Chamber music | History, Characteristics, Composers, & Facts | Britannica (original) (raw)

chamber music, music composed for small ensembles of instrumentalists. In its original sense, chamber music referred to music composed for the home, as opposed to that written for the theatre or church. Since the “home”—whether it be drawing room, reception hall, or palace chamber—may be assumed to be of limited size, chamber music most often permits no more than one player to a part. It usually dispenses with a conductor. Music written for combinations of stringed or wind instruments, often with a keyboard (piano or harpsichord) as well, and music for voices with or without accompaniment have historically been included in the term.

An essential characteristic of chamber music results from the limited size of the performing group employed: it is intimate music, suited to the expression of subtle and refined musical ideas. Rich displays of varied instrumental colour, and striking effects produced by sheer sonority, play little part in chamber music. In place of those effects are refinement, economy of resources, and flawless acoustical balance.

This article discusses instrumental ensemble music written for groups of two to eight players with one player to a part, and in which stringed instruments and piano (or harpsichord) supply the principal interest.

Sources and instruments

Instrumental music designed for home use has existed since about the middle of the 15th century. It became customary in Germany to supply folk-song melodies with two or three countermelodies, to expand and elaborate the whole, and to arrange the result for groups of instruments; original melodies were given similar treatment. The instruments were not often specified, but on the basis of many paintings of the time one may assume that groups of viols of various sizes predominated.

A more important source of later chamber music is to be found in the arrangements of 16th-century chansons (songs of French origin composed usually for four voices on a variety of secular texts), some for voices and lute, others for lute alone. The typical chanson was characterized by contrasts in musical texture and often in metre; the effect of the whole was that of a short composition in several even shorter sections. That sectional form retained in the arrangements later became a striking feature.

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The chanson travelled to Italy about 1525, became known as canzona, and was transcribed for organ. The earliest transcriptions differed from the French arrangements in treating the original chanson with greater freedom, adding ornaments and flourishes, and sometimes inserting new material. Soon original canzonas for organ, modelled on the transcriptions, and for small instrumental ensembles, were composed. One such type, characterized by elaborate figurations and ornamented melodies, became influential in England late in the 17th century and played a role in the works of Henry Purcell.

Parallel to the developments that led from the vocal chanson, in France, to the instrumental canzona, primarily in Italy, was the development of the dance suite. Early 16th-century dance tunes in all countries of western Europe usually had appeared in pairs: one was slow, stately in mood, and in duple metre (i.e., with two beats to the measure); the other fast, lively in mood, usually in triple metre, and often melodically similar to the first. Through much of the 16th century, composers in the several countries sought to expand the dance pair into a unified dance suite. Suites based on variations of one movement appeared in England; suites in which each of four dances had its own rhythmic character, melodically based on the first dance, were written in Germany; sets of dances with no internal relationships to each other were common in Italy. The most influential steps were taken in France by composers for the lute or the clavecin (harpsichord). Consisting essentially of four dance forms that were then popular—the allemande, courante, sarabande, and gigue—the suites they composed were based on contrasting tempos, metres, and rhythmic patterns. The French version of the dance suite became the prototype for later chamber music forms.

Toward the middle of the 17th century the two types of composition—one derived from the canzona and composed in sectional form, the other derived from the dance suite and consisting of several movements—appeared as works for small instrumental ensembles. In Italy small groups of stringed instruments were often employed in Roman Catholic churches to perform appropriate music; thus canzonas came to be widely used for church purposes. For church use the dance movements were omitted, and what came to be called a church sonata (sonata da chiesa) resulted. And a set of sonate da chiesa composed in 1667 by Giovanni Battista Vitali marked the beginning of the form as a separate entity.

In the same year Johann Rosenmüller, a German composer working in Venice, published a set of _Sonate da camera cioè Sinfonie_… (_Chamber Sonatas, that is, Symphonies_…), each consisting of four to six dance movements with an introductory movement (sinfonia) not in dance style. The development of chamber music for the remainder of the century centred upon these two types, sonata da chiesa and sonata da camera.

The first half of the 17th century was marked by considerable variety in the constitution of chamber music groups. Compositions were commonly for one to four viols, or for combinations of viols and woodwind instruments, most often with a figured-bass accompaniment, a kind of musical shorthand, employed in virtually all music of the period about 1600 to 1750, in which the composer wrote a bass line and inserted figures and other symbols under certain notes. The figures indicated the nature of the desired chord to be improvised over the note—whether major or minor, whether in normal or in inverted position, and so on—and the figured-bass line was designed to be “realized” or played by a harmony instrument (such as a lute, organ, or harpsichord), often with a melody instrument (bass, cello, or bassoon) to reinforce the bass line. The bass line with its figures and the two instruments performing it were called basso continuo or simply continuo.

As early as 1622, the Italian composer Salomone Rossi had begun to specify two violins and chittarone (a large lute) in his dance sets; and soon similar combinations were adopted generally. A work written for two violins and bass (continuo) became known as a sonata a tre or “trio sonata”—even though four instruments (the three strings and the lute or harpsichord) were usually involved in the performance. Later in the 17th century works for one instrument and continuo appeared also and were called variously solo sonatas, duos, or sonate a due. The combinations of violin and continuo or cello and continuo were favoured, and sonatas for those combinations took regular places in the chamber music field.

Works for two violins and continuo (with harpsichord and bass understood) virtually dominated the field until the middle of the 18th century. About that time the custom of serenading became popular; small groups of instrumentalists strolled the streets of Austrian and Italian cities, performing serenades and divertimenti. The keyboard instrument realizing the continuo proved unwieldy and was soon abandoned. To the three remaining strings a viola was added to fill out the harmonies, the bass was replaced by a cello, and the string quartet emerged. This new combination of two violins, viola, and cello was then adopted by composers of serious music, and from about 1750 the string quartet took its place as the principal medium for chamber music. Owing its development largely to the Austrian composer Joseph Haydn, it has reigned supreme to the present day. About 1760, other combinations for strings alone began to play important but relatively smaller roles in the field: the string trio (violin, viola, cello), string quintet (quartet plus a second viola), and string sextet (quintet plus a second cello) are chief among them.

Meanwhile, as the continuo principle gradually approached obsolescence, the harpsichord (which was superseded by the piano about 1770) took on a new function in chamber music. In works with continuo it had been an accompanying instrument, improvising its part according to the directions indicated in the figured bass; now the keyboard instrument became dominant in new combinations that included one to four strings. The most important of these is the piano trio (piano, violin, cello), the repertory of which includes works from Haydn to the present. Various combinations of piano and one instrument loom almost as large. Toward the end of the 18th century and extending through the 19th, the combinations of piano quartet (piano trio plus viola) and piano quintet (piano and string quartet) give rise to a small but significant repertory ornamented by composers such as Mozart, Beethoven, Brahms, and many others.

Finally, works for individual combinations exist in considerable number after about the 1780s. Representative compositions of that nonstandard group include the clarinet quintets (string quartet and clarinet) by Mozart (K. 581) and Brahms (Opus 115); the Septet, Opus 20 (violin, viola, cello, bass, clarinet, bassoon, and horn), by Beethoven; the Octet, Opus 166 (as in the septet plus a second violin), the Trout Quintet, Opus 114 (violin, viola, cello, bass, and piano), and the String Quintet in C Major, Opus 163 (two violins, viola, and two cellos), all by Schubert; and the Horn Trio, Opus 40 (violin, horn, and piano), by Brahms. Composers of the 20th century have written works for instrumental groups to which a voice is added.