The dividing lines are very thin. This is music where instrumental parts, particularly strings, are played by more than one player. Back in the early 17 th century, say, Monteverdi would have written for whoever was available. Orchestral music today is generally scored for all families of Western instruments: strings, brass, woodwind, percussion, with occasional requirements for keyboard piano and organ and electronic instruments synths, ondes Martenot , Theremin. It is often used to describe a composition involving two singers.
It differs from a harmony, as the performers take turns performing a solo section rather than performing simultaneously. In classical music, the term is most often used for a composition for two singers or pianists. The term is also used to describe a composition for such a group. The violin departs first, elaborating on its own melody, followed by the piano. The cello provides structure as a bass instrument, giving a few melodic ideas.
A string quartet usually consists of two violins, a viola, and a cello. An upper string quartet features two violins and two violas. A lower string quartet features one viola, two cellos, and a double bass. A woodwind quartet usually features a flute, an oboe, a clarinet and a bassoon. A brass quartet features two trumpets, a trombone and a tuba. A wind quartet features a horn, a flute, an oboe and a bassoon.
A lower wind quartet features a tuba, a bassoon, a bass clarinet and a trombone. A saxophone quartet consists of a soprano saxophone, an alto saxophone, a tenor saxophone, and a baritone saxophone.
The string quintet is a common type of group. It is similar to the string quartet, but with an additional viola, cello, or more rarely, the addition of a double bass. I get used to it easier than their orchestral works, because there are only four voices to follow. Similar to some above, in my younger years I focused on orchestral but not to the exclusion of all else.
Now being a bit older and more mature in outlook I sincerely hope, though some people like my mother would disagree with that sometimes! I also much prefer going to chamber concerts, whether string orchestra, string quartet, piano trio, chamber choir, etc.
I especially like seeing the non verbal communication between the musicians at this smaller level. But sometimes it's hard to categorise. It was difficult to tell whether this was a chamber or orchestral ensemble. The orchestra was small, about musicians, while the choir was strong.
What struck me was how unified it all sounded, there was no lack of balance between the large choir and small orchestra. I was especially delighted to hear very clearly Mozart's delicate filigreed counterpoint, as the orchestra accompanied the solo singers in the movements where the choir is not used. It wasn't like the recordings I've heard with bigger orchestras, they seem to lack clarity compared to this. But I suppose, for this reason, I liked the "chamber-like" aspects of this performance, I could have lived with it being a sung by smaller choir.
But the contrast between the big choir, small orchestra and soloists singers was fascinating to behold. Last edited by Sid James; May at Genuine ersatz classical listener since May, When I was younger I could barely stand chamber music. I thought it had to be full orchestra or nothing.
Gradually I've done an about face and find chamber music to be more interesting. Sometimes the full orchestra effect seems a little cheesy -- probably because I have been exposed to too many cheesy overblown movie soundtracks. Chamber music seems more about the music and the expression than about crashing, banging, soaring, scintillating.
Oddly there is an in-between stage I don't enjoy as much. One to five instruments is fine, especially if one of them is a piano. But sextets, septets, octets, etc, just seem awkward.
They sound cluttered to me, with none of the spacial sweep of a full orchestra. I still enjoy them, just not as much as either full orchestra or smaller ensembles. Maybe that's why so few have been written. Originally Posted by prustage. Why not go to chamber concerts in smaller, more intimate venues then, like churches or school halls? They usually have excellent acoustics. I've found that these can be some of the most moving and profound experiences full stop. Often, the leader of the ensemble may give a short talk to the gathered audience about the works, ensemble, etc.
So the atmosphere is mostly informal, although if you want to come dressed formally, that's fine too. The Sydney Symphony Orchestra, the major one here, just seems to play endless repetitions of the classical "greatest hits.
Compare this to something like our Flinders String Quartet, which plays things like Mozart, Berg and Richard Mills contemporary Australian composer on the same program. There's heaps more variety there, something for everyone, not just for the die-hard conservatives, stuck in the 18th or 19th century.
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