The Story of Chamber Music
9781465677433
213 pages
Library of Alexandria
Overview
Berlioz, who, by the way, wrote no chamber music save a serenade for two flutes and harp (“L’Enfance du Christ”), in his imaginative fashion somewhere speculates as to which of his own works he would preserve if it were ordained that all except one should perish. In like manner, we may ask ourselves which of the great forms of musical composition we would plead for in case all the rest were doomed to destruction. Music for the orchestra, with its vivid colours, its strength and delicacy; the vast range of choral music; works for the organ, that huge modern plexus of pipe and reed;—these and others no doubt have strong claims on our musical affections. But, if forced to such a choice, it is certain that many a musician would, without hesitation, pledge himself to uphold the claims of Chamber music, for who can measure the almost infinite variety and charm which it affords, and that, too, with the slenderest means? Probably no other form of music would wear so well as this, and to hardly any other could we turn, day by day, with such abiding satisfaction. Of course, in a matter of this kind unanimity is not to be expected, and some will no doubt take exception to the view here stated; but, all the same, it may be confidently asserted that the more this kind of music is cultivated, and the more thoroughly its literature is known and studied, the less divergent will opinion tend to become. The term chamber music, excluding piano solos, which, strictly speaking, do not come under this head, embraces compositions in the form of duets, trios, quartetts, and other larger combinations, for strings (i.e. violins, violas, ’cellos, and double basses), and for wind instruments (chiefly wood wind and horns), both with and without the pianoforte. Of all the musical forms, this of chamber music is the most adapted for home consumption, and its cultivation by any community may safely be taken as a strong proof of an advanced condition of musical taste. As regards the present day tendency, no doubt many chamber works are written too much in orchestral style; and, in addition to this, there has arisen an inclination on the part of some composers to make this form express more than it seems naturally fitted to do. We allude to string quartetts such as Raff’s op. 192, “Die Schöne Müllerin,” and Smetana’s “Aus meinem Leben,” which introduce the programme idea into chamber music.
