1. Chamber and Choral Music January 30, 2004

2. Nineteenth-Century Chamber Music Chamber music – small group of performers (generally 10 players or less) Chamber music – small group of performers (generally 10 players or less) Typical arrangements or grouping of instruments: Typical arrangements or grouping of instruments: String quartets String quartets Quintets (string quartet and piano or other solo instrument) Quintets (string quartet and piano or other solo instrument) Sonatas for solo instrument with piano Sonatas for solo instrument with piano Other (octets, etc.) Other (octets, etc.) Composers’ preference or dislike of chamber music: reasons Composers’ preference or dislike of chamber music: reasons Venues for performance: public concerts and in private homes Venues for performance: public concerts and in private homes Amateur and professional musicians Amateur and professional musicians Favoured repertoire Favoured repertoire Formation of chamber music societies: e.g. Schubertiads Formation of chamber music societies: e.g. Schubertiads

3. Franz Schubert’s Chamber Music Obviously an important figure in the early 19thC Obviously an important figure in the early 19thC Composed songs, orchestral music, and chamber pieces Composed songs, orchestral music, and chamber pieces Early string quartets show the influence of the first Viennese school – composed for his friends to perform (likely at a Schubertiad) Early string quartets show the influence of the first Viennese school – composed for his friends to perform (likely at a Schubertiad) Wrote 35 chamber works: 15 string quartets, trios, piano quintet Wrote 35 chamber works: 15 string quartets, trios, piano quintet His pieces are recognized for their lyricism, harmonic colour His pieces are recognized for their lyricism, harmonic colour Die Forelle (“Trout”) Quintet (1819) Die Forelle (“Trout”) Quintet (1819) Five movement work in the style of divertimento Five movement work in the style of divertimento Use of musical quotation Use of musical quotation

4. Johannes Brahms (1833-97) Successor to Beethoven and Schubert in chamber/orchestral music Successor to Beethoven and Schubert in chamber/orchestral music His father played some music, family finances always precarious His father played some music, family finances always precarious Brahms was sent to private schools; lessons on piano, cello, horn Brahms was sent to private schools; lessons on piano, cello, horn First performance: chamber concert in 1843 on piano First performance: chamber concert in 1843 on piano Taught piano, performed popular music at private gatherings, accompanied in the theatre Taught piano, performed popular music at private gatherings, accompanied in the theatre Influenced by popular and folk music, and German literature Influenced by popular and folk music, and German literature Collected European folksongs – arranged some for chorus Collected European folksongs – arranged some for chorus Composed pieces for solo piano, chorus, lieder, orchestra, etc. Composed pieces for solo piano, chorus, lieder, orchestra, etc. Style: “controlled passion;” conservative Style: “controlled passion;” conservative

5. Johannes Brahms’ Chamber Music Considered the true successor to Beethoven in chamber music realm Considered the true successor to Beethoven in chamber music realm In his chamber music: Brahms’s musical creative personality is most obvious In his chamber music: Brahms’s musical creative personality is most obvious Wrote 24 pieces for chamber ensemble Wrote 24 pieces for chamber ensemble He gave his music great care and often reworked musical ideas, even after publication He gave his music great care and often reworked musical ideas, even after publication e.g. Piano Quintet in f minor, opus 34 (1864) e.g. Piano Quintet in f minor, opus 34 (1864) this piece had undergone two earlier versions for different instruments this piece had undergone two earlier versions for different instruments overall this piece adheres to conventions of chamber music – four movements (first in sonata form) overall this piece adheres to conventions of chamber music – four movements (first in sonata form) recognized for Brahms’ use of thematic transformation recognized for Brahms’ use of thematic transformation

6. 19th Century Choral Music Chorus: Music composed for a group of singers in which there is more than one person singing each part Chorus: Music composed for a group of singers in which there is more than one person singing each part Choruses in 19 th C opera - increasingly important role Choruses in 19 th C opera - increasingly important role Choral symphonies – after Beethoven’s 9th composers experimented with this genre (we’ll look at Mahler later) Choral symphonies – after Beethoven’s 9th composers experimented with this genre (we’ll look at Mahler later) Music written specifically for choruses Music written specifically for choruses Not a genre favoured by 19thC composers Not a genre favoured by 19thC composers Music for chorus: settings: Music for chorus: settings: A cappella A cappella With piano/organ or orchestral accompaniment With piano/organ or orchestral accompaniment Men’s chorus, women’s chorus or mixed chorus Men’s chorus, women’s chorus or mixed chorus Formation of singing clubs and societies Formation of singing clubs and societies

7. Types of 19 th C Choral Music Part-songs and short choral pieces Part-songs and short choral pieces Music on liturgical texts Music on liturgical texts Influence of Cecilian movement in 19thC R.C. Church : Influence of Cecilian movement in 19thC R.C. Church : link to 19thC music historicism link to 19thC music historicism various publications from this time addressed the supremacy of Palestrina and mirrored the council of Trent recommendations (1545-63) regarding music: various publications from this time addressed the supremacy of Palestrina and mirrored the council of Trent recommendations (1545-63) regarding music: music subservient to text and liturgy music subservient to text and liturgy text must be intelligible text must be intelligible sacred music should be a cappella or only organ accompaniment sacred music should be a cappella or only organ accompaniment minimum word painting minimum word painting avoidance of excessive chromaticism and expansive modulations avoidance of excessive chromaticism and expansive modulations This resulted in a revival of 16th C a cappella singing, restoration of Gregorian chant to its “pristine” form This resulted in a revival of 16th C a cappella singing, restoration of Gregorian chant to its “pristine” form

8. Anton Bruckner (1824-96) Captured the ideal from the Cecilian movement Captured the ideal from the Cecilian movement Devout Roman Catholic, profoundly religious, solitary Devout Roman Catholic, profoundly religious, solitary Organist (court and church), well-schooled in counterpoint Organist (court and church), well-schooled in counterpoint Musically captured spirit of reverence/spirituality Musically captured spirit of reverence/spirituality Music is rooted in formal traditions of Schubert and Beethoven, with chromatic harmony Music is rooted in formal traditions of Schubert and Beethoven, with chromatic harmony He wrote 4 masses, 40+ cantatas, 9 symphonies (one incomplete) He wrote 4 masses, 40+ cantatas, 9 symphonies (one incomplete) E.g. Virga Jesse (1885) E.g. Virga Jesse (1885)

9. Johannes Brahms Brahms contributed a great deal to 19thC music: orchestral, chamber, solo piano, Lieder and choral pieces Brahms contributed a great deal to 19thC music: orchestral, chamber, solo piano, Lieder and choral pieces His choral writing is a significant portion of his output His choral writing is a significant portion of his output Most important piece in this genre is his German Requiem, op. 45, composed from 1857-68 Most important piece in this genre is his German Requiem, op. 45, composed from 1857-68 Instead of the traditional Requiem texts (in Latin), he instead set selections of German poetry and Biblical texts translated into German by Martin Luther Instead of the traditional Requiem texts (in Latin), he instead set selections of German poetry and Biblical texts translated into German by Martin Luther sacred oratorio – text is consolation for living, hope for salvation, meditative quality - no references to Jesus Christ, but to ‘universal God’ sacred oratorio – text is consolation for living, hope for salvation, meditative quality - no references to Jesus Christ, but to ‘universal God’ Set for chorus, orchestra, soprano and baritone soloists Set for chorus, orchestra, soprano and baritone soloists 7 movements 7 movements E.g. 4th movement “Wie lieblich sind deine Wohnungen” E.g. 4th movement “Wie lieblich sind deine Wohnungen”