2558:Music for the Love of It 2140:for string quartet, and 1822:Pyotr Ilyich Tchaikovsky 1657:, Op. 40. He also wrote 630:three Piano Trios, Op. 1 577:many composers, such as 6710:Debussy: Man and Artist 6392:Social History of Music 6338:McCalla, James (2003). 6133:Cobbett, Walter Willson 5669:musicfortheloveofit.com 5579:(March 2008):52–53, 55. 5573:, "Flight of Fantasy", 4094:cl, 2 vln, vla, vc, pno 4079:vln, 2 vla, vc, cb, pno 4065:Sextet, and another by 3915:Nikolai Rimsky-Korsakov 3862:Samuel Coleridge-Taylor 3697:based on folk melodies 3656:Accordion and wind trio 3353:Famous compositions by 3346:Clarinet, violin, piano 3280:Alexander von Zemlinsky 2926:Southwest Chamber Music 2851:Chamber music societies 2603:Several groups such as 2530:In contemporary society 2303:, comparable to Bach's 1717:Debussy: String Quartet 1516:Toward the 20th century 381:Wolfgang Amadeus Mozart 322:An opening movement in 249:J. S. Bach: Trio sonata 6828:Classical music styles 6559:Ulrich, Homer (1966). 6449:Shaham, Natan (1994). 6388:Raynor, Henry (1978). 6320:The Beethoven Quartets 6219:Eosze, Laszlo (1962). 6104:Boyden, David (1965). 5220:(accessed 2007-10-30). 5039:Lott, Marie S. (2008) 4118:Wind and string septet 3547:Jean-Baptiste Singelée 3473:Rare; famous example: 3222:Voice, viola and piano 2956:Emerson String Quartet 2922:based in New York City 2808:Walter Willson Cobbett 2738: 2697: 2668: 2633: 2600: 2490: 2386: 2332: 2318: 2283: 2269: 2238: 2209: 2170:The American composer 2066: 2040: 2003:Ralph Vaughan Williams 1941: 1908: 1853:In Hungary, composers 1790: 1782: 1762: 1759:Kneisel String Quartet 1739:Impressionist movement 1726: 1712: 1697:string quartet, Op. 10 1684: 1673:The Seine at Lavacourt 1655:piano, violin and horn 1588: 1578: 1570: 1529: 1502:Vilemina Norman Neruda 1455:Ludwig van Beethoven's 1442: 1439:Vilemina Norman Neruda 1360: 1277: 1258: 1229:String Quartet, Op. 12 1195:third movement by the 1174: 1118: 1102: 1085: 1017: 714: 701: 686:Op. 76 string quartets 669: 661: 625: 484: 393: 374:Franz Ignaz von Beecke 282: 264: 244: 144: 67: 6753:Chamber Music America 6451:The Rosendorf Quartet 6357:Miller, Lucy (2006). 6299:. Thames and Hudson. 6280:. Thames and Hudson. 6083:Booth, Wayne (1999). 5631:All Things Considered 5485:Karlheinz Stockhausen 4724:Parker, Mara (2017). 4299:Wind and string nonet 4145:Wind and string octet 4132:'s, and many others. 3902:pno, ob, cl, bsn, hrn 3804:, Schubert; with cb: 3748:Johann Nepomuk Hummel 3739:vln, vla, vc, cb, pno 3400:Voice, horn and piano 3311:Flute, viola and harp 2950:Kronos String Quartet 2932:Chicago Chamber Music 2908:Musica Viva Australia 2871:Chamber Music America 2837:The Rosendorf Quartet 2791:expressive intonation 2728: 2667: 2662: 2628: 2587: 2489: 2472:Karlheinz Stockhausen 2444:(1937), Schoenberg's 2400:(For Times to Come), 2381: 2351:Stretching the limits 2317: 2312: 2306:Brandenburg Concertos 2268: 2263: 2239: 2210: 2155:developed the use of 2114:second string quartet 2065: 2029: 1940: 1903: 1836:second string quartet 1781: 1776: 1756: 1711: 1706: 1671: 1615:Orford String Quartet 1587: 1569: 1564: 1523: 1486:Hellmesberger Quartet 1437: 1365:Industrial Revolution 1358: 1276: 1252: 1244:second string quartet 1173: 1105: 1084: 1079: 1016: 704: 691: 660: 655: 619: 569:Bartolomeo Cristofori 482: 469:Johann Baptist Wanhal 392: 350:A fast finale section 277: 243: 238: 209:Johann Sebastian Bach 127: 46: 6758:earsense chamberbase 6377:Norton, M. D. Herter 6060:Blum, David (1986). 5511:K. Robert Schwarz, " 5494:Aus den sieben Tagen 4667:The Musical Offering 3984:Wind instrument and 3931:fl, cl, vln, vc, pno 3853:cl, 2 vn, 1 va, 1 vc 3820:ob, cl, vln, vla, cb 3764:fl, cl, ob, bsn, hrn 3644:'s Bassoon Quartet, 3619:Wind instrument and 3388:Two masterpieces by 2928:based in Los Angeles 2753:techniques, such as 2605:Classical Revolution 2219: 2190: 2184:first string quartet 1827:Souvenir de Florence 1798:For example, in the 1574:Brahms sextet Op. 36 1490:Joseph Hellmesberger 1478:War of the Romantics 1453:D minor Piano Trio, 1221:String Octet, Op. 20 1151:Quartettsatz, D. 703 1143:Death and the Maiden 788:Ludwig van Beethoven 598:Ludwig van Beethoven 506:Frederick William II 259:The Musical Offering 36:For other uses, see 6833:Musical terminology 6712:. Tudor Publishing. 6497:Indivisible by Four 6045:. Pendragon Press. 5790:Simplepleasures.org 5634:, August 27, 2005, 5624:Theresa Schiavone, 5498:Für kommende Zeiten 5244:, pp. 290–292. 5218:W3.rz-berlin.mpg.de 4972:, pp. 368–394. 4947:, pp. 352–364. 4583:, November 9, 1829. 4396:Double wind quintet 4365:Silvestre Revueltas 4188:String Octet, Op. 7 4176:String Octet Op. 20 3843:Mostly after 1950. 3715:2 vln, vla, vc, pno 3670:Piano and wind trio 3377:(all 20th-century) 3175:Divertimento K. 563 3152:'s Duets for 2 vn. 3075:any instrument and 2992:Number of musicians 2878:Cobbett Association 2397:Für kommende Zeiten 2336:Dmitri Shostakovich 1373:Camille Saint-Saëns 1325:his string quartets 370:Franz Xaver Richter 48:Frederick the Great 6493:Steinhardt, Arnold 6412:Schoenberg, Arnold 6359:Adams to Zemlinsky 6086:For the Love of It 5517:The New York Times 5358:Butterworth (1980) 5346:Butterworth (1980) 4958:Traffic.libsyn.com 4726:The String Quartet 4486:baritone saxophone 4355:Heitor Villa-Lobos 4198:4 vln, 2 vla, 2 vc 4159:'s Octet, Op. 32. 4026:2 vln, 2 vla, 2 vc 3690:voice, pno, vn, vc 3593:Percussion quartet 3535:Alexander Glazunov 2889:2017-11-14 at the 2845:For the Love of It 2739: 2669: 2634: 2621:"Music of friends" 2491: 2450:Quartertone Pieces 2387: 2319: 2270: 2234: 2232: 2205: 2203: 2163:idioms, as in his 2067: 2041: 1999:Histoire du soldat 1942: 1909: 1783: 1763: 1713: 1685: 1589: 1571: 1530: 1443: 1361: 1278: 1259: 1175: 1086: 1018: 724:Ignaz Schuppanzigh 698:Modigliani Quartet 662: 626: 620:Manuscript of the 485: 394: 331:A lyrical movement 283: 245: 145: 68: 6724:Library resources 6693:978-0-252-03922-5 6544:. Vintage Books. 6265:978-0-19-531371-0 6167:. Edition Peters. 5938:Steinhardt (1998) 5840:, pp. 25–32. 5826:Steinhardt (1998) 5730:"Simple Measures" 5372:, pp. 20–40. 5282:Schoenberg (1984) 5266:Schoenberg (1984) 5067:978-0-472-02811-5 4943:, "Schubert", in 4693:, pp. 20–21. 4679:Gjerdingen (2007) 4665:Trio sonata from 4564:978-0-253-21963-3 4556:978-0-253-35078-7 4511: 4510: 4474:soprano saxophone 4420:Salomon Jadassohn 4418:'s Suite and the 3954:Sebastian Currier 3936:Arnold Schoenberg 3885:Paul Wittgenstein 3673:pno, cl, hrn, bsn 3527:Pierre Max Dubois 3506:Saxophone quartet 3456:vln, vla, vc, pno 3338:Nicholas Laucella 3142:Instrumental duet 2783:equal temperament 2641:Arnold Steinhardt 2506: 2448:, Charles Ives's 2301:concertante works 2231: 2202: 2082: 2049:Arnold Schoenberg 1957: 1832:Alexander Borodin 1808:Jeannette Thurber 1635:Arnold Schoenberg 1604: 1451:Fanny Mendelssohn 1401:Gaetano Donizetti 1329:his piano quartet 1293: 1217:Felix Mendelssohn 1215:Unlike Schubert, 1190: 1157:Felix Mendelssohn 1147:Rosamunde quartet 1033: 988: 987: 983: 982: 746:, the "Serioso". 510:Andrey Razumovsky 475:From home to hall 415: 279:Baroque musicians 6840: 6795: 6794: 6793: 6786: 6713: 6704: 6702: 6700: 6676: 6627: 6597: 6578: 6566: 6555: 6533: 6510: 6488: 6469:Solomon, Maynard 6464: 6445: 6423: 6407: 6395: 6384: 6372: 6353: 6334: 6310: 6291: 6269: 6250: 6238: 6224: 6215: 6203: 6194:Einstein, Alfred 6189: 6168: 6140: 6128: 6109: 6100: 6079: 6067: 6056: 6044: 6023: 6022: 6020: 6019: 6009: 6003: 6002: 6000: 5998: 5993:. City of Ottawa 5983: 5977: 5971: 5965: 5959: 5953: 5947: 5941: 5935: 5929: 5922: 5916: 5910: 5904: 5897: 5891: 5884: 5878: 5872: 5866: 5860: 5854: 5847: 5841: 5835: 5829: 5823: 5817: 5810: 5804: 5798: 5792: 5782: 5776: 5775: 5773: 5772: 5766: 5760:. Archived from 5759: 5751: 5745: 5744: 5742: 5741: 5726: 5720: 5714: 5708: 5707: 5705: 5704: 5690: 5684: 5683: 5681: 5680: 5671:. Archived from 5661: 5655: 5652:Soundscapes.info 5644: 5638: 5622: 5616: 5610: 5604: 5598: 5592: 5586: 5580: 5568: 5562: 5561: 5558:www.kcstudio.com 5550: 5544: 5538: 5532: 5526: 5520: 5509: 5503: 5482: 5476: 5470:Composer's Notes 5466: 5460: 5454: 5448: 5442: 5436: 5430: 5421: 5415: 5409: 5403: 5397: 5394:Griffiths (1978) 5391: 5385: 5382:Griffiths (1978) 5379: 5373: 5367: 5361: 5355: 5349: 5343: 5337: 5331: 5325: 5319: 5313: 5310: 5304: 5298: 5289: 5279: 5273: 5263: 5257: 5251: 5245: 5239: 5233: 5227: 5221: 5216:, October 1853, 5208: 5202: 5195: 5189: 5186:Griffiths (1985) 5182: 5176: 5169: 5163: 5156: 5150: 5149: 5117: 5111: 5110: 5078: 5072: 5071: 5053: 5044: 5037: 5031: 5024: 5018: 5017: 5005: 4999: 4992: 4986: 4979: 4973: 4966: 4960: 4954: 4948: 4937: 4931: 4928: 4922: 4916: 4910: 4903: 4897: 4887: 4881: 4875: 4869: 4859: 4853: 4847: 4841: 4831: 4825: 4818: 4812: 4802: 4796: 4793: 4787: 4784: 4778: 4771: 4765: 4762:Geiringer (1982) 4759: 4753: 4752:, p. 220 (v.II). 4746: 4740: 4739: 4721: 4715: 4712:Geiringer (1982) 4700: 4694: 4688: 4682: 4676: 4670: 4663: 4657: 4651: 4645: 4639: 4633: 4630:Donington (1982) 4627: 4621: 4615: 4609: 4603: 4597: 4590: 4584: 4573: 4567: 4544: 4538: 4537: 4524: 4504: 4434: 4414:Divertissement, 4373:Bohuslav Martinů 4328:Petite Symphonie 4180:Woldemar Bargiel 3927:Pierrot ensemble 3919:Anton Rubinstein 3899:and wind quartet 3889:Friedrich Wührer 3849:Clarinet quintet 3679:'s Op. 1 (1819) 3659:acc, fl, cl, bsn 3650:Finnish Quartets 3634:one Oboe Quartet 3585:. 20th Century: 3567:Friedrich Kuhlau 3523:Alfred Desenclos 3494:Clarinet quartet 3470:vln, cl, vc, pno 3318:Famous works by 3286:'s Fantasy-Trio 3284:Robert Muczynski 3240: 3103:1 piano, 4 hands 3028:Instrumental duo 2989: 2988: 2952:in San Francisco 2934:based in Chicago 2688:The Music Lesson 2674: 2592: 2537:Daniel Barenboim 2508: 2507: 2488: 2368:Different Trains 2360:Music of friends 2324: 2316: 2275: 2267: 2243: 2241: 2240: 2235: 2233: 2224: 2214: 2212: 2211: 2206: 2204: 2195: 2134:, who wrote the 2084: 2083: 2064: 2011:Benjamin Britten 1959: 1958: 1939: 1926: 1925: 1924: 1923: 1780: 1718: 1710: 1606: 1605: 1586: 1568: 1506:women performers 1459:Franz Schubert's 1345:quatuor dialogue 1341:quatuor brillant 1295: 1294: 1275: 1227:movement of the 1192: 1191: 1172: 1110: 1083: 1035: 1034: 1015: 947: 946: 936: 935: 925: 924: 888: 887: 867:No. 9 in C major 862:No. 8 in E minor 857:No. 7 in F major 834: 833: 824:No. 5 in A major 819:No. 4 in C minor 814:No. 3 in D major 809:No. 2 in G major 804:No. 1 in F major 777: 770: 763: 754: 753: 749: 709:, played by the 696:, played by the 659: 457:Luigi Boccherini 417: 416: 391: 250: 242: 213:string orchestra 204:The Art of Fugue 168:sonata da chiesa 164:sonata da camera 120:Early beginnings 58:playing violin, 6848: 6847: 6843: 6842: 6841: 6839: 6838: 6837: 6803: 6802: 6801: 6797:Classical music 6791: 6789: 6781: 6772:, New York City 6749: 6748: 6747: 6732: 6731: 6727: 6720: 6707: 6698: 6696: 6694: 6679: 6642: 6624: 6608: 6605: 6603:Further reading 6600: 6594: 6575: 6552: 6542:Johannes Brahms 6530: 6507: 6485: 6461: 6453:. Grove Press. 6442: 6404: 6369: 6350: 6331: 6307: 6288: 6274:Griffiths, Paul 6266: 6247: 6229:Geiringer, Karl 6212: 6186: 6125: 6117:. Midas Books. 6097: 6076: 6053: 6032: 6027: 6026: 6017: 6015: 6011: 6010: 6006: 5996: 5994: 5985: 5984: 5980: 5972: 5968: 5960: 5956: 5948: 5944: 5936: 5932: 5923: 5919: 5911: 5907: 5898: 5894: 5885: 5881: 5873: 5869: 5861: 5857: 5848: 5844: 5836: 5832: 5824: 5820: 5811: 5807: 5799: 5795: 5783: 5779: 5770: 5768: 5764: 5757: 5753: 5752: 5748: 5739: 5737: 5728: 5727: 5723: 5715: 5711: 5702: 5700: 5692: 5691: 5687: 5678: 5676: 5663: 5662: 5658: 5645: 5641: 5623: 5619: 5611: 5607: 5599: 5595: 5587: 5583: 5569: 5565: 5552: 5551: 5547: 5539: 5535: 5527: 5523: 5510: 5506: 5483: 5479: 5467: 5463: 5455: 5451: 5443: 5439: 5431: 5424: 5416: 5412: 5404: 5400: 5392: 5388: 5380: 5376: 5368: 5364: 5356: 5352: 5344: 5340: 5334:Einstein (1947) 5332: 5328: 5320: 5316: 5311: 5307: 5299: 5292: 5286:Swafford (1997) 5280: 5276: 5270:Swafford (1997) 5264: 5260: 5254:Swafford (1997) 5252: 5248: 5242:Swafford (1997) 5240: 5236: 5230:Swafford (1997) 5228: 5224: 5209: 5205: 5196: 5192: 5183: 5179: 5170: 5166: 5157: 5153: 5118: 5114: 5079: 5075: 5068: 5054: 5047: 5038: 5034: 5025: 5021: 5006: 5002: 4993: 4989: 4980: 4976: 4967: 4963: 4955: 4951: 4938: 4934: 4929: 4925: 4917: 4913: 4904: 4900: 4888: 4884: 4876: 4872: 4860: 4856: 4848: 4844: 4832: 4828: 4819: 4815: 4805:Maynard Solomon 4803: 4799: 4794: 4790: 4785: 4781: 4772: 4768: 4760: 4756: 4747: 4743: 4736: 4722: 4718: 4701: 4697: 4689: 4685: 4677: 4673: 4664: 4660: 4652: 4648: 4640: 4636: 4628: 4624: 4616: 4612: 4604: 4600: 4591: 4587: 4574: 4570: 4545: 4541: 4525: 4521: 4516: 4507: 4482:tenor saxophone 4435: 4431: 4408:Antonio Rosetti 4203:string quartets 4170:Popularized by 4031:Verklärte Nacht 3966:Pierrot Lunaire 3941:Pierrot Lunaire 3800:; with 2nd vc: 3579:Florent Schmitt 3543:Florent Schmitt 3489:(Op. 1; 1896). 3481:; less famous: 3403:voice, hrn, pno 3236: 3225:Voice, vla, pno 3005:Instrumentation 2976: 2971: 2965: 2891:Wayback Machine 2853: 2803: 2787:just intonation 2775: 2723: 2698: 2684: 2672: 2657: 2623: 2614: 2601: 2590: 2574:crossover music 2532: 2523: 2522: 2514: 2512: 2511: 2510: 2509: 2502: 2499: 2492: 2486: 2446:Pierrot lunaire 2425: 2392: 2362: 2353: 2333: 2322: 2314: 2284: 2273: 2265: 2250: 2222: 2220: 2217: 2216: 2193: 2191: 2188: 2187: 2119:Pierrot Lunaire 2106:Verklärte Nacht 2102: 2101: 2093: 2091: 2090: 2089: 2088: 2085: 2078: 2075: 2068: 2062: 2038:Antoine Watteau 2033:Pierrot Lunaire 2024: 1989:Igor Stravinsky 1977: 1976: 1968: 1966: 1965: 1964: 1963: 1960: 1953: 1950: 1943: 1937: 1922: 1917: 1916: 1915: 1914: 1913: 1898: 1880: 1863:ethnomusicology 1818:Bedřich Smetana 1793:Czech composer 1791: 1778: 1771:Alfred Einstein 1751: 1727: 1716: 1708: 1631: 1630: 1622: 1620: 1619: 1618: 1617: 1607: 1600: 1597: 1590: 1584: 1579: 1566: 1538:Robert Schumann 1534:Johannes Brahms 1518: 1494:Joachim Quartet 1474:Eduard Hanslick 1405:Antonio Bazzini 1385:string quartets 1353: 1313:Robert Schumann 1310: 1309: 1301: 1299: 1298: 1297: 1296: 1289: 1286: 1279: 1273: 1268: 1266:Robert Schumann 1213: 1212: 1204: 1202: 1201: 1200: 1199: 1193: 1186: 1183: 1176: 1170: 1165: 1159: 1136:Sturm und Drang 1119: 1108: 1103: 1081: 1056: 1055: 1047: 1045: 1044: 1043: 1042: 1036: 1029: 1026: 1019: 1013: 1008: 984: 979: 970: 944: 943: 933: 932: 922: 921: 906: 889:major, Op. 74 ( 885: 884: 871: 839: 831: 830: 790: 784:String quartets 781: 715: 702: 670: 657: 611:Johannes Brahms 603:Maynard Solomon 595: 583:Frédéric Chopin 554:Throughout the 552: 522: 493: 477: 439:Kegelstatt Trio 435: 434: 426: 424: 423: 422: 421: 418: 411: 408: 402: 395: 389: 366:Ignaz Holzbauer 311: 265: 248: 240: 180:bass instrument 122: 114:Medieval period 110: 75:classical music 41: 34: 27: 17: 12: 11: 5: 6846: 6836: 6835: 6830: 6825: 6820: 6815: 6800: 6799: 6779: 6778: 6773: 6767: 6761: 6755: 6746: 6745: 6740: 6734: 6733: 6722: 6721: 6719: 6718:External links 6716: 6715: 6714: 6705: 6692: 6677: 6640: 6628: 6622: 6612:, ed. (1984). 6610:Sadie, Stanley 6604: 6601: 6599: 6598: 6592: 6579: 6573: 6556: 6550: 6534: 6528: 6511: 6505: 6489: 6483: 6465: 6459: 6446: 6440: 6432:An Equal Music 6424: 6408: 6402: 6385: 6373: 6367: 6354: 6348: 6335: 6329: 6315:Kerman, Joseph 6311: 6305: 6292: 6286: 6270: 6264: 6251: 6245: 6225: 6216: 6210: 6190: 6184: 6169: 6157: 6154:978-1906857844 6135:, ed. (1929). 6129: 6123: 6110: 6101: 6095: 6080: 6074: 6057: 6051: 6033: 6031: 6028: 6025: 6024: 6004: 5978: 5966: 5954: 5942: 5930: 5928:, p. 254. 5926:Cobbett (1929) 5917: 5905: 5903:, p. 110. 5901:Stowell (2003) 5892: 5879: 5867: 5855: 5851:Stowell (2003) 5842: 5830: 5818: 5816:, p. 101. 5814:Stowell (2003) 5805: 5793: 5777: 5746: 5721: 5719:, p. 425. 5709: 5685: 5656: 5639: 5617: 5605: 5603:, p. 424. 5593: 5591:, p. 435. 5581: 5571:Irvine Arditti 5563: 5545: 5533: 5529:McCalla (2003) 5521: 5504: 5477: 5461: 5459:, p. 403. 5449: 5447:, p. 396. 5437: 5422: 5420:, p. 382. 5410: 5408:, p. 385. 5398: 5396:, p. 104. 5386: 5374: 5362: 5360:, p. 107. 5350: 5338: 5336:, p. 332. 5326: 5324:, p. 218. 5314: 5305: 5290: 5288:, p. 633. 5274: 5272:, p. 632. 5258: 5246: 5234: 5222: 5203: 5199:Stowell (2003) 5190: 5177: 5173:Stowell (2003) 5164: 5160:Stowell (2003) 5151: 5132:(2): 291–360. 5112: 5093:(2): 291–360. 5073: 5066: 5045: 5032: 5028:Stowell (2003) 5019: 5000: 4998:, p. 233. 4996:Stowell (2003) 4987: 4985:, p. 239. 4983:Stowell (2003) 4974: 4970:Cobbett (1929) 4961: 4949: 4945:Cobbett (1929) 4932: 4923: 4921:, p. 270. 4911: 4898: 4882: 4870: 4854: 4842: 4838:Ferdinand Ries 4834:Solomon (1980) 4826: 4824:, p. 244. 4822:Stowell (2003) 4813: 4797: 4788: 4779: 4766: 4754: 4750:Cobbett (1929) 4741: 4734: 4716: 4708:Cobbett (1929) 4706:, "Haydn", in 4695: 4683: 4671: 4658: 4656:, p. 131. 4646: 4634: 4632:, p. 153. 4622: 4610: 4598: 4585: 4577:Stowell (2003) 4568: 4539: 4528:Stowell (2003) 4518: 4517: 4515: 4512: 4509: 4508: 4506: 4505: 4478:alto saxophone 4428: 4425: 4424: 4400: 4397: 4394: 4389: 4385: 4384: 4333:Charles Gounod 4315:Louise Farrenc 4303: 4300: 4297: 4292: 4288: 4287: 4284:Hear My Prayer 4267: 4264: 4260: 4259: 4231:, Beethoven's 4218: 4215: 4211: 4210: 4207:antiphonically 4199: 4196: 4195:Double quartet 4192: 4191: 4168: 4165: 4161: 4160: 4149: 4146: 4143: 4138: 4134: 4133: 4122: 4119: 4116: 4111: 4107: 4106: 4095: 4091: 4090: 4084:Leslie Bassett 4080: 4077: 4071: 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1037: 1027: 1024:Schubert Octet 1022: 1021: 1020: 1011: 1010: 1009: 1007: 1006:Franz Schubert 1004: 993:sul ponticello 986: 985: 981: 980: 975: 972: 971: 969: 968: 963: 955: 950: 948:minor, Op. 131 939: 937:major, Op. 130 928: 926:major, Op. 127 916: 914: 908: 907: 905: 904: 895: 879: 877: 873: 872: 870: 869: 864: 859: 853: 851: 841: 840: 838: 837: 826: 821: 816: 811: 806: 800: 798: 792: 791: 780: 779: 772: 765: 757: 711:Claremont Trio 703: 690: 654: 641:Septet, Op. 20 624:, by Beethoven 594: 591: 551: 548: 521: 518: 492: 489: 476: 473: 425: 419: 409: 406:First movement 404: 403: 397: 396: 387: 386: 385: 358: 357: 347: 334: 328: 310: 307: 237: 196:basso continuo 121: 118: 109: 106: 83:palace chamber 15: 9: 6: 4: 3: 2: 6845: 6834: 6831: 6829: 6826: 6824: 6821: 6819: 6818:Musical forms 6816: 6814: 6813:Chamber music 6811: 6810: 6808: 6798: 6788: 6787: 6784: 6777: 6774: 6771: 6768: 6765: 6762: 6759: 6756: 6754: 6751: 6750: 6744: 6741: 6739: 6736: 6735: 6730: 6729:Chamber music 6725: 6711: 6706: 6695: 6689: 6685: 6684: 6678: 6674: 6670: 6666: 6662: 6658: 6654: 6650: 6646: 6641: 6638: 6637:Stanley Sadie 6634: 6633: 6629: 6625: 6623:0-393-02556-X 6619: 6615: 6611: 6607: 6606: 6595: 6593:0-520-20420-4 6589: 6585: 6580: 6576: 6574:0-231-08617-2 6570: 6565: 6564: 6563:Chamber Music 6557: 6553: 6551:0-679-74582-3 6547: 6543: 6539: 6538:Swafford, Jan 6535: 6531: 6529:0-521-80194-X 6525: 6521: 6517: 6512: 6508: 6506:0-374-52700-8 6502: 6498: 6494: 6490: 6486: 6484:0-586-05189-9 6480: 6476: 6475: 6470: 6466: 6462: 6460:0-8021-3316-9 6456: 6452: 6447: 6443: 6441:0-375-70924-X 6437: 6433: 6429: 6425: 6421: 6417: 6416:Leonard Stein 6413: 6409: 6405: 6403:9780800872380 6399: 6394: 6393: 6386: 6382: 6378: 6374: 6370: 6368:1-892862-09-3 6364: 6360: 6355: 6351: 6349:0-4159-6695-7 6345: 6342:. Routledge. 6341: 6336: 6332: 6330:0-393-00909-2 6326: 6322: 6321: 6316: 6312: 6308: 6306:0-500-27383-9 6302: 6298: 6293: 6289: 6287:0-500-20164-1 6283: 6279: 6275: 6271: 6267: 6261: 6257: 6252: 6248: 6246:0-520-04317-0 6242: 6237: 6236: 6230: 6226: 6222: 6217: 6213: 6211:9780393097337 6207: 6202: 6201: 6195: 6191: 6187: 6185:0-393-30052-8 6181: 6177: 6176: 6170: 6166: 6162: 6161:Crumb, George 6158: 6155: 6151: 6147: 6146:9781906857820 6143: 6138: 6134: 6130: 6126: 6124:0-85936-142-X 6120: 6116: 6111: 6107: 6102: 6098: 6096:0-226-06585-5 6092: 6088: 6087: 6081: 6077: 6075:0-8014-9456-7 6071: 6066: 6065: 6058: 6054: 6052:1-57647-018-0 6048: 6043: 6042: 6035: 6034: 6014: 6008: 5992: 5988: 5982: 5975: 5970: 5963: 5962:Shaham (1994) 5958: 5952:, p. 86. 5951: 5946: 5940:, p. 10. 5939: 5934: 5927: 5921: 5915:, p. 28. 5914: 5909: 5902: 5899:Waterman, in 5896: 5889: 5888:Norton (1925) 5883: 5876: 5871: 5865:, p. 11. 5864: 5859: 5853:, p. 99. 5852: 5846: 5839: 5838:Norton (1925) 5834: 5827: 5822: 5815: 5812:Waterman, in 5809: 5803:, p. 18. 5802: 5801:Norton (1925) 5797: 5791: 5787: 5781: 5767:on 2012-05-07 5763: 5756: 5750: 5736:on 2006-05-13 5735: 5731: 5725: 5718: 5713: 5699: 5695: 5689: 5675:on 2017-11-14 5674: 5670: 5666: 5660: 5653: 5649: 5643: 5637: 5633: 5632: 5627: 5621: 5615:, p. 15. 5614: 5609: 5602: 5597: 5590: 5585: 5578: 5577: 5572: 5567: 5559: 5555: 5549: 5542: 5537: 5531:, p. 88. 5530: 5525: 5518: 5514: 5508: 5501: 5499: 5495: 5490: 5486: 5481: 5474: 5471: 5468:Steve Reich, 5465: 5458: 5453: 5446: 5441: 5435:, p. 383 5434: 5429: 5427: 5419: 5414: 5407: 5402: 5395: 5390: 5383: 5378: 5371: 5366: 5359: 5354: 5348:, p. 91. 5347: 5342: 5335: 5330: 5323: 5322:Miller (2006) 5318: 5309: 5303:, p. 104 5302: 5301:Miller (2006) 5297: 5295: 5287: 5283: 5278: 5271: 5267: 5262: 5256:, p. 95. 5255: 5250: 5243: 5238: 5232:, p. 52. 5231: 5226: 5219: 5215: 5214: 5207: 5201:, p. 50. 5200: 5194: 5187: 5181: 5174: 5171:Bashford, in 5168: 5161: 5158:Bashford, in 5155: 5147: 5143: 5139: 5135: 5131: 5127: 5123: 5116: 5108: 5104: 5100: 5096: 5092: 5088: 5084: 5077: 5069: 5063: 5059: 5052: 5050: 5042: 5036: 5029: 5026:Bashford, in 5023: 5015: 5011: 5004: 4997: 4991: 4984: 4978: 4971: 4965: 4959: 4953: 4946: 4942: 4936: 4927: 4920: 4919:Ulrich (1966) 4915: 4908: 4907:Kerman (1979) 4902: 4896:, p. 27. 4895: 4891: 4886: 4880:, p. 28. 4879: 4878:Miller (2006) 4874: 4867: 4863: 4862:Joseph Kerman 4858: 4852:, p. 57. 4851: 4850:Miller (2006) 4846: 4839: 4835: 4830: 4823: 4817: 4810: 4806: 4801: 4792: 4783: 4776: 4775:Raynor (1978) 4770: 4764:, p. 80. 4763: 4758: 4751: 4745: 4737: 4735:9781351540278 4731: 4727: 4720: 4713: 4709: 4705: 4699: 4692: 4691:Ulrich (1966) 4687: 4680: 4675: 4668: 4662: 4655: 4654:Ulrich (1966) 4650: 4643: 4638: 4631: 4626: 4620:, p. 18. 4619: 4618:Ulrich (1966) 4614: 4608:, p. 12. 4607: 4606:Boyden (1965) 4602: 4595: 4594:Ulrich (1966) 4589: 4582: 4578: 4572: 4565: 4561: 4557: 4553: 4549: 4543: 4535: 4529: 4523: 4519: 4503: 4499: 4495: 4491: 4487: 4483: 4479: 4475: 4471: 4467: 4463: 4459: 4455: 4451: 4447: 4443: 4439: 4433: 4429: 4426: 4421: 4417: 4413: 4412:Émile Bernard 4409: 4405: 4401: 4398: 4395: 4393: 4390: 4386: 4382: 4378: 4374: 4370: 4366: 4362: 4361: 4356: 4352: 4348: 4345: 4341: 4338: 4334: 4330: 4329: 4324: 4323:Franz Lachner 4320: 4316: 4312: 4308: 4304: 4301: 4298: 4296: 4293: 4289: 4285: 4281: 4277: 4276: 4275:Lay a garland 4271: 4268: 4265: 4262: 4261: 4257: 4253: 4249: 4246: 4242: 4238: 4237:Franz Lachner 4234: 4230: 4226: 4222: 4219: 4216: 4213: 4212: 4208: 4204: 4200: 4197: 4194: 4193: 4189: 4185: 4184:George Enescu 4181: 4177: 4173: 4169: 4166: 4163: 4162: 4158: 4154: 4150: 4147: 4144: 4142: 4135: 4131: 4127: 4123: 4120: 4117: 4115: 4112: 4108: 4104: 4100: 4096: 4093: 4092: 4088: 4085: 4081: 4078: 4076: 4072: 4068: 4064: 4060: 4057: 4055: 4051: 4048: 4047: 4043: 4040: 4037: 4036: 4032: 4028: 4025: 4023: 4022:String sextet 4020: 4018: 4011: 4007: 4006:Franz Krommer 4003: 3999: 3996: 3992: 3989: 3987: 3983: 3982: 3978: 3975: 3972: 3971: 3967: 3963: 3959: 3955: 3951: 3950:Petroushkates 3947: 3943: 3942: 3937: 3933: 3930: 3928: 3925: 3924: 3920: 3916: 3912: 3908: 3904: 3901: 3898: 3895: 3894: 3890: 3886: 3882: 3879: 3876: 3875: 3871: 3867: 3863: 3859: 3855: 3852: 3850: 3846: 3842: 3839: 3837: 3836:Brass quintet 3834: 3833: 3829: 3825: 3822: 3819: 3816: 3815: 3811: 3807: 3803: 3799: 3795: 3794:Michael Haydn 3791: 3788: 3786: 3783: 3782: 3778: 3774: 3770: 3766: 3763: 3761: 3758: 3757: 3753: 3749: 3745: 3744:Trout Quintet 3741: 3738: 3737: 3733: 3729: 3725: 3721: 3717: 3714: 3712: 3711:Piano quintet 3707: 3700: 3696: 3692: 3689: 3687: 3683: 3682: 3678: 3677:Franz Berwald 3675: 3672: 3669: 3668: 3664: 3663:Robert Davine 3661: 3658: 3655: 3654: 3651: 3647: 3643: 3639: 3635: 3631: 3627: 3624: 3622: 3618: 3617: 3614: 3613:So Percussion 3610: 3606: 3602: 3598: 3595: 3592: 3591: 3588: 3584: 3583:Joseph Jongen 3580: 3576: 3572: 3568: 3564: 3561: 3559: 3558:Flute quartet 3556: 3555: 3552: 3548: 3544: 3540: 3536: 3532: 3528: 3524: 3520: 3516: 3512: 3509: 3507: 3504: 3503: 3499: 3496: 3493: 3492: 3488: 3484: 3480: 3476: 3472: 3469: 3466: 3465: 3462: 3458: 3455: 3453: 3452:Piano quartet 3450: 3449: 3445: 3442: 3440: 3437: 3435: 3428: 3424: 3420: 3416: 3413: 3410: 3409: 3405: 3402: 3399: 3398: 3395: 3391: 3387: 3385:hrn, vln, pno 3384: 3381: 3380: 3376: 3372: 3368: 3364: 3360: 3356: 3352: 3349: 3347: 3344: 3343: 3339: 3336: 3334:fl, ob, E hrn 3333: 3330: 3329: 3325: 3321: 3317: 3314: 3312: 3309: 3308: 3304: 3300: 3296: 3293: 3290: 3289: 3285: 3281: 3277: 3273: 3269: 3265: 3262: 3260: 3257: 3256: 3253: 3249: 3245: 3242: 3239: 3235: 3234: 3230: 3227: 3224: 3221: 3220: 3216: 3212: 3208: 3204: 3201: 3198: 3196: 3193: 3192: 3188: 3184: 3180: 3176: 3172: 3169: 3167: 3164: 3162: 3155: 3151: 3147: 3144: 3141: 3140: 3136: 3132: 3129: 3126: 3125: 3121: 3117: 3113: 3109: 3106: 3104: 3101: 3098: 3096: 3092: 3088: 3084: 3083:baroque music 3080: 3078: 3074: 3073: 3069: 3065: 3061: 3057: 3053: 3049: 3045: 3041: 3037: 3033: 3030: 3026: 3022: 3019: 3012: 3008: 3006: 3003: 3001: 2997: 2994: 2991: 2990: 2987: 2985: 2981: 2970: 2957: 2954: 2951: 2948: 2945: 2942: 2939: 2936: 2933: 2930: 2927: 2924: 2921: 2918: 2917: 2916: 2909: 2906: 2903: 2899: 2895: 2892: 2888: 2885: 2882: 2879: 2875: 2872: 2869: 2866: 2862: 2858: 2857: 2856: 2848: 2846: 2842: 2841:Nathan Shaham 2838: 2834: 2830: 2829: 2823: 2819: 2817: 2813: 2812:Cobbett Medal 2809: 2798: 2794: 2792: 2788: 2784: 2780: 2770: 2766: 2765:, and so on. 2764: 2760: 2756: 2750: 2748: 2744: 2736: 2732: 2727: 2718: 2714: 2712: 2708: 2702: 2696: 2694: 2690: 2689: 2683: 2679: 2675: 2666: 2660: 2652: 2648: 2646: 2642: 2637: 2632: 2627: 2618: 2609: 2606: 2599: 2597: 2593: 2585: 2583: 2579: 2575: 2571: 2567: 2561: 2559: 2553: 2549: 2546: 2540: 2538: 2527: 2521: 2519: 2498: 2481: 2479: 2478: 2473: 2469: 2465: 2464:Robert Davine 2461: 2460: 2455: 2451: 2447: 2443: 2437: 2435: 2431: 2420: 2418: 2414: 2410: 2405: 2403: 2399: 2398: 2384: 2383:Leon Theremin 2380: 2376: 2374: 2370: 2369: 2357: 2348: 2346: 2342: 2337: 2331: 2329: 2325: 2310: 2308: 2307: 2302: 2298: 2297: 2291: 2288: 2282: 2280: 2276: 2261: 2259: 2255: 2248:Neoclassicism 2245: 2228: 2225: 2199: 2196: 2185: 2181: 2177: 2173: 2168: 2166: 2162: 2158: 2154: 2149: 2147: 2143: 2139: 2138: 2133: 2127: 2125: 2121: 2120: 2115: 2111: 2107: 2100: 2098: 2074: 2057: 2054: 2050: 2046: 2039: 2036:, painted by 2035: 2034: 2028: 2019: 2016: 2012: 2008: 2004: 2000: 1996: 1995: 1990: 1985: 1983: 1975: 1973: 1949: 1932: 1930: 1921: 1906: 1902: 1893: 1889: 1886: 1875: 1873: 1868: 1864: 1860: 1856: 1855:Zoltán Kodály 1851: 1849: 1845: 1841: 1837: 1833: 1829: 1828: 1823: 1819: 1815: 1813: 1809: 1805: 1801: 1796: 1789: 1787: 1774: 1772: 1768: 1760: 1755: 1746: 1744: 1743:Ravel quartet 1740: 1736: 1735:Gabriel Fauré 1732: 1731:Maurice Ravel 1725: 1723: 1719: 1704: 1702: 1701:Pierre Boulez 1698: 1694: 1690: 1682: 1681:Impressionist 1678: 1674: 1670: 1666: 1664: 1660: 1656: 1652: 1648: 1643: 1641: 1636: 1629: 1627: 1616: 1612: 1596: 1577: 1575: 1562: 1560: 1554: 1552: 1548: 1544: 1539: 1535: 1527: 1522: 1513: 1511: 1510:Emily Shinner 1507: 1503: 1499: 1495: 1491: 1487: 1481: 1479: 1475: 1472: 1468: 1464: 1460: 1456: 1452: 1448: 1440: 1436: 1432: 1428: 1426: 1422: 1418: 1414: 1410: 1406: 1402: 1398: 1397:George Onslow 1392: 1390: 1386: 1380: 1378: 1374: 1370: 1366: 1357: 1348: 1346: 1342: 1338: 1332: 1330: 1326: 1322: 1318: 1314: 1308: 1306: 1285: 1263: 1256: 1251: 1247: 1245: 1241: 1236: 1234: 1230: 1226: 1222: 1218: 1211: 1209: 1198: 1182: 1164: 1154: 1152: 1148: 1144: 1139: 1137: 1133: 1128: 1127:gemütlichkeit 1124: 1123:Schubertiaden 1117: 1115: 1111: 1101: 1100: 1096: 1095: 1094:Trout Quintet 1090: 1077: 1075: 1071: 1070: 1069:Trout Quintet 1065: 1064:chamber music 1061: 1054: 1052: 1040: 1025: 1003: 1000: 998: 994: 978: 973: 967: 964: 962: 960: 956: 954: 951: 949: 940: 938: 929: 927: 918: 917: 915: 913: 912:Late quartets 909: 903: 901: 896: 894: 892: 881: 880: 878: 874: 868: 865: 863: 860: 858: 855: 854: 852: 850: 848: 842: 836: 827: 825: 822: 820: 817: 815: 812: 810: 807: 805: 802: 801: 799: 797: 793: 789: 785: 778: 773: 771: 766: 764: 759: 758: 755: 751: 750: 747: 745: 741: 737: 733: 729: 725: 720: 713: 712: 708: 700: 699: 695: 689: 687: 683: 678: 676: 668: 666: 653: 651: 646: 642: 637: 633: 631: 623: 618: 614: 612: 608: 607:late quartets 604: 599: 590: 588: 584: 580: 575: 570: 566: 561: 557: 547: 544: 539: 535: 531: 527: 517: 513: 511: 507: 503: 499: 488: 481: 472: 470: 466: 462: 458: 453: 451: 446: 444: 440: 433: 431: 407: 401: 384: 382: 377: 375: 371: 367: 363: 355: 351: 348: 345: 344: 340: 335: 332: 329: 326: 325: 320: 319: 318: 315: 306: 304: 300: 296: 291: 289: 280: 276: 272: 270: 263: 261: 260: 255: 251: 236: 234: 230: 226: 222: 218: 214: 210: 206: 205: 199: 197: 193: 189: 185: 181: 177: 173: 169: 165: 160: 158: 154: 153:violin family 150: 142: 138: 134: 130: 126: 117: 115: 105: 102: 98: 94: 92: 88: 84: 80: 76: 73:is a form of 72: 71:Chamber music 65: 64:Adolph Menzel 61: 57: 53: 49: 45: 39: 32: 25: 23: 6728: 6709: 6697:. Retrieved 6682: 6648: 6644: 6630: 6613: 6583: 6562: 6541: 6515: 6496: 6473: 6450: 6431: 6428:Seth, Vikram 6419: 6391: 6380: 6358: 6339: 6319: 6296: 6277: 6255: 6234: 6220: 6199: 6174: 6165:Black Angels 6164: 6136: 6114: 6105: 6085: 6063: 6040: 6030:Bibliography 6016:. Retrieved 6007: 5995:. Retrieved 5990: 5981: 5974:Booth (1999) 5969: 5957: 5945: 5933: 5920: 5908: 5895: 5882: 5877:, p. 5. 5870: 5858: 5845: 5833: 5828:, p. 6. 5821: 5808: 5796: 5780: 5769:. Retrieved 5762:the original 5749: 5738:. Retrieved 5734:the original 5724: 5717:Baron (1998) 5712: 5701:. Retrieved 5697: 5688: 5677:. Retrieved 5673:the original 5668: 5659: 5647: 5642: 5629: 5620: 5613:Booth (1999) 5608: 5601:Baron (1998) 5596: 5589:Baron (1998) 5584: 5574: 5566: 5557: 5548: 5541:Crumb (1971) 5536: 5524: 5516: 5507: 5492: 5488: 5480: 5469: 5464: 5457:Baron (1998) 5452: 5445:Baron (1998) 5440: 5433:Baron (1998) 5418:Baron (1998) 5413: 5406:Baron (1998) 5401: 5389: 5384:, p. 7. 5377: 5370:Eosze (1962) 5365: 5353: 5341: 5329: 5317: 5308: 5277: 5261: 5249: 5237: 5225: 5211: 5206: 5193: 5180: 5175:, p. 6. 5167: 5162:, p. 5. 5154: 5129: 5125: 5115: 5090: 5086: 5076: 5057: 5040: 5035: 5022: 5003: 4994:Hefling, in 4990: 4977: 4964: 4952: 4935: 4926: 4914: 4901: 4885: 4873: 4857: 4845: 4829: 4816: 4800: 4791: 4782: 4769: 4757: 4744: 4725: 4719: 4704:Donald Tovey 4698: 4686: 4681:, p. 6. 4674: 4666: 4661: 4649: 4641: 4637: 4625: 4613: 4601: 4588: 4581:C. F. Zelter 4571: 4547: 4542: 4533: 4522: 4466:English horn 4464:; Eng hrn – 4432: 4404:Josef Reicha 4358: 4351:Nonet (1923) 4326: 4319:Nonet (1875) 4311:Nonet (1849) 4283: 4273: 4164:String octet 4153:Octet D. 803 4097:Prokofiev's 4075:Piano sextet 4061:Such as the 4054:wind quintet 4030: 3973:Reed quintet 3965: 3957: 3949: 3939: 3934:Named after 3806:Vagn Holmboe 3760:Wind quintet 3732:Shostakovich 3649: 3596:4 Percussion 3575:Eugène Bozza 3571:Anton Reicha 3531:Philip Glass 3519:Paul Creston 3515:Eugène Bozza 3375:Khachaturian 3350:cl, vln, pno 3315:fl, vla, hrp 3297:Schubert's " 3266:Beethoven's 3243:cl, vla, pno 3199:vln, vc, pno 3170:vln, vla, vc 3130:voice, piano 2977: 2913: 2854: 2844: 2836: 2826: 2824: 2820: 2815: 2804: 2795: 2790: 2776: 2767: 2751: 2740: 2733:movement of 2715: 2703: 2699: 2686: 2670: 2658: 2649: 2644: 2638: 2635: 2615: 2602: 2588: 2582:Project Trio 2562: 2557: 2554: 2550: 2541: 2533: 2524: 2515: 2475: 2459:Black Angels 2457: 2454:George Crumb 2449: 2445: 2438: 2426: 2416: 2406: 2395: 2393: 2366: 2363: 2354: 2334: 2320: 2304: 2294: 2292: 2285: 2271: 2257: 2251: 2176:polytonality 2172:Charles Ives 2169: 2164: 2157:polytonality 2150: 2145: 2144:, who wrote 2142:Anton Webern 2135: 2128: 2124:Sprechstimme 2117: 2103: 2094: 2042: 2031: 2015:Charles Ives 1992: 1986: 1978: 1969: 1919: 1910: 1890: 1881: 1872:Leoš Janáček 1852: 1840:Edvard Grieg 1825: 1816: 1792: 1784: 1764: 1728: 1714: 1689:César Franck 1686: 1677:Claude Monet 1672: 1644: 1632: 1623: 1572: 1555: 1543:counterpoint 1531: 1482: 1471:music critic 1444: 1429: 1409:Anton Reicha 1393: 1381: 1377:César Franck 1362: 1344: 1340: 1333: 1311: 1302: 1260: 1237: 1224: 1214: 1205: 1140: 1122: 1120: 1106: 1092: 1087: 1067: 1057: 1048: 1001: 992: 989: 958: 899: 890: 846: 728:syncopations 716: 705: 692: 679: 671: 663: 638: 634: 627: 596: 553: 523: 514: 494: 486: 467:and cellist 454: 447: 436: 427: 378: 359: 349: 336: 330: 321: 314:Joseph Haydn 312: 303:Joseph Haydn 292: 288:figured bass 284: 269:contrapuntal 266: 257: 246: 217:German flute 202: 200: 161: 146: 111: 99: 95: 70: 69: 21: 6699:12 February 6434:. Vintage. 5950:Seth (1999) 5913:Blum (1986) 5890:, chapter 7 5875:Blum (1986) 5863:Blum (1986) 5648:Soundscapes 5284:, cited in 5268:, cited in 4484:; b. sax – 4480:; t. sax – 4476:; a. sax – 4472:; s. sax – 4450:double bass 4436:Key: vln – 4416:Arthur Bird 4263:Vocal octet 4172:Mendelssohn 4151:Schubert's 4105:'s Sextet. 4038:Wind sextet 3864:'s Op. 10, 3860:'s Op. 34, 3734:and others 3718:Schumann's 3621:String trio 3609:Paul Lansky 3487:Walter Rabl 3423:Basset horn 3419:Villa-Lobos 3414:ob, cl, bsn 3263:cl, vc, pno 3215:Tchaikovsky 3207:Mendelssohn 3166:String trio 3087:harpsichord 2984:sheet music 2958:in New York 2946:in New York 2833:Vikram Seth 2747:syncopation 2693:Jan Vermeer 2645:mano a mano 2612:Performance 2545:Gallup poll 2434:synthesizer 2409:Terry Riley 2402:Stockhausen 2373:Steve Reich 2296:Kammermusik 2137:Lyric Suite 1905:Béla Bartók 1859:Béla Bartók 1767:nationalism 1425:opera arias 1337:Louis Spohr 997:Lydian mode 942:No. 14 in C 931:No. 13 in B 920:No. 12 in E 883:No. 10 in E 732:modulations 645:Carl Czerny 579:Franz Liszt 560:harpsichord 556:Baroque era 543:Louis Spohr 324:sonata form 184:harpsichord 172:trio sonata 149:Renaissance 137:Hippocrates 79:instruments 56:Franz Benda 24:(Hindemith) 22:Kammermusik 6807:Categories 6018:2012-05-12 5771:2012-05-12 5740:2012-05-12 5703:2017-12-12 5679:2017-12-12 4941:Willi Kahl 4381:Alois Hába 4363:(1934) by 4347:Wind Nonet 4337:Stanford's 4331:(1885) by 4252:Stravinsky 4245:Reinecke's 4214:Wind octet 3946:Joan Tower 3802:Boccherini 3722:, Brahms, 3686:piano trio 3684:Voice and 3605:David Lang 3513:Examples: 3305:'s Lieder 3282:'s Op. 3, 3213:, Brahms, 3195:Piano trio 3127:Vocal duet 3099:Piano duet 3081:Common in 2779:intonation 2773:Intonation 2685:(Picture: 2578:Cello Fury 2518:media help 2423:New sounds 2254:Stravinsky 2132:Alban Berg 2097:media help 1972:media help 1830:, Op. 70. 1626:media help 1492:, and the 1421:folk tunes 1417:Joseph Suk 1389:piano trio 1305:media help 1253:Violinist 1225:Canzonetta 1208:media help 1161:See also: 1051:media help 959:Große Fuge 847:Rasumovsky 829:No. 6 in B 736:intonation 675:Große Fuge 650:contrabass 565:pianoforte 430:media help 190:, harp or 91:orchestral 6673:145538145 6665:1024-5286 6474:Beethoven 5576:The Strad 5107:0003-0139 4558:(cloth); 4205:arranged 3993:Mozart's 3905:Mozart's 3866:Hindemith 3824:Prokofiev 3646:Jörg Duda 3601:John Cage 3483:Hindemith 3411:Reed trio 3382:Horn trio 3301:", D965; 3173:Mozart's 3112:Beethoven 3070:sonatas. 3023:2 pianos 3020:Piano duo 3009:Comments 3000:ensembles 2980:ensembles 2974:Ensembles 2963:Festivals 2759:sul tasto 2711:pizzicato 2468:accordion 2407:Composer 2182:. In his 2180:polymeter 2148:, op. 5. 2045:serialism 1663:obbligato 1496:, led by 1488:, led by 961:, Op. 133 845:Opus 59 ( 593:Beethoven 587:orchestra 574:sforzando 155:, called 133:Aristotle 87:art music 66:(1850–52) 52:Sanssouci 6540:(1997). 6495:(1998). 6471:(1980). 6430:(1999). 6414:(1984). 6379:(1925). 6317:(1979). 6276:(1978). 6231:(1982). 6196:(1947). 6163:(1971). 5698:acmp.net 5014:Archived 4502:trombone 4500:; trm – 4492:; hrn – 4488:; bsn – 4470:clarinet 4452:; pno – 4440:; vla – 4349:(1877); 4342:(1905); 4340:Serenade 4128:Op. 20, 4101:Op. 34, 4000:Brahms' 3798:Bruckner 3642:Devienne 3485:(1938), 3475:Messiaen 3211:Schumann 3116:Schubert 3064:clarinet 3038:; i.e., 2887:Archived 2755:spiccato 2743:hemiolas 2731:Burletta 2474:wrote a 2432:and the 2430:theremin 2112:was the 1846:and his 1613:and the 1559:Swafford 1547:tonality 1447:ideology 1109:Schubert 945:♯ 934:♭ 923:♭ 886:♭ 832:♭ 526:luthiers 461:Schubert 299:serenade 157:consorts 6639:, 1980) 6418:(ed.). 5997:May 30, 5786:KUOW-FM 4498:trumpet 4496:; tr – 4490:bassoon 4468:; cl – 4460:; ob – 4456:; fl – 4448:; cb – 4444:; vc – 4344:Parry's 4280:Purcell 4248:Op. 216 4241:Op. 156 4233:Op. 103 4130:Berwald 4103:Copland 4063:Poulenc 3881:Schmidt 3706:Quintet 3638:Krommer 3434:Quartet 3371:Milhaud 3320:Debussy 3060:bassoon 3036:sonatas 2998:Common 2678:YouTube 2596:YouTube 2328:YouTube 2279:YouTube 1733:and of 1722:YouTube 1532:It was 1476:. This 1114:YouTube 900:Serioso 796:Opus 18 502:baryton 343:scherzo 254:YouTube 233:bassoon 229:theorbo 221:violone 176:Baroque 174:of the 108:History 54:, with 6783:Portal 6726:about 6690: 6671: 6663: 6620: 6590: 6571: 6548: 6526: 6503: 6481: 6457: 6438: 6400: 6365: 6346: 6327: 6303: 6284: 6262: 6243: 6208: 6182: 6152: 6144: 6121: 6093: 6072: 6049: 5515:", in 5144: 5105: 5064: 4890:Kerman 4732: 4566:(pbk). 4562: 4554: 4438:violin 4360:Planos 4256:Gounod 4225:KV 375 4221:Mozart 4126:Septet 4114:Septet 4017:Sextet 3960:, and 3958:Static 3911:Op. 16 3907:KV 452 3810:Dvořák 3777:Op. 43 3769:Reicha 3728:Dvořák 3724:Bartók 3720:Op. 44 3695:Lieder 3611:. See 3607:, and 3394:Ligeti 3390:Brahms 3355:Bartók 3248:K. 498 3187:Kodály 3183:Bridge 3179:Dvořák 3150:Bartók 3120:Brahms 3108:Mozart 3040:violin 2735:Bartók 2110:atonal 1867:Magyar 1321:fugues 1240:cyclic 1145:, the 1039:D. 803 744:Op. 95 740:Op. 74 719:Op. 59 558:, the 530:violin 368:, and 339:minuet 295:Galant 198:part. 6669:S2CID 6635:(ed. 5765:(PDF) 5758:(PDF) 5489:Awake 5472:, at 5142:JSTOR 4892:, in 4710:, or 4514:Notes 4458:flute 4454:piano 4446:cello 4442:viola 4392:Decet 4369:three 4307:Spohr 4295:Nonet 4157:Spohr 4141:Octet 4050:Piano 3897:Piano 3858:Weber 3773:Danzi 3461:Fauré 3303:Spohr 3252:Bruch 3203:Haydn 3068:flute 3048:viola 3044:cello 2863:, or 2839:, by 2165:Suite 1929:elegy 1804:Dumka 1072:, an 835:major 538:cello 534:viola 354:rondo 256:from 231:, or 225:cello 188:organ 141:Galen 129:Plato 6701:2017 6688:ISBN 6661:ISSN 6618:ISBN 6588:ISBN 6569:ISBN 6546:ISBN 6524:ISBN 6501:ISBN 6479:ISBN 6455:ISBN 6436:ISBN 6398:ISBN 6363:ISBN 6344:ISBN 6325:ISBN 6301:ISBN 6282:ISBN 6260:ISBN 6241:ISBN 6206:ISBN 6180:ISBN 6150:ISBN 6148:and 6142:ISBN 6119:ISBN 6091:ISBN 6070:ISBN 6047:ISBN 5999:2011 5103:ISSN 5062:ISBN 4730:ISBN 4702:See 4560:ISBN 4552:ISBN 4494:horn 4462:oboe 4406:and 4377:four 4278:and 4227:and 4201:Two 4052:and 3917:and 3750:and 3632:and 3581:and 3392:and 3373:and 3363:Berg 3359:Ives 3322:and 3274:and 3268:Trio 3185:and 3161:Trio 3135:Lied 3095:Duet 3056:oboe 3052:horn 2995:Name 2896:the 2876:the 2865:ACMP 2859:the 2580:and 2345:DSCH 2161:jazz 2009:and 1982:Nazi 1857:and 1757:The 1375:and 1327:and 891:Harp 680:The 648:the 581:and 536:and 192:lute 139:and 6653:doi 5636:NPR 5134:doi 5095:doi 4379:by 4371:by 4353:by 4321:by 4313:by 4282:'s 4272:'s 4239:'s 4229:388 4223:'s 4186:'s 4174:'s 4086:. 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