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Chamber music is a form of classical music that is composed for a small group of instrumentstraditionally a group that could fit in a palace chamber or a large room. Most broadly, it includes any art music that is performed by a small number of performers, with one performer to a part in contrast to orchestral music, in which each string part is played by a number of performers. However, by convention, it usually does not include solo instrument performances. Because of its intimate nature, chamber music has been described as the music of friends. For more than 1. Playing chamber music requires special skills, both musical and social, that differ from the skills required for playing solo or symphonic works. Johann Wolfgang von Goethe described chamber music specifically, string quartet music as four rational people conversing. This conversational paradigmwhich refers to the way one instrument introduces a melody or motif and then other instruments subsequently respond with a similar motifhas been a thread woven through the history of chamber music composition from the end of the 1. The analogy to conversation recurs in descriptions and analyses of chamber music compositions. HistoryeditFrom its earliest beginnings in the Medieval period to the present, chamber music has been a reflection of the changes in the technology and the society that produced it. Early beginningseditDuring the Middle Ages and the early Renaissance, 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 violin family, called consorts. Some analysts consider the origin of classical instrumental ensembles to be the sonata da camera chamber sonata and the sonata da chiesa church sonata. These were compositions for one to five or more instruments. The sonata da camera was a suite of slow and fast movements, interspersed with dance tunes the sonata da chiesa was the same, but the dances were omitted. These forms gradually developed into the trio sonata of the Baroque two treble instruments and a bass instrument, often with a keyboard or other chording instrument harpsichord, organ, harp or lute, for example filling in the harmony. Both the bass instrument and the chordal instrument would play the basso continuo part. During the Baroque period, chamber music as a genre was not clearly defined. Often, works could be played on any variety of instruments, in orchestral or chamber ensembles. The Art of Fugue by Johann Sebastian Bach, for example, can be played on a keyboard instrument harpsichord or organ or by a string quartet or a string orchestra. The instrumentation of trio sonatas was also often flexibly specified some of Handels sonatas are scored for German flute, Hoboy oboe or Violin8 Bass lines could be played by violone, cello, theorbo, or bassoon, and sometimes three or four instruments would join in the bass line in unison. Sometimes composers mixed movements for chamber ensembles with orchestral movements. Telemanns Tafelmusik 1. Baroque chamber music was often contrapuntal that is, each instrument played the same melodic materials at different times, creating a complex, interwoven fabric of sound. Because each instrument was playing essentially the same melodies, all the instruments were equal. In the trio sonata, there is often no ascendent or solo instrument, but all three instruments share equal importance. The harmonic role played by the keyboard or other chording instrument was subsidiary, and usually the keyboard part was not even written out rather, the chordal structure of the piece was specified by numeric codes over the bass line, called figured bass. In the second half of the 1. Galant style, with thinner texture, . Now a new custom arose that gave birth to a new form of chamber music the serenade. Patrons invited street musicians to play evening concerts below the balconies of their homes, their friends and their lovers. Patrons and musicians commissioned composers to write suitable suites of dances and tunes, for groups of two to five or six players. These works were called serenades seranight, nocturnes, divertimenti, or cassations from gassestreet. The young Joseph Haydn was commissioned to write several of these. Haydn, Mozart, and the classical styleeditJoseph Haydn is generally credited with creating the modern form of chamber music as we know it. Install Debian 7'>Install Debian 7. In 8. 3 string quartets, 4. Haydn established the conversational style of composition and the overall form that was to dominate the world of chamber music for the next two centuries. An example of the conversational mode of composition is Haydns string quartet Op. No. 4 in D major. In the first movement, after a statement of the main theme by all the instruments, the first violin breaks into a triplet figure, supported by the second violin, viola and cello. The cello answers with its own triplet figure, then the viola, while the other instruments play a secondary theme against this movement. Unlike counterpoint, where each part plays essentially the same melodic role as the others, here each instrument contributes its own character, its own comment on the music as it develops. Score of Joseph Haydns Op. No. 4, showing conversational mode. Haydn also settled on an overall form for his chamber music compositions, which would become the standard, with slight variations, to the present day. The characteristic Haydn string quartet has four movements An opening movement in sonata form, usually with two contrasting themes, followed by a development section where the thematic material is transformed and transposed, and ending with a recapitulation of the initial two themes. A lyrical movement in a slow or moderate tempo, sometimes built out of three sections that repeat themselves in the order ABCABC, and sometimes a set of variations. A minuet or scherzo, a light movement in three quarter time, with a main section, a contrasting trio section, and a repeat of the main section. A fast finale section in rondo form, a series of contrasting sections with a main refrain section opening and closing the movement, and repeating between each section. His innovations earned Haydn the title father of the string quartet,1. But he was by no means the only composer developing new modes of chamber music. Even before Haydn, many composers were already experimenting with new forms. Giovanni Battista Sammartini, Ignaz Holzbauer, and Franz Xaver Richter wrote precursors of the string quartet. Joseph Haydn playing string quartets. If Haydn created the conversational style of composition, Wolfgang Amadeus Mozart greatly expanded its vocabulary. His chamber music added numerous masterpieces to the chamber music repertoire. Mozarts seven piano trios and two piano quartets were the first to apply the conversational principle to chamber music with piano. Haydns 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. Mozart introduced the newly invented clarinet into the chamber music arsenal, with the Kegelstatt Trio for viola, clarinet and piano, K.