Kamera musiqasi - Chamber music

Buyuk Frederik yozgi saroyida nay chaladi Sanssousi, bilan Frants Benda skripka chalish, Karl Filipp Emanuil Bax klaviaturada va noma'lum simli pleyerlarda hamrohlik qilish; tomonidan rasm Adolph Menzel (1850–52)

Kamera musiqasi shaklidir mumtoz musiqa kichik guruh asboblari uchun tuzilgan - an'anaviy ravishda a ga mos keladigan guruh saroy xonasi yoki katta xona. Keng ma'noda, u har qanday narsani o'z ichiga oladi badiiy musiqa oz sonli ijrochilar tomonidan, bitta ijrochidan bir qismga qadar (aksincha orkestr har bir torli qismini bir qator ijrochilar ijro etadigan musiqa). Biroq, odatdagidek, odatda yakka asboblar ijrolarini o'z ichiga olmaydi.

Kamera musiqasi samimiyligi sababli "do'stlarning musiqasi" deb ta'riflangan.^[1] 100 yildan ortiq vaqt mobaynida kamerali musiqani asosan havaskor musiqachilar o'z uylarida chalishgan va hanuzgacha kamerali musiqa xonadoni uydan kontsert zaliga ko'chib kelganida ham, ko'plab musiqachilar, havaskor va professionallar, hali ham o'zlari uchun kamera musiqasini ijro etishmoqda. zavq. Kamera musiqasini ijro etish yakka yoki simfonik asarlarni ijro etish uchun zarur bo'lgan qobiliyatlardan farq qiluvchi musiqiy va ijtimoiy maxsus ko'nikmalarni talab qiladi.^[2]

Iogann Volfgang fon Gyote kamerali musiqani (xususan, torli kvartet musiqasini) "to'rtta aqlli odam" deb ta'riflagan.^[3] Ushbu suhbat paradigmasi - bu bitta asbobning ohang yoki motifni kiritishi, so'ngra boshqa asboblar keyinchalik shunga o'xshash motiv bilan "javob berish" uslubiga ishora qiladi - bu 18-asrning oxiridan tortib to kamerali musiqa kompozitsiyasi tarixida to'qilgan mavzu. hozir. Suhbatga o'xshashlik kamerali kompozitsiyalar tavsiflari va tahlillarida takrorlanadi.

Tarix

O'rta asrlar davridagi dastlabki boshlanishidan to hozirgi kungacha kamerali musiqa uni ishlab chiqargan texnika va jamiyatdagi o'zgarishlarning aksi bo'lib kelgan.

Dastlabki boshlanishlar

Aflotun, Aristotel, Gippokrat va Galen 1516 yildan buyon ushbu hayoliy daraxtzorda violar bo'yicha kvartet o'ynang.

O'rta asrlarda va dastlabki Uyg'onish davrida asboblar asosan qo'shiqchilar uchun hamroh sifatida ishlatilgan.^[4] Simli ijrochilar qo'shiqchi tomonidan kuylangan musiqa chizig'i bilan birga o'ynashardi. Bundan tashqari, ko'pincha skripka oilasining torli kashshoflari nomlangan sof instrumental ansambllar ham bor edi konsortsiyalar.^[5]

Ba'zi tahlilchilar klassik instrumental ansambllarning kelib chiqishini quyidagicha deb hisoblashadi sonata da kamera (kamerali sonata) va sonata da chiesa (cherkov sonatasi).^[6] Ular birdan beshgacha yoki undan ortiq asboblar uchun kompozitsiyalar edi. Sonata da kamerasi raqs ohanglari bilan aralashgan sekin va tezkor harakatlar to'plami edi; sonata da chiesa bir xil edi, lekin raqslar qoldirildi. Ushbu shakllar asta-sekin rivojlanib trio sonata ning Barok - tez-tez klaviatura yoki boshqa ohangdor cholg'u bilan ikkita treble va bosh asboblar (klavesin, organ, arfa yoki lute, masalan) uyg'unlikni to'ldirish.^[7] Bass cholg'usi ham, akkordal cholg'usi ham chaladi basso davomiyligi qism.

Barokko davrida kameralar musiqasi janr sifatida aniq belgilanmagan. Ko'pincha asarlarni har qanday turli xil asboblarda, orkestr yoki kamer ansambllarida ijro etish mumkin edi. Fugue san'ati tomonidan Yoxann Sebastyan Bax Masalan, klaviatura asbobida (klaviatura yoki organ) yoki torli kvartetda yoki torli orkestr. Uchlik sonatalarning asboblari ham tez-tez moslashuvchan ravishda aniqlangan; Handelning ba'zi sonatalari "Nemis naychasi, Xoboy [oboe] yoki skripka "^[8] Bass chiziqlari o'ynashi mumkin edi skripka, viyolonsel, teorbo, yoki fagot va ba'zida uch yoki to'rtta asboblar bir ovozdan bosh qatoriga qo'shilishardi. Ba'zida bastakorlar kameralar ansambllari uchun harakatlarni orkestr harakatlari bilan aralashtirdilar. Masalan, Telemanning "Tafelmusik" (1733) asarida turli xil orkestrlar bo'limi bilan yakunlanadigan turli xil asboblar kombinatsiyasi uchun beshta harakatlar to'plami mavjud.^[9]

J. S. Bax: Trio sonatasi kuni YouTube dan Musiqiy taklif, Brillante ansambli o'ynagan^[10]

Barokko kameralari ko'pincha yangragan qarama-qarshi; ya'ni har bir cholg'u turli vaqtlarda bir xil ohangdor materiallarni chalib, murakkab, to'qilgan ovozli matoni yaratgan. Har bir asbob asosan bir xil kuylarni chalayotganligi sababli, barcha asboblar teng edi. Sonat trioda ko'pincha yuksaladigan yoki yakka cholg'u yo'q, lekin uchta asbob ham bir xil ahamiyatga ega.

Barokko musiqachilari trio sonatasini ijro etish, 18-asr anonim rasm

Klaviatura yoki boshqa ohangdor asboblar uyg'unlashadigan rol yordamchi rol o'ynagan va odatda klaviatura qismi yozilmagan; aksincha, qismning akkord tuzilishi deb nomlangan bosh chiziq ustidagi raqamli kodlar bilan belgilandi boshli bas.

18-asrning ikkinchi yarmida didlar o'zgarishni boshladi: ko'plab bastakorlar yangi, engilroqni afzal ko'rishdi Galant uslubi, "to'qima ingichka, ... va aniq belgilangan ohang va bosh" bilan qarama-qarshi nuqta murakkabliklariga qadar.^[11] Endi yangi odat paydo bo'lib, u kamerali musiqaning yangi turini tug'dirdi: serenad. Patronlar ko'cha musiqachilarini kechqurun kontsertlarini o'z uylari, do'stlari va sevgililari balkonlari ostida o'ynashga taklif qilishdi. Patronlar va musiqachilar bastakorlarga ikki yoki besh yoki oltita o'yinchi guruhlari uchun mos raqs va kuylar to'plamlarini yozishni buyurdilar. Ushbu ishlar serenadalar (sera = kecha), nokturnalar, divertimentlar yoki kassatsiyalar (gasse = ko'chadan) deb nomlangan. Yosh Jozef Xaydn ulardan bir nechtasini yozish buyurilgan edi.^[12]

Xaydn, Motsart va klassik uslub

Jozef Xaydn odatda biz bilgan kamerali musiqaning zamonaviy shaklini yaratgan deb hisoblanadi.^[13] Yilda 68 torli kvartet, 45 pianino triolari Va ko'plab torli trioslar, duetlar va shamol ansambllari Gaydn kompozitsiyaning suhbat uslubini va keyingi ikki asr davomida kamer musiqasi dunyosida hukmronlik qiladigan umumiy shaklni o'rnatdi.

Jozef Xaydn: torli kvartet, Op. 20, № 4, o'ynagan Yupiter kvarteti

Kompozitsiyaning suhbat uslubiga Haydnning misoli torli kvartet Op. 20, Majorda №4. Birinchi harakatda, barcha asboblar tomonidan asosiy mavzuni bayon qilgandan so'ng, birinchi skripka ikkinchi skripka, viola va viyolonsel tomonidan qo'llab-quvvatlanadigan uchlik raqamga aylanadi. Viyolonsel o'zining uchlik figurasi, keyin viola bilan javob beradi, boshqa asboblar bu harakatga qarshi ikkinchi darajali mavzuni o'ynaydi. Qarama-qarshi nuqtai nazardan farqli o'laroq, har bir qism boshqalar kabi bir xil ohangdorlik rolini o'ynaydi, bu erda har bir asbob o'z xarakteriga, rivojlanib borgan sari musiqaga o'z sharhiga hissa qo'shadi.

Jozef Xaydnning Op. 20, № 4, suhbat rejimini ko'rsatuvchi.

Xaydn, shuningdek, hozirgi kungacha biroz o'zgarib turadigan standartga aylanadigan kamerali musiqa asarlari uchun umumiy shaklga qaror qildi. Xaydn torli kvartetining to'rtta harakati bor:

• In ochilish harakati sonata shakli, odatda ikkita qarama-qarshi mavzu bilan, so'ngra tematik material o'zgartirilgan va ko'chirilgan va dastlabki ikkita mavzuni qayta tiklash bilan yakunlangan rivojlanish bo'limi.
• Lirik harakat sekin yoki mo''tadil tempda, ba'zida A-B-C – A-B-C tartibida takrorlanadigan uch qismdan qurilgan, ba'zan esa bir qator o'zgarishlar.
• A minuet yoki sherzo, uch chorak vaqt ichida engil harakat, asosiy qism, qarama-qarshi trio bo'limi va asosiy qismning takrorlanishi.
• Tez yakuniy bo'lim yilda rondo shakl, harakatni ochadigan va yopadigan va har bir bo'lim o'rtasida takrorlanadigan asosiy to'xtash qismiga ega bo'lgan bir qator qarama-qarshi qismlar.

Uning yangiliklari Gaydnga "torli kvartetning otasi" unvonini berdi,^[14] va u zamondoshlari tomonidan o'z davrining etakchi bastakori sifatida tan olingan. Ammo u hech qachon kamerali musiqaning yangi usullarini rivojlantirayotgan yagona bastakor emas edi. Haydngacha ham ko'plab bastakorlar allaqachon yangi shakllar bilan tajriba o'tkazgan. Jovanni Battista Sammartini, Ignaz Xoltsbauer va Frants Xaver Rixter torli kvartetning kashshoflari yozgan.

Jozef Xaydn torli kvartetlarda o'ynamoqda

Agar Haydn kompozitsiyaning suhbat uslubini yaratgan bo'lsa, Volfgang Amadeus Motsart so'z boyligini ancha kengaytirdi. Uning kamera musiqasi kamer musiqasi repertuariga ko'plab durdonalarni qo'shdi. Motsartning ettita fortepiano triosi va ikkita fortepiano kvarteti birinchi bo'lib fortepiano bilan kamerali musiqaga nutq printsipini qo'llagan. Xaydnning fortepiano trioslari asosan skripka va viyolonselning pianino sonatalaridan iborat bo'lib, ular asosan yordamchi rollarni ijro etishadi, pianino skorining trebl va bosh satrlarini ikki baravar oshiradi. Ammo Motsart torlarni mustaqil rol o'ynaydi, ularni pianinoga qarshi vosita sifatida ishlatadi va ularning shaxsiy ovozlarini kamerali suhbatga qo'shadi.^[15]

	Volfgang Amadeus Motsart: Simli kvintet № 4, K. 516 Birinchi harakat Roxana Pavel Goldstein, Elizabeth Choi, skripkalar ijro etgan; Elias Goldstein, Salli Chisholm, violas; Jocelyn Butler, violonchel.
Ushbu faylni o'ynatishda muammo bormi? Qarang ommaviy axborot vositalarida yordam.

Motsart yangi ixtiro qilingan klarnetni kamerali musiqa arsenaliga kiritdi Kegelstatt triosi viola, klarnet va pianino uchun K. 498 va Klarnet va torli kvartet uchun kvintet, K. 581. Shuningdek, u boshqa innovatsion ansambllarni sinab ko'rdi, shu jumladan skripka kvinteti, ikkita viola, viyolonsel va shox, K. 407, nay va torlar kvartetlari va har xil puflama asboblar. U ikkita skripka, ikkita viola va viyolonsel uchun oltita torli kvintetlar yozdi, ular violning boy tenor ohanglarini o'rganib, torli kvartet suhbatiga yangi hajm qo'shdi.

Motsartning torli kvartetlari mumtoz san'atning eng yuqori cho'qqisi hisoblanadi. The u Xaydnga bag'ishlagan oltita torli kvartet, uning do'sti va ustozi, keksa bastakorni Motsartning otasiga aytishga ilhomlantirdi: "Men Xudo oldida sizga halol odam sifatida aytaman: o'g'lingiz menga shaxsan yoki obro'si bilan tanilgan eng buyuk bastakor. Uning didi bor, va ko'proq, kompozitsiya bo'yicha eng chuqur bilimdir. "^[16]

Bu davrda ko'plab boshqa bastakorlar o'sha paytda ommabop bo'lgan va bugungi kunda ham ijro etilayotgan kamerali kompozitsiyalar yozdilar. Luidji Bokherini, Italiyalik bastakor va violonchel ijrochisi, yuzga yaqin torli kvartet va ikkita skripka, viola va ikkita sello uchun yuzdan ortiq kvintet yozgan. Keyinchalik ushbu innovatsion ansamblda ishlatilgan Shubert, Bokherini asosiy viyolonelga o'zining o'ynashi uchun vitrin sifatida yarqirab, virtuozli yakkaxon qo'shiqlar beradi. Skripkachi Karl Ditters fon Dittersdorf va violonchelchi Johann Baptist Wanhal Ikkala skripkada Xaydn va Mitsart bilan pikap kvartetlarini o'ynaganlar, davrning taniqli kamer musiqa kompozitorlari bo'lgan.

Uydan zalga

1805 yildagi pianofort nusxasi

19-asrning boshlarida jamiyatda va musiqa texnologiyasida keskin o'zgarishlar yuz berdi, bu kamerali musiqaning tuzilishi va ijro etilishiga katta ta'sir ko'rsatdi.

Aristokratik tizimning qulashi

Butun 18-asrda bastakor odatda aristokratning xodimi bo'lgan va u yaratgan kamer musiqasi zodagonlar o'yinchilari va tinglovchilariga ma'qul bo'lgan.^[17] Masalan, Xaydnning xodimi bo'lgan Nikolaus I, shahzoda Esterhazi, musiqani sevadigan va havaskor bariton o'yinchi, u uchun Haydn o'zining ko'plab trioslarini yozgan. Motsart Prussiya qiroli uchun uchta torli kvartet yozgan, Frederik Uilyam II, violonchelchi. Betxovenning ko'plab kvartetlari dastlab graf homiysi bilan ijro etilgan Andrey Razumovskiy ikkinchi skripkada. Bokherini Ispaniya qiroli uchun tuzilgan.

Evropada zodagonlarning tanazzulga uchrashi va yangi ijtimoiy buyurtmalar paydo bo'lishi bilan bastakorlar tobora o'z asarlarini sotish va kontsertlar orqali pul ishlashlari kerak edi. Ular tez-tez obuna kontsertlarini berdilar, ular zalni ijaraga olish va spektakldan tushumlarni yig'ishni o'z ichiga olgan. Borgan sari ular nafaqat badavlat homiylar uchun, balki pullik auditoriya uchun o'ynaydigan professional musiqachilar uchun kamera musiqalarini yozdilar.

Torli asboblar tuzilishidagi o'zgarishlar

19-asrning boshlarida, lutiyerlar qurishning yangi usullarini ishlab chiqdi skripka, viola va viyolonsel bu asboblarga yanada boyroq ohang, ko'proq hajm va ko'proq tashish kuchini berdi.^[18] Bundan tashqari, bu vaqtda kosmetika ustalari skripka uchun uzunroq taranglik bilan sochlarning qalinroq lentasi bilan uzunroq yoyilishdi. Bu proektsiyani yaxshilab, yangi ta'zim usullarini yaratdi. 1820 yilda, Lui Spur skripkachilarga chaqqonroq texnikasi uchun chap qo'llarida ko'proq harakatlanish erkinligini beradigan chinrestni ixtiro qildi. Ushbu o'zgarishlar katta zallarda ommaviy chiqishlarning samaradorligiga hissa qo'shdi va kamerali musiqa bastakorlari uchun mavjud bo'lgan texnikalar repertuarini kengaytirdi.

Pianofort ixtirosi

Davomida Barok davri, klavesin kamera musiqasida ishlatiladigan asosiy asboblardan biri bo'lgan. Klavesin iplarni yulishda kvilinglardan foydalangan va uning nafis ovozi bor edi. Klavesin dizayni tufayli ijrochi klaviaturada o'ynagan hujum yoki og'irlik ovoz balandligini yoki ohangini o'zgartirmadi. Taxminan 1750 yildan 1700 yillarning oxirigacha klaviatura asta-sekin ishlatilmay qoldi. 1700 yillarning oxiriga kelib pianoforte ijro etish vositasi sifatida ko'proq mashhur bo'ldi. Pianoforte tomonidan ixtiro qilingan bo'lsa ham Bartolomeo Kristofori 1700 yillarning boshlarida, u o'sha asrning oxirigacha keng qo'llanilmadi, uning qurilishidagi texnik yaxshilanishlar uni yanada samarali vosita qildi. Klaviaturadan farqli o'laroq, pianofort yumshoq yoki baland ovozda va keskin o'ynashi mumkin edi sforzando ijrochilar tugmachalarni qanchalik qattiq yoki yumshoq o'ynaganiga qarab hujumlar.^[19] Yaxshilangan pianoforte Motsart va boshqa bastakorlar tomonidan qabul qilindi, ular pianino etakchi rol o'ynagan holda kamerali ansambllar yaratishni boshladilar. Pianino 19-asrda tobora ko'proq hukmronlik qilishi kerak edi, shuning uchun ko'plab bastakorlar, masalan Frants Liss va Frederik Shopin, deyarli faqat yakka pianino uchun yozgan (yoki yakka pianino bilan orkestr ).

Betxoven

Lyudvig van Betxoven G'arb musiqasining ulkan giganti sifatida ushbu o'zgarish davrini bosib o'tdi. Betxoven kamerali musiqani o'zgartirdi, uni mazmun jihatidan ham, ijrochilarga va tomoshabinlarga bo'lgan texnik talablar nuqtai nazaridan yangi darajaga ko'tardi. Uning asarlari, so'zlari bilan aytganda Maynard Sulaymon, "... o'n to'qqizinchi asr romantikasi o'z yutuqlari va muvaffaqiyatsizliklarini o'lchagan modellar" edi.^[20] Uning kech to'rtliklar, xususan, shu qadar dahshatli yutuq deb hisoblangan ediki, undan keyingi ko'plab bastakorlar kvartetlar tuzishdan qo'rqishgan; Yoxannes Brams "orqada ulkan yurish" ga munosib ko'rgan asarini nashr etishga jur'at etguniga qadar 20 ta torli kvartetni tuzdi va yulib tashladi.^[21]

Qo'lyozmasi "Sade" Trio, Op. 70, № 1, Betxoven tomonidan

Betxoven o'zining bastakori sifatida rasmiy debyutini o'tkazdi uchta fortepiano trioslari, Op. 1. Betxoven atigi 22 yoshida, qat'iy klassik qolipga rioya qilgan holda yozilgan ushbu dastlabki asarlarda ham Betxoven kelgusi yillarda bosib o'tishi kerak bo'lgan yangi yo'llarning alomatlari namoyon bo'ldi. U triosning qo'lyozmasini Haydnga o'qituvchisi nashr etilishidan oldin ko'rsatganida, Haydn dastlabki ikkitasini ma'qulladi, lekin uchinchi trioni C minor tilida nashr etishni radikal deb ogohlantirdi va "... bo'lmaydi" deb ogohlantirdi. tushunilgan va jamoatchilik tomonidan ijobiy qabul qilingan. "^[22]

Haydn noto'g'ri edi - uchinchi trio eng mashhur to'plam edi va Haydnning tanqidlari u bilan sezgir Betxoven o'rtasida ziddiyatni keltirib chiqardi. Uchlik, haqiqatan ham, Xaydn va Motsart shakllantirgan qolipdan uzoqlashishdir. Betxoven iboralar ichida va harakatlar ichida tempning keskin og'ishlarini amalga oshiradi. U torlarning mustaqilligini, ayniqsa, viyolonselning pianino va hatto ba'zan skripkadan yuqoriroq bo'lishiga imkon beradigan darajada oshiradi.

Agar uning Op. 1 trios Betxovenning asarlarini ommaga tanishtirdi, uning Septet, Op. 20, uni Evropaning eng mashhur bastakorlaridan biri sifatida tanitdi. Skripka, viola, viyolonsel, kontrabas, klarnet, shox va fagus uchun urilgan septet juda katta zarba bo'ldi. Bu kontsertlarda qayta-qayta ijro etilgan. Bu ko'plab kombinatsiyalar uchun transkripsiyada paydo bo'ldi - ulardan birini klarnet, viyolonsel va fortepiano uchun Betxovenning o'zi yozgan - va shu qadar mashhur ediki, Betxoven boshqa asarlarini tutib olishidan qo'rqardi. Shunday qilib, 1815 yilga kelib, Karl Cerniy Betxoven "o'z septetiga dosh berolmadi va uni olqishlagan olqish tufayli g'azablandi" deb yozgan.^[23] Septet klassik divertimento sifatida oltita harakat, shu jumladan ikkita minuet va variatsiyalar to'plamida yozilgan. Hamma uchun, jumladan, musiqa uchun yakka qo'shiqlari bilan tinglanadigan musiqa bilan to'la kontrabas.

Betxoven: Septet, Op. 20, O'rta Yer Ansambli o'ynagan birinchi harakat

Betxoven o'zining 56 yoshidagi 37 yil davomida tuzilgan 17 torli kvartetlarida klassik bastakorning mukammalligidan musiqiy romantizm yaratuvchisiga aylandi va nihoyat, kech torli kvartetlari bilan u klassizm va romantizmdan ustun bo'lib, unga qarshi turadigan janrni yaratdi. turkumlash. Stravinskiy Große Fuge, so'nggi kvartetlardan, "... abadiy zamonaviy bo'lib turadigan bu mutlaqo zamonaviy musiqa asari".^[24]

The torli kvartetlar 1-6, Op. 18, Xaydn o'z yozgan yili, klassik uslubda yozilgan Op. 76 torli kvartet. Bu erda ham Betxoven Xaydn va Motsart tomonidan kashshof bo'lgan rasmiy tuzilmalarni kengaytirdi. Kvartetda Op. Masalan, 18-son, F majorda, masalan, ikkinchi harakatda viyolonsel uchun uzun, lirik yakkaxon bor, bu kvartet suhbatida viyolonselga yangi ovoz turini beradi. Va Opning so'nggi harakati. 18-son, 6-son, "La Malincolia" manik raqsi bilan sekin, melankolik qismni o'zaro bog'lab, rasmiy tuzilmaning yangi turini yaratadi. Betxoven ushbu shaklni keyingi kvartetlarda ishlatishi kerak edi, Brams va boshqalar ham buni qabul qilishdi.

1805 yildan 1806 yilgacha Betxoven uchtasini tuzdi Op. 59 birinchi chiqishida ikkinchi skripkada o'ynagan graf Razumovskiyning topshirig'iga binoan kvartetlar. Betxovenning o'rta davridagi ushbu kvartetlar romantik uslubda kashshoflar edi. Ko'pgina tarkibiy va uslubiy yangiliklarni kiritish bilan bir qatorda, ushbu kvartetlarni texnik jihatdan bajarish ancha qiyin bo'lgan - shu sababli ular ko'plab havaskor sim ijrochilarining imkoniyatlaridan tashqarida bo'lgan va qolavergan. Birinchi skripkachi bo'lganida Ignaz Shuppanzig ularning qiyinligidan shikoyat qildi, Betxoven: "Ruh meni harakatga keltirganda, men sizning bechora skripkangiz haqida qayg'uraman deb o'ylaysizmi?"^[25] Qiyinchiliklar orasida murakkab sinxronizatsiya va o'zaro ritmlar; o'n oltinchi, o'ttiz ikkinchi va oltmish to'rtinchi notalarning sinxronlashtirilgan yugurishlari; va to'satdan modulyatsiyalar alohida e'tibor talab qiladi intonatsiya. Opdan tashqari. 59 kvartet, Betxoven o'rta davrida yana ikkita kvartet yozgan - Op. 74, Betxoven birinchi arfa paytida pitszikato parchalari bilan yaratadigan g'ayrioddiy arfa singari effekti uchun nomlangan "Arfa" kvarteti va Op. 95, "Serioso".

Serioso - bu Betxovenning so'nggi davri - juda introspektiv kompozitsiyalar davri boshlagan o'tish davri asari. "Betxovenning so'nggi uslub davrining o'ziga xos ichki ko'rinishi", deb yozadi Jozef Kerman, "musiqa faqat bastakor uchun va boshqa bir auditor uchun dahshatli tinglovchi: siz" degan tuyg'u beradi.^[26] Kechki kvartetlarda kvartet suhbati ko'pincha birlashib ketadi, ong oqimi kabi davom etadi. Kuylar buziladi yoki musiqa chizig'i o'rtasida asbobdan asbobga uzatiladi. Betxoven ilgari torli kvartet adabiyotida hech qachon esse qilinmagan yangi effektlardan foydalanadi: yuqori kvartet Op va kvartetning ikkinchi harakatida ochiq A torlari orasidagi baland intervallarning efirga o'xshash, xayolparast effekti. 132; foydalanish sul ponticello (skripka ko'prigida o'ynash) Opning Presto harakatida mo'rt, tirnalgan tovush uchun. 131; dan foydalanish Lidiya rejimi, G'arb musiqasida 200 yil davomida kamdan-kam eshitilgan, Op. 132; viyolonsel musiqasi Opning finalida boshqa barcha torlardan balandroq o'ynadi. 132.^[27] Shunga qaramay, barcha bu kelishmovchiliklar uchun har bir kvartet mahkam ishlab chiqilgan bo'lib, ishni bir-biriga bog'lab turadigan umumiy tuzilishga ega.

Betxoven sakkizta fortepiano triosini, beshta torli triosni, ikkita torli kvintetni va puflangan ansambl uchun ko'plab asarlarni yozdi. Shuningdek, u skripka va fortepiano uchun o'nta sonli va viyolonsel va fortepiano uchun beshta sonatani yozgan.

Frants Shubert

	Shubert Oktet D. 803, davr asboblarida bajariladigan birinchi harakat
Ushbu faylni o'ynatishda muammo bormi? Qarang ommaviy axborot vositalarida yordam.

Betxoven o'zining so'nggi kvartetlarida o'z yo'nalishi bo'yicha ketayotganda, Frants Shubert paydo bo'lgan romantik uslubni olib bordi va o'rnatdi. 31 yoshida Shubert hayotining katta qismini unga bag'ishladi kamera musiqasi, 15 torli kvartetlar, ikkita fortepiano trioslari, torli trioslar, keng tarqalgan "fortepiano kvinteti" Alabalık kvinteti, an torlar va shamollar uchun oktet va uning ikkita skripka, viola va ikkita sello uchun mashhur kvinteti.

Frants Shubert, Alabalık kvinteti, D. 667, tomonidan ijro etilgan Linkoln markazining kamerali musiqa jamiyati

Shubertning musiqasi, uning hayoti sifatida o'z davrining qarama-qarshiliklari va ziddiyatlarini misol qilib keltirgan. Bir tomondan, u Vena jamiyatining sevgilisi edi: u "taniqli siralar" da rol o'ynagan. Shubertiaden, u erda u o'zining engil va odobli kompozitsiyalarini ifoda etgan gemütlichkeit 1820-yillarning Venasi. Boshqa tomondan, uning qisqa hayoti qashshoqlik va sog'lig'idan azob chekib, fojia bilan o'ralgan edi. Kamera musiqasi ushbu ziddiyatni ifoda etish uchun "uning mohiyatan lirik mavzularini dramatik talaffuz qilish hissi bilan o'ta rangli qarama-qarshiliklar imkoniyatini ta'minlaydigan shakl bilan uyg'unlashtirish uchun" ideal vosita edi.^[28] The C, D. 956-dagi simli kvintet, bu mojaroning musiqada qanday ifodalanganiga misoldir. Sekin-asta kiritilgandan so'ng, birinchi harakatning birinchi mavzusi, olovli va dramatik, ko'tarilgan keskinlik ko'prigiga olib keladi, to'satdan cho'qqiga ko'tarilib, ikkinchi mavzuni buzib tashlaydi, pastki ovozlarda yaltiroq duet.^[29] O'zgaruvchan Sturm und Drang va bo'shashish harakat davomida davom etadi.

Ushbu qarama-qarshi kuchlar Shubertning ba'zi boshqa asarlarida: kvartetda o'z ifodasini topgan O'lim va qiz, Rosamunde kvarteti va bo'ronli, bir harakatli Kvartettsatz, D. 703.^[30]

Feliks Mendelson

	Mendelson: Simli kvartet Op. 13 tomonidan uchinchi harakat Karmel kvarteti
Ushbu faylni o'ynatishda muammo bormi? Qarang ommaviy axborot vositalarida yordam.

Shubertdan farqli o'laroq, Feliks Mendelson tinch va farovon hayot kechirgan. Gamburgda boy yahudiylar oilasida tug'ilgan Mendelson o'zini voyaga yetmagan bola sifatida isbotladi. 16 yoshida u o'zining birinchi yirik palatasi asarini yozdi String Octet, Op. 20. Ushbu asarda allaqachon Mendelson o'zining keyingi asarlarini tavsiflashi kerak bo'lgan o'ziga xos uslubni namoyish etdi; Ayniqsa, uning sherzo harakatlarining gossamer yengil to'qimasi Kanzonetta harakati Simli kvartet, Op. 12 va sherzo D minorada joylashgan 1-sonli fortepiano triosi, Op. 49.

Mendelson kashshof bo'lgan yana bir xususiyat - bu tsiklik umumiy tuzilishdagi shakl. Bu shuni anglatadiki, tematik materialni bir harakatdan ikkinchisiga qayta ishlatib, umumiy parcha izchilligini beradi. Uning ichida ikkinchi torli kvartet, u asarni Minor-dagi bo'ronli birinchi harakatga qarama-qarshi bo'lgan tinchgina adajio bo'limi bilan ochadi. So'nggi va kuchli Presto harakatlaridan so'ng, u asarni yakunlash uchun ochilgan adagioga qaytadi. Ushbu torli kvartet Mendelsonning Betxovenga bo'lgan hurmati; asar Betxovenning o'rta va oxirgi kvartetlaridan olingan so'zlar bilan bezatilgan.

Skripkachi Jozef Yoaxim va pianinochi Klara Shumann. Yoaxim va Shumann Robert Shumann, Yoxannes Brams va boshqalarning ko'pgina palata asarlarini debyut qildilar.

Voyaga etgan hayotida Mendelson ikkita fortepiano triosini, torli kvartet uchun etti asarni, ikkita torli kvintetni, oktetni, fortepiano va torlar uchun sekstetni, skripka, viyolonsel va klarnet bilan fortepiano uchun sonatalarni yozdi.

Robert Shumann

	Shumann pianino kvintetidagi tsiklik tuzilish
Ushbu faylni o'ynatishda muammo bormi? Qarang ommaviy axborot vositalarida yordam.

Robert Shumann tsiklik tuzilishni rivojlantirishni davom ettirdi. Uning ichida E kvartirasida fortepiano kvinteti, Op. 44,^[31] Shumann finalda birinchi harakat mavzusi va oxirgi harakat mavzusidan foydalanib, qo'shaloq fug yozgan. Schumann ham, Mendelssohn ham Betxovenning o'rnagiga ergashib, Barok davridan beri yoqimsiz bo'lib qolgan fugani qayta tikladilar. Biroq, qat'iy, to'liq metrajli yozishdan ko'ra fugalar, ular qarama-qarshi nuqtadan kamerali musiqa asboblari o'rtasidagi suhbatning yana bir usuli sifatida foydalanishgan. Shumanning ko'plab kamerali asarlari, shu jumladan uning uchta simli kvarteti va fortepiano kvartetining qarama-qarshi bo'limlari umumiy kompozitsion to'qima bilan uzviy bog'langan.^[32]

19-asrning birinchi yarmidagi bastakorlar Gaydn va Motsart tomonidan o'rnatilgan suhbat paradigmasidan juda xabardor edilar. Shumanning yozishicha, haqiqiy kvartetda "har kimning aytadigan so'zi bor ... to'rt kishining orasida suhbat, ko'pincha chinakam go'zal, ko'pincha g'alati va loyqa to'qilgan".^[33] Ularning xabardorligi bastakor va virtuoz skripkachi tomonidan namoyish etilgan Lui Spur. Spohr o'zining 36 torli kvartetini ikki turga ajratdi: the quatuor brillant, mohiyatan trio uchi qo'shig'idagi skripka kontserti; va quatuor dialogi, suhbatlashish an'anasida.^[34]

Kamera musiqasi va 19-asrdagi jamiyat

19-asrda uy sharoitida musiqa tayyorlash; Jyul-Aleksandr Grun tomonidan rasm.

19-asrning o'rtalarida jamiyatda va musiqiy didda ko'proq o'zgarishlar yuz berdi, bu ularning kamerali musiqa tarkibi va ijroiga ta'sir ko'rsatdi. Asboblarning yaxshilanishi kameralar musiqasining ommaviy namoyishiga olib kelgan bo'lsa-da, ijro etilgandek ijro etiladigan musiqa turi bo'lib qoldi. Evropada havaskorlar kvarteti jamoalari vujudga keldi va Germaniya va Frantsiyada hech bir o'rtamiyona shahar bo'lmasdan bo'lmaydi. Ushbu jamiyatlar homiylik qildilar uy kontsertlari, musiqa kutubxonalarini tuzdi va kvartetlar va boshqa ansambllarning o'ynashini rag'batlantirdi.^[35]

Yuzlab bastakorlar tomonidan minglab kvartetlar nashr etildi; 1770 yildan 1800 yilgacha 2000 dan ortiq kvartet nashr etilgan,^[36] va keyingi asrda bu sur'at pasaymadi. 19-asr davomida bastakorlar torli kvartetlarni nashr etishdi, endi ular e'tibordan chetda qoldi: Jorj Onslow 36 kvartet va 35 kvintet yozgan; Gaetano Donizetti o'nlab kvartetlar yozgan, Antonio Bazzini, Anton Reyxa, Karl Reissiger, Jozef Suk va boshqalar kvartetlarga bo'lgan to'ymas talabni to'ldirish uchun yozdilar. Bundan tashqari, mashhur va torli kvartet aranjirovkalari uchun jonli bozor mavjud edi xalq kuylari, pianino asarlari, simfoniyalar va opera ariyalari.^[37]

Ammo qarama-qarshi kuchlar ish olib borishdi. 19-asrning o'rtalarida kameralar musiqasidan yakkaxon ijroga e'tiborni qaratgan super yulduzlar virtuozlari paydo bo'ldi. Frederik Şopen va Frants List taqdimot qildilar "retsitallar "- bu Litst tomonidan kiritilgan atama - bu ularning o'ynashi ovozidan hiqillagan ekstatik muxlislarni jalb qildi. Ommaviy ravishda ishlab chiqarilishi mumkin bo'lgan fortepiano afzalliklarga aylandi va ko'pgina bastakorlar, masalan, Shopin va Lisst, asosan agar faqat pianino uchun bo'lmasa.^[38]

Vilemina Norman Neruda torli kvartetga rahbarlik qilgan, taxminan 1880 yil

Pianino va simfonik kompozitsiyaning ko'tarilishi nafaqat ustunlik masalasi edi; bu ham edi mafkura. 1860-yillarda romantik musiqachilar o'rtasida musiqa yo'nalishi bo'yicha nizo kuchaygan. Liszt va Richard Vagner "sof musiqa" Betxoven bilan o'z yo'nalishini egallagan deb va yangi, musiqaning dasturiy shakllari - qaysi musiqa ohanglari bilan "obrazlar" yaratgan bo'lsa - san'atning kelajagi edi. Ushbu maktab bastakorlarining kamerali musiqadan foydasi yo'q edi. Yoxannes Brams va uning sheriklari, ayniqsa qudratli shaxslar bu fikrga qarshi chiqishdi musiqa tanqidchisi Eduard Xanslik. Bu Romantiklar urushi Ikki lager o'rtasida vupuperativ almashinuvlar, kontsert boykotlari va iltimosnomalar bilan davrning badiiy olamini larzaga keltirdi.

19-asrda havaskorlar ijodi rivojlangan bo'lsa-da, bu davrda kamera musiqasi ijrosining professionalligi oshgan davr edi. Kamera musiqasi kontserti sahnasida professional kvartetlar ustunlik qila boshladi. The Hellmesberger kvarteti, boshchiligida Jozef Hellmesberger, va Yoaxim kvarteti, boshchiligida Jozef Yoaxim, Brahms va boshqa bastakorlarning ko'plab yangi torli kvartetlarini debyut qildi. Yana bir taniqli kvartet o'yinchisi edi Vilemina Norman Neruda, shuningdek, Lady Hallé nomi bilan tanilgan. Darhaqiqat, asrning so'nggi uchdan birida, ayol ijrochilar kontsert sahnasida o'z o'rnini egallay boshladi: boshchiligidagi barcha ayollar torli kvarteti Emili Shinner va Lukas kvarteti, shuningdek, barcha ayollar, ikkita e'tiborga loyiq misol edi.^[39]

20-asrga yaqin

Skripkachi boshchiligidagi Yoaxim kvarteti Jozef Yoaxim. Kvartet Yoxannes Bramsning ko'plab asarlarini debyut qildi.

Bo'lgandi Yoxannes Brams romantik musiqa mash'alasini 20-asrga olib borgan. Tomonidan e'lon qilingan Robert Shumann musiqadagi "yangi yo'llar" ni yaratuvchisi sifatida,^[40] Brahms musiqasi klassikadan zamonaviyga ko'prik. Bir tomondan, Bramlar Bax va Motsartlarning musiqiy an'analarini saqlagan holda an'anaviy edi.^[41] Kamera musiqasi davomida u an'anaviy uslublardan foydalanadi qarshi nuqta, fugalar va kanonlarni boy suhbat va harmonik to'qimalarga kiritish. Boshqa tomondan, Brahms an'anaviy musiqiy tushunchalarni qiyinlashtirgan holda, kamera musiqasining tuzilishi va harmonik so'z boyligini kengaytirdi. tonallik. Bunga misol Brahms ikkinchi torli sextet, Op. 36.^[42]

An'anaga ko'ra, bastakorlar asarning birinchi mavzusini asarning kalitiga yozib, ushbu tugmachani tonik yoki uyning kaliti sifatida mahkam o'rnashtirdilar. Opning ochilish mavzusi. 36 tonikadan boshlanadi (G major), lekin allaqachon uchinchi o'lchov bilan E-flat majorning bog'liq bo'lmagan kalitiga modulyatsiya qilingan. Mavzu rivojlanib borgach, u tonik G majorga qaytishdan oldin turli xil tugmachalar orqali o'zgarib turadi. Ushbu "harmonik jasorat", kabi Swafford buni tasvirlaydi,^[43] jasurroq tajribalar kelishiga yo'l ochdi.

Brahms sextet Op. 36, Borromeo kvarteti va Yupiter torlari kvarteti vakili Liz Frayvogel va Daniel Makdono o'ynagan

	Braxlar: Klarnet kvinteti, op. 115 Birinchi harakat, tomonidan amalga oshirildi Uilyam Makkol va Orford torlari kvarteti
Ushbu faylni o'ynatishda muammo bormi? Qarang ommaviy axborot vositalarida yordam.

Brahms nafaqat uyg'unlikda, balki umumiy musiqiy tuzilishda ham kashfiyotchi bo'lgan. U texnikani ishlab chiqdi Arnold Shoenberg "rivojlanayotgan o'zgarish" deb ta'riflangan.^[44] Diskret ravishda aniqlangan iboralar o'rniga, Brahms tez-tez iboralarni iboraga aylantiradi va uzluksiz ohang matosini yaratish uchun melodik motivlarni aralashtiradi. Shoenberg, ning yaratuvchisi 12 tonna tizim kompozitsiyasi, modernizmining ildizlarini Brahmsdan izlagan, "Brahms the Progressive" inshoida.^[45]

Hammasi aytganda, Brahms kamerali musiqaning 24 ta asarini, shu jumladan uchta torli kvartetlarni, beshta fortepiano triosini, shu jumladan nashr etdi fortepiano va torlar uchun kvintet, Op. 34 va boshqa asarlar. Uning so'nggi asarlari orasida klarnet kvinteti, Op. 115 va klarnet, viyolonsel va pianino uchun trio. U g'ayrioddiy kombinatsiyasi uchun trio yozgan pianino, skripka va shox, Op. 40. Shuningdek, u yozgan alto xonanda, viola va pianino uchun ikkita qo'shiq, Op. 91, ovoz shaklini ip bilan jonlantirish obbligato Barokdan beri deyarli tark qilingan edi.

Lavakurdagi Sena tomonidan Klod Monet. Impressionist musiqa va san'at efirga o'xshash, atmosfera ta'sirini izladi.

Brams tomonidan boshlangan tonallik va tuzilishni o'rganish frantsuz maktabining kompozitorlari tomonidan davom ettirildi. Sezar Frank 1879 yilda tuzilgan "F minor" pianino kvinteti, keyinchalik Shuman va Mendelson tomonidan o'rganilgan tsiklik shaklni o'rnatdi va uchta harakatning har birida bir xil tematik materialni qayta ishlatdi. Klod Debussi "s torli kvartet, Op. 10, kamera musiqasi tarixidagi suv havzasi sifatida qabul qilingan. Kvartet tsiklik tuzilishni qo'llaydi va klassik uyg'unlik qoidalaridan yakuniy ajralishni tashkil qiladi. "Har qanday kombinatsiyada va ketma-ketlikda har qanday tovushlar bundan buyon musiqiy uzluksizlikda foydalanish uchun bepul", deb yozgan Debussi.^[46] Per Bules Debussi kamerali musiqani "qattiq tuzilish, muzlatilgan ritorika va qat'iy estetika" dan xalos qildi.^[46]

Debussiya: torli kvartet kuni YouTube, birinchi harakat, Cypress String Quartet tomonidan ijro etilgan

Debussining kvarteti, xuddi torli kvartetlar singari Moris Ravel va of Gabriel Fauré, palata musiqasi uchun yangi ohang rangini, bilan bog'liq rang va to'qima yaratdi Impressionist harakat.^[47] Klivlend va Sequoia kvartetlaridan bo'lgan skripka ijrochisi Jeyms Dunxem Ravel kvarteti, "Men shunchaki sonority supurishidan, ranglarning hissiyotlari doimiy ravishda o'zgarib turishdan hayratda qoldim ..."^[48] Ushbu bastakorlar uchun kamerali ansambllar ushbu atmosfera tuyg'usini etkazish uchun ideal vosita bo'lgan va kameralar ularning ijodining katta qismini tashkil etgan.

Kamera musiqasidagi millatchilik

The Kneisel torli kvarteti, Frants Kneisel boshchiligidagi. Ushbu amerikalik ansambl Dvorkning Amerika kvarteti debyutini boshladi, Op. 96.

Tonallik va teksturaning yangi usullarini izlash tendentsiyasiga parallel ravishda kamera musiqasida yana bir yangi voqea bo'ldi: ko'tarilish millatchilik. Bastakorlar tobora ko'proq ilhom va material uchun o'z ona yurtlarining maromlari va ohanglariga murojaat qilishdi. "Evropani musiqiy masalalarda milliy chegaralarni tobora keskinroq belgilashga bo'lgan romantik tendentsiyasi undadi", deb yozgan edi Alfred Eynshteyn. "Eski an'anaviy ohangdor xazinalarni yig'ish va saralash ... ijodiy badiiy musiqa uchun asos yaratdi".^[49] Ushbu bastakorlarning aksariyati uchun kameralar o'zlarining milliy belgilarini ifodalash uchun tabiiy vosita edi.

Dvořák: fortepiano kvinteti, Op. 81, Linkoln markazining pleyerlari o'ynagan

Chexiya bastakori Antonin Dvork created in his chamber music a new voice for the music of his native Bohemia. In 14 string quartets, three string quintets, two piano quartets, a string sextet, four piano trios, and numerous other chamber compositions, Dvořák incorporates folk music and modes as an integral part of his compositions. Masalan, piano quintet in A major, Op. 81, the slow movement is a Dumka, a Slavic folk ballad that alternates between a slow expressive song and a fast dance. Dvořák's fame in establishing a national art music was so great that the New York philanthropist and music connoisseur Janet Thurber invited him to America, to head a conservatory that would establish an American style of music.^[50] There, Dvořák wrote his string quartet in F major, Op. 96, nicknamed "The American". While composing the work, Dvořák was entertained by a group of Kickapoo Indians who performed native dances and songs, and these songs may have been incorporated in the quartet.^[51]

Bedemich Smetana, another Czech, wrote a piano trio and string quartet, both of which incorporate native Czech rhythms and melodies. In Russia, Russian folk music permeated the works of the late 19th-century composers. Pyotr Ilyich Chaykovskiy uses a typical Russian folk dance in the final movement of his string sextet, Florensiya yodgorligi, Op. 70. Aleksandr Borodin "s second string quartet contains references to folk music, and the slow Nocturne movement of that quartet recalls Middle Eastern modes that were current in the Muslim sections of southern Russia. Edvard Grig used the musical style of his native Norway in his string quartet in G minor, Op. 27 va uning skripka sonatalari.

In Hungary, composers Zoltan Kodali va Bela Bartok pioneered the science of etnomusikologiya by performing one of the first comprehensive studies of folk music. Ranging across the Magyar provinces, they transcribed, recorded, and classified tens of thousands of folk melodies.^[52] They used these tunes in their compositions, which are characterized by the asymmetrical rhythms and modal harmonies of that music. Their chamber music compositions, and those of the Czech composer Leoš Yanachek, combined the nationalist trend with the 20th century search for new tonalities. Janáček's string quartets not only incorporate the tonalities of Czech folk music, they also reflect the rhythms of speech in the Czech language.

New sounds for a new world

The end of western tonality, begun subtly by Brahms and made explicit by Debussy, posed a crisis for composers of the 20th century. It was not merely an issue of finding new types of harmonies and melodic systems to replace the diatonik shkala that was the basis of western harmony; the whole structure of western music – the relationships between movements and between structural elements within movements – was based on the relationships between different keys.^[53] So composers were challenged with building a whole new structure for music.

This was coupled with the feeling that the era that saw the invention of automobiles, the telephone, electric lighting, and world war needed new modes of expression. "The century of the aeroplane deserves its music", wrote Debussy.^[54]

Inspiration from folk music

Bela Bartok recording folksongs of Czech peasants, 1908

The search for a new music took several directions. The first, led by Bartók, was toward the tonal and rhythmic constructs of folk music. Bartók's research into Hungarian and other eastern European and Middle Eastern folk music revealed to him a musical world built of musical scales that were neither major nor minor, and complex rhythms that were alien to the concert hall. In his fifth quartet, for example, Bartók uses a time signature of ${displaystyle { frac {3+2+2+3}{8}}}$, "startling to the classically-trained musician, but second-nature to the folk musician."^[55] Structurally, also, Bartók often invents or borrows from folk modes. In the sixth string quartet, for example, Bartók begins each movement with a slow, elegiac melody, followed by the main melodic material of the movement, and concludes the quartet with a slow movement that is built entirely on this elegiya. This is a form common in many folk music cultures.

	Bartók string quartet number 2, second movement Played by the Carmel Quartet]
Ushbu faylni o'ynatishda muammo bormi? Qarang ommaviy axborot vositalarida yordam.

Bartók's six string quartets are often compared with Beethoven's late quartets.^[56] In them, Bartók builds new musical structures, explores sonorities never previously produced in classical music (for example, the snap pizzicato, where the player lifts the string and lets it snap back on the fingerboard with an audible buzz), and creates modes of expression that set these works apart from all others. "Bartók's last two quartets proclaim the sanctity of life, progress and the victory of humanity despite the anti-humanistic dangers of the time", writes analyst John Herschel Baron.^[57] The last quartet, written when Bartók was preparing to flee the Natsist invasion of Hungary for a new and uncertain life in the U.S., is often seen as an autobiographical statement of the tragedy of his times.

Bartók was not alone in his explorations of folk music. Igor Stravinskiy "s Simli kvartet uchun uchta qism is structured as three Russian folksongs, rather than as a classical string quartet. Stravinsky, like Bartók, used asymmetrical rhythms throughout his chamber music; The Histoire du soldat, in Stravinsky's own arrangement for clarinet, violin and piano, constantly shifts time signatures between two, three, four and five beats to the bar. In Britain, composers Ralf Vaughan Uilyams, Uilyam Uolton va Benjamin Britten drew on English folk music for much of their chamber music: Vaughan Williams incorporates folksongs and country fiddling in his first string quartet. Amerika bastakori Charlz Ivz wrote music that was distinctly American. Ives gave programmatic titles to much of his chamber music; his first string quartet, for example, is called "From the Salvation Army", and quotes American Protestant hymns in several places.

Serialism, polytonality and polyrhythms

Painting of Pierrot, the object of Schoenberg's atonal suite Pierrot Lunaire tomonidan bo'yalgan Antuan Vote

A second direction in the search for a new tonality was twelve-tone serializm. Arnold Shoenberg ishlab chiqilgan twelve-tone method of composition as an alternative to the structure provided by the diatonic system. His method entails building a piece using a series of the twelve notes of the chromatic scale, permuting it and superimposing it on itself to create the composition.

	Arnold Schoenberg: Second string quartet, fourth movement Played by the Carmel Quartet with soprano Rona Israel-Kolatt. This is the first explicitly atonal piece.
Ushbu faylni o'ynatishda muammo bormi? Qarang ommaviy axborot vositalarida yordam.

Schoenberg did not arrive immediately at the serial method. His first chamber work, the string sextet Verklärte Nacht, was mostly a late German romantic work, though it was bold in its use of modulations. The first work that was frankly atonal edi second string quartet; the last movement of this quartet, which includes a soprano, has no key signature. Schoenberg further explored atonality with Pierrot Lunaire, for singer, flute or piccolo, clarinet, violin, cello and piano. The singer uses a technique called Sprechstimme, halfway between speech and song.

After developing the twelve-tone technique, Schoenberg wrote a number of chamber works, including two more string quartets, a string trio, and a wind quintet. He was followed by a number of other twelve-tone composers, the most prominent of whom were his students Alban Berg, kim yozgan Lyric Suite torli kvartet uchun va Anton Webern, kim yozgan Five Movements for String Quartet, op. 5.

Twelve-tone technique was not the only new experiment in tonality. Darius Milxaud developed the use of ko'pburchak, that is, music where different instruments play in different keys at the same time. Milhaud wrote 18 string quartets; quartets number 14 and 15 are written so that each can be played by itself, or the two can be played at the same time as an octet. Milhaud also used jazz idioms, as in his Suite for clarinet, violin and piano.

Amerikalik bastakor Charlz Ivz used not only ko'pburchak in his chamber works, but also polymeter. Uning ichida birinchi torli kvartet he writes a section where the first violin and viola play in ${ displaystyle { tfrac {3} {4}}}$ time while the second violin and cello play in ${displaystyle { frac {4}{4}}}$.

Neoklasitsizm

The plethora of directions that music took in the first quarter of the 20th century led to a reaction by many composers. Boshchiligidagi Stravinskiy, these composers looked to the music of preclassical Europe for inspiration and stability. While Stravinsky's neoclassical works – such as the Simli kvartet uchun ikki karra Canon – sound contemporary, they are modeled on Baroque and early classical forms – the canon, the fugue, and the Baroque sonata form.

Hindemith: String Quartet 3 in C, Op. 22 kuni YouTube, second movement, "Schnelle Achtel", played by Ana Farmer, David Boyden, Austin Han, and Dylan Mattingly

Pol Xindemit was another neoclassicist. His many chamber works are essentially tonal, though they use many dissonant harmonies. Hindemith wrote seven string quartets and two string trios, among other chamber works. At a time when composers were writing works of increasing complexity, beyond the reach of amateur musicians, Hindemith explicitly recognized the importance of amateur music-making, and intentionally wrote pieces that were within the abilities of nonprofessional players.^[58]

Dmitri Shostakovitch: String quartet no 8 kuni YouTube, Largo; Allegro molto; played by the Seraphina String Quartet (Sabrina Tabby and Caeli Smith, violins; Madeline Smith, viola; Genevieve Tabby, cello)

Dmitriy Shostakovich was one of the most prolific of chamber music composers of the 20th century, writing 15 string quartets, two piano trios, the piano quintet, and numerous other chamber works. Shostakovich's music was for a long time banned in the Soviet Union and Shostakovich himself was in personal danger of deportation to Siberia. Uning eighth quartet is an autobiographical work, that expresses his deep depression from his ostracization, bordering on suicide:^[59] it quotes from previous compositions, and uses the four-note motif DSCH, the composer's initials.

Stretching the limits

As the century progressed, many composers created works for small ensembles that, while they formally might be considered chamber music, challenged many of the fundamental characteristics that had defined the genre over the last 150 years.

Music of friends

The idea of composing music that could be played at home has been largely abandoned. Bartók was among the first to part with this idea. "Bartók never conceived these quartets for private performance but rather for large, public concerts."^[57] Aside from the many almost insurmountable technical difficulties of many modern pieces, some of them are hardly suitable for performance in a small room. Masalan, Turli xil poezdlar tomonidan Stiv Reyx is scored for live string quartet and recorded tape, which layers together a carefully orchestrated sound collage of speech, recorded train sounds, and three string quartets.^[60]

Conversational paradigm

Ushbu bo'lim kengayishga muhtoj. Siz yordam berishingiz mumkin unga qo'shilish. (2012 yil dekabr)

Since the invention of electrical telecommunication devices in the 19th century, players of a string quartet can even conduct a conversation when they are flying over the audience in four separate helicopters, as in the Vertolyot torlari kvarteti tomonidan Karlxaynts Stokxauzen. When the piece was performed in 1995, the players had earphones with a trekni bosing to enable them to play at the right time.^[61]

Leon Xetmin performing a trio for voice, piano and theremin, 1924

Relation of composer and performer

Traditionally, the composer wrote the notes, and the performer interpreted them. But this is no longer the case in much modern music. Yilda Für kommende Zeiten (For Times to Come), Stokhauzen writes verbal instructions describing what the performers are to play. "Star constellations/with common points/and falling stars ... Abrupt end" is a sample.^[62]

Bastakor Terri Rayli describes how he works with the Kronos kvarteti, an ensemble devoted to contemporary music: "When I write a score for them, it's an unedited score. I put in just a minimal amount of dynamics and phrasing marks ...we spend a lot of time trying out different ideas in order to shape the music, to form it. At the end of the process, it makes the performers actually Shaxsiy musiqa. That to me is the best way for composers and musicians to interact."^[63]

New sounds

Composers seek new timbres, remote from the traditional blend of strings, piano and woodwinds that characterized chamber music in the 19th century. This search led to the incorporation of new instruments in the 20th century, such as the u erda va sintezator in chamber music compositions.

Many composers sought new timbres within the framework of traditional instruments. "Composers begin to hear new timbres and new timbral combinations, which are as important to the new music of the twentieth century as the so-called breakdown of functional tonality," writes music historian James McCalla.^[64] Examples are numerous: Bartók's Sonata for two pianos and percussion (1937), Schoenberg's Pierrot lunaire, Charles Ives's Quartertone Pieces for two pianos tuned a quartertone apart. Other composers used electronics and extended techniques to create new sonorities. Misol Jorj Crumb "s Qora farishtalar, for electric string quartet (1970). The players not only bow their amplified instruments, they also beat on them with thimbles, pluck them with paper clips and play on the wrong side of the bridge or between the fingers and the nut.^[65] Still other composers have sought to explore the timbres created by including instruments which are not often associated with a typical orchestral ensemble. Masalan, Robert Davine explores the orchestral timbres of the akkordeon when it is included in a traditional wind trio in his Divertimento for accordion, flute, clarinet and bassoon. ^[66]

	Excerpt from Bartók's Sonata for two pianos and percussion
Ushbu faylni o'ynatishda muammo bormi? Qarang ommaviy axborot vositalarida yordam.

What do these changes mean for the future of chamber music? "With the technological advances have come questions of aesthetics and sociological changes in music", writes analyst Baron.^[67] "These changes have often resulted in accusations that technology has destroyed chamber music and that technological advance is in inverse proportion to musical worth. The ferocity of these attacks only underscores how fundamental these changes are, and only time will tell if humankind will benefit from them."

In contemporary society

Analysts agree that the role of chamber music in society has changed profoundly in the last 50 years; yet there is little agreement as to what that change is. On the one hand, Baron contends that "chamber music in the home ... remained very important in Europe and America until the Second World War, after which the increasing invasion of radio and recording reduced its scope considerably."^[68] This view is supported by subjective impressions. "Today there are so many more millions of people listening to music, but far fewer playing chamber music just for the pleasure of it", says conductor and pianist Daniel Barenboim.^[69]

Amateurs play a string sextet

However, recent surveys suggest there is, on the contrary, a resurgence of home music making. In the radio program "Amateurs Help Keep Chamber Music Alive" from 2005, reporter Theresa Schiavone cites a Gallup poll showing an increase in the sale of stringed instruments in America. Joe Lamond, president of the National Association of Music Manufacturers (NAMM) attributes the increase to a growth of home music-making by adults approaching retirement. "I would really look to the demographics of the [baby] boomers", he said in an interview. These people "are starting to look for something that matters to them ... nothing makes them feel good more than playing music."^[70]

A study by the European Music Office in 1996 suggests that not only older people are playing music. "The number of adolescents today to have done music has almost doubled by comparison with those born before 1960", the study shows.^[71] While most of this growth is in popular music, some is in chamber music and art music, according to the study.

While there is no agreement about the number of chamber music players, the opportunities for amateurs to play have certainly grown. The number of chamber music camps and retreats, where amateurs can meet for a weekend or a month to play together, has burgeoned. Music for the Love of It, an organization to promote amateur playing, publishes a directory of music workshops that lists more than 500 workshops in 24 countries for amateurs in 2008^[72] The Associated Chamber Music Players (ACMP) offers a directory of over 5,000 amateur players worldwide who welcome partners for chamber music sessions.^[73]

Regardless of whether the number of amateur players has grown or shrunk, the number of chamber music concerts in the west has increased greatly in the last 20 years. Concert halls have largely replaced the home as the venue for concerts. Baron suggests that one of the reasons for this surge is "the spiraling costs of orchestral concerts and the astronomical fees demanded by famous soloists, which have priced both out of the range of most audiences."^[74] The repertoire at these concerts is almost universally the classics of the 19th century. However, modern works are increasingly included in programs, and some groups, like the Kronos kvarteti, devote themselves almost exclusively to contemporary music and new compositions; and ensembles like the Toshbaqa orolining torli kvarteti, that combine classical, jazz, rock and other styles to create krossover musiqasi. Cello Fury va Trio loyihasi offer a new spin to the standard chamber ensemble. Cello Fury consists of three cellists and a drummer and Project Trio includes a flutist, bassist, and cellist.

Several groups such as Klassik inqilob and Simple Measures have taken classical chamber music out of the concert hall and into the streets. Simple Measures, a group of chamber musicians in Seattle (Washington, USA), gives concerts in shopping centers, coffee shops, and streetcars.^[75] The Providence (Rhode Island, USA) String Quartet has started the "Storefront Strings" program, offering impromptu concerts and lessons out of a storefront in one of Providence's poorer neighborhoods.^[76] "What really makes this for me", said Rajan Krishnaswami, cellist and founder of Simple Measures, "is the audience reaction ... you really get that audience feedback."^[77]

Ishlash

Chamber music performance is a specialized field, and requires a number of skills not normally required for the performance of symphonic or solo music. Many performers and authors have written about the specialized techniques required for a successful chamber musician. Chamber music playing, writes M. D. Herter Norton, requires that "individuals ... make a unified whole yet remain individuals. The soloist is a whole unto himself, and in the orchestra individuality is lost in numbers ...".^[78]

"Music of friends"

Chamber musicians at each other, from "The Short-tempered Clavichord" by illustrator Robert Bonotto

Many performers contend that the intimate nature of chamber music playing requires certain personality traits.

David Waterman, cellist of the Endellion Quartet, writes that the chamber musician "needs to balance assertiveness and flexibility."^[79] Good rapport is essential. Arnold Shtaynxardt, first violinist of the Guarneri Quartet, notes that many professional quartets suffer from frequent turnover of players. "Many musicians cannot take the strain of going mano a mano with the same three people year after year."^[80]

Mary Norton, a violinist who studied quartet playing with the Kneisel Quartet at the beginning of the last century, goes so far that players of different parts in a quartet have different personality traits. "By tradition the first violin is the leader" but "this does not mean a relentless predominance." The second violinist "is a little everybody's servant." "The artistic contribution of each member will be measured by his skill in asserting or subduing that individuality which he must possess to be at all interesting."^[81]

Tafsir

"For an individual, the problems of interpretation are challenging enough", writes Waterman, "but for a quartet grappling with some of the most profound, intimate and heartfelt compositions in the music literature, the communal nature of decision-making is often more testing than the decisions themselves."^[82]

Quartet lesson kuni YouTube – Daniel Epstein teaching the Schumann piano quartet at Manxetten musiqa maktabi
(Picture: Musiqa darsi tomonidan Yan Vermeer )

The problem of finding agreement on musical issues is complicated by the fact that each player is playing a different part, that may appear to demand dynamics or gestures contrary to those of other parts in the same passage. Sometimes these differences are even specified in the score – for example, where cross-dynamics are indicated, with one instrument crescendoing while another is getting softer.

One of the issues that must be settled in rehearsal is who leads the ensemble at each point of the piece. Normally, the first violin leads the ensemble. By leading, this means that the violinist indicates the start of each movement and their tempos by a gesture with her head or bowing hand. However, there are passages that require other instruments to lead. For example, John Dalley, second violinist of the Guarneri Quartet, says, "We'll often ask [the cellist] to lead in pizzato parchalar. A cellist's preparatory motion for pizzicato is larger and slower than that of a violinist."^[83]

Players discuss issues of interpretation in rehearsal; but often, in mid-performance, players do things spontaneously, requiring the other players to respond in real time. "After twenty years in the [Guarneri] Quartet, I'm happily surprised on occasion to find myself totally wrong about what I think a player will do, or how he'll react in a particular passage", says violist Michael Tree.^[84]

Ensemble, blend, and balance

Graphic interpretation of Burletta movement of Bartók's 6th String Quartet, by artist Joel Epstein

Playing together constitutes a major challenge to chamber music players. Many compositions pose difficulties in coordination, with figures such as gemiolas, sinxronizatsiya, fast unison passages and simultaneously sounded notes that form chords that are challenging to play in tune. But beyond the challenge of merely playing together from a rhythmic or intonation perspective is the greater challenge of sounding good together.

To create a unified chamber music sound – to blend – the players must coordinate the details of their technique. They must decide when to use vibrato and how much. They often need to coordinate their bowing and "breathing" between phrases, to ensure a unified sound. They need to agree on special techniques, such as spiccato, sul tasto, sul ponticello, va hokazo.^[85]

Balance refers to the relative volume of each of the instruments. Because chamber music is a conversation, sometimes one instrument must stand out, sometimes another. It is not always a simple matter for members of an ensemble to determine the proper balance while playing; frequently, they require an outside listener, or a recording of their rehearsal, to tell them that the relations between the instruments are correct.

Intonatsiya

Chamber music playing presents special problems of intonatsiya. The piano is tuned using teng temperament, that is, the 12 notes of the scale are spaced exactly equally. This method makes it possible for the piano to play in any key; however, all the intervals except the octave sound very slightly out of tune. String players can play with faqat intonatsiya, that is, they can play specific intervals (such as fifths) exactly in tune. Moreover, string and wind players can use expressive intonation, changing the pitch of a note to create a musical or dramatic effect. "String intonation is more expressive and sensitive than equal-tempered piano intonation."^[86]

However, using true and expressive intonation requires careful coordination with the other players, especially when a piece is going through harmonic modulations. "The difficulty in string quartet intonation is to determine the degree of freedom you have at any given moment", says Steinhardt.^[87]

The chamber music experience

Players of chamber music, both amateur and professional, attest to a unique enchantment with playing in ensemble. "It is not an exaggeration to say that there opened out before me an enchanted world", writes Uolter Uilson Kobbet, devoted amateur musician and editor of Cobbett's Cyclopedic Survey of Chamber Music.^[88]

Ensembles develop a close intimacy of shared musical experience. "It is on the concert stage where the moments of true intimacy occur", writes Steinhardt. "When a performance is in progress, all four of us together enter a zone of magic somewhere between our music stands and become a conduit, messenger, and missionary ... It is an experience too personal to talk about and yet it colors every aspect of our relationship, every good-natured musical confrontation, all the professional gossip, the latest viola joke."^[89]

The playing of chamber music has been the inspiration for numerous books, both fiction and nonfiction. Teng musiqa tomonidan Vikram Set, explores the life and love of the second violinist of a fictional quartet, the Maggiore. Central to the story is the tensions and the intimacy developed between the four members of the quartet. "A strange composite being we are [in performance], not ourselves any more, but the Maggiore, composed of so many disjunct parts: chairs, stands, music, bows, instruments, musicians ..."^[90] The Rosendorf Quartet, tomonidan Natan Shaham,^[91] describes the trials of a string quartet in Palestine, before the establishment of the state of Israel. For the Love of It by Wayne Booth^[92] is a nonfictional account of the author's romance with cello playing and chamber music.

Chamber music societies

Numerous societies are dedicated to the encouragement and performance of chamber music. Ulardan ba'zilari:

• The Birlashtirilgan palatadagi musiqa pleyerlari, yoki ACMP – The Chamber Music Network, an international organization that encourages amateur and professional chamber music playing. ACMP has a fund to support chamber music projects, and publishes a directory of chamber musicians worldwide.
• Chamber Music America supports professional chamber music groups through grants for residencies and commissions, through award programs, and through professional development programs.
• The Cobbett Association for Chamber Music Research is an organization dedicated to the rediscovery of works of forgotten chamber music.
• Music for the Love of It publishes a newsletter on amateur chamber music activities worldwide, as well as a guide to music workshops for amateurs.
• The Ottawa Chamber Music Society, a non-profit organization that encourages public involvement and appreciation of chamber music. The OCMS has organized Ottava palatasi musiqa festivali, the largest chamber music festival in the world, since 1994.^[93]
• Musica Viva Avstraliya, a large non-profit chamber music promoter working across Australia that tours local and international chamber music artists, as well as managing chamber music festivals and young artist development programs.

In addition to these national and international organizations, there are also numerous regional and local organizations that support chamber music. Some of the most prominent professional American chamber music ensembles and organizations are:

• Linkoln markazining kamerali musiqa jamiyati Nyu-York shahrida joylashgan
• Janubi-g'arbiy palatadagi musiqa Los-Anjelesda joylashgan
• Chicago Chamber Music based in Chicago
• Kanadalik guruch based in New York and Toronto
• Juilliard torlari kvarteti Nyu-Yorkda
• Kronos String Quartet San-Frantsiskoda
• Emerson torlari kvarteti Nyu-Yorkda

Bayramlar

Ansambllar

This is a partial list of the types of ansambllar found in chamber music. The standard repertoire for chamber ensembles is rich, and the totality of chamber music in print in notalar varaqasi form is nearly boundless. See the articles on each instrument combination for examples of repertoire.

Izohlar

Bibliografiya

• Baron, Jon Xersel (1998). Intim musiqa: kamera musiqasi g'oyasi tarixi. Pendragon Press. ISBN  1-57647-018-0.
• Blum, Devid (1986). Kvartet o'ynash san'ati: Devid Blum bilan suhbatda Guarneri kvarteti. Nyu-York: Alfred A. Knopf. ISBN  0-8014-9456-7.
• But, Ueyn (1999). Unga bo'lgan muhabbat uchun. Chikago: Chikago universiteti matbuoti. ISBN  0-226-06585-5.
• Boyden, Devid (1965). Skripka chalish tarixi. Oksford va Nyu-York: Oksford universiteti matbuoti.
• Butteruort, Nil (1980). Dvorak, uning hayoti va davri. Midas kitoblari. ISBN  0-85936-142-X.
• Kobbett, Uolter Uilson, tahrir. (1929). Kobbettning kamerali musiqa bo'yicha siklopedik tadqiqotlari. London: Oksford universiteti matbuoti. ISBN  9781906857820 va ISBN  978-1906857844.
• Crumb, Jorj (1971). Qora farishtalar. Edition Peters.
• Donington, Robert (1982). Barokko musiqasi: uslub va ijro. Nyu-York: W. W. Norton. ISBN  0-393-30052-8.
• Eynshteyn, Alfred (1947). Romantik davrda musiqa. Nyu-York: W. W. Norton.
• Eosze, Laszlo (1962). Zoltan Kodali, uning hayoti va faoliyati. Istvans Farkas va Gyula Gulyas (tarjimonlar). Kollet.
• Geiringer, Karl (1982). Xaydn: musiqiy ijodiy hayot. Kaliforniya universiteti matbuoti. ISBN  0-520-04317-0.
• Gjerdingen, Robert (2007). Galant uslubidagi musiqa. Oksford va Nyu-York: Oksford universiteti matbuoti. ISBN  978-0-19-531371-0.
• Griffits, Pol (1978). Zamonaviy musiqaning qisqacha tarixi. Temza va Xadson. ISBN  0-500-20164-1.
• Griffits, Pol (1985). Simli kvartet: tarix. Temza va Xadson. ISBN  0-500-27383-9.
• Kirman, Jozef (1979). Betxoven kvartetlari. Nyu-York: W. W. Norton. ISBN  0-393-00909-2.
• Makkalla, Jeyms (2003). Yigirmanchi asr kamer musiqasi. Yo'nalish. ISBN  0-4159-6695-7.
• Miller, Lyusi (2006). Adams Zemlinskiyga. Konsert rassomlari gildiyasi. ISBN  1-892862-09-3.
• Norton, M. D. Herter (1925). Simli kvartet o'ynash san'ati. Nyu-York: Simon va Shuster (1962).
• Raynor, Genri (1978). Ijtimoiy musiqa tarixi. Boston: Taplinger nashriyoti.
• Shoenberg, Arnold (1984). Leonard Shteyn (tahrir). Uslub va ideal: Arnold Shoenbergning tanlangan yozuvlari. Berkli va Los-Anjeles: Kaliforniya universiteti matbuoti.
• Set, Vikram (1999). Teng musiqa. Amp. ISBN  0-375-70924-X.
• Shaham, Natan (1994). Rozendorf kvarteti. Grove Press. ISBN  0-8021-3316-9.
• Sulaymon, Maynard (1980). Betxoven. Granada Publishing, Limited. ISBN  0-586-05189-9.
• Shtaynxardt, Arnold (1998). To'rtga bo'linmaydi. Farrar, Straus va Jirou. ISBN  0-374-52700-8.
• Stowell, Robert, ed. (2003). Simli kvartetga Kembrijning hamrohi. Kembrijning musiqiy sheriklari. Kembrij va Nyu-York: Kembrij universiteti matbuoti. ISBN  0-521-80194-X.
• Swafford, yanvar (1997). Yoxannes Brams. Amp kitoblar. ISBN  0-679-74582-3.
• Ulrix, Gomer (1966). Kamera musiqasi. Kolumbiya universiteti matbuoti. ISBN  0-231-08617-2.
• Qish, Robert; Martin, Robert, nashr. (1994). Betxoven kvartetining hamrohi. Berkli va Los-Anjeles: Kaliforniya universiteti matbuoti. ISBN  0-520-20420-4.

Qo'shimcha o'qish

• Sadi, Stenli, tahrir. (1984). Yangi Grove skripka oilasi. Nyu-York: W. W. Norton. ISBN  0-393-02556-X.
• Musiqa va musiqachilarning yangi Grove lug'ati (tahr. Stenli Sadi, 1980)
• Sicca, Luigi Mariya (2000). "Kamera musiqasi va tashkilot nazariyasi: mikroskopda ko'riladigan ba'zi tipik tashkiliy hodisalar". Madaniyatlar, tashkilotlar va jamiyatlardagi tadqiqotlar. Teylor va Frensis. 6 (2). ISSN  1024-5286.
• Sumner Lott, Mari (2015). XIX asr kamer musiqasining ijtimoiy olamlari: bastakorlar, iste'molchilar, jamoalar. Illinoys universiteti matbuoti. ISBN  978-0-252-03922-5. Olingan 12 fevral 2017.
• Tompson, Oskar (1940). Debussiya: Inson va rassom. Tudor nashriyoti.

Tashqi havolalar

• Chamber Music America
• eshitish kamerasi bazasi, 50,000 dan ortiq palata ishlarining onlayn ma'lumotlar bazasi
• Fischoff milliy kameralar musiqa assotsiatsiyasi, kamerali musiqa tanlovlarining homiysi va kamerali musiqa ta'limi tarafdori.
• Birlashtirilgan Achember musiqa pleyerlari (ACMP), Nyu-York shahri
• Ikkala shamolli kvintet musiqasining izohli bibliografiyasi