Chamber music |

from the late camera – room; ital. musica da camera, French musique de chambre chamber music, germ. Kammermusik

specific type of music. art, different from theatrical, symphonic and concert music. The compositions of K. m., as a rule, were intended for performance in small rooms, for home music playing (hence the name). This determined and used in K. m. instr. compositions (from one soloist to several performers united in a chamber ensemble), and her typical musical techniques. presentation. For K. m., a tendency towards equality of voices, economy and the finest detailing of melodic, intonational, rhythmic are characteristic. and dynamic. will express. funds, skillful and diverse development of thematic. material. K. m. has great possibilities for transmitting lyric. emotions and the most subtle gradations of human mental states. Although the origins of K. m. date back to the Middle Ages, the term “K. m.” approved in the 16-17 centuries. During this period, classical music, in contrast to ecclesiastical and theatrical music, meant secular music intended for performance at home or at the courts of monarchs. Court music was called “chamber”, and the performers who worked in the court. ensembles, bore the title of chamber musicians.

The distinction between church and chamber music was outlined in the wok. genres in the middle 16th century The earliest known example of classical music is L’antica musica ridotta alla moderna by Nicolo Vicentino (1555). In 1635 in Venice, G. Arrigoni published the vocal Concerti da camera. as chamber woks. genres in 17 – early. 18th century developed cantata (cantata da camera) and duet. In the 17th century name “K. m.” was extended to instr. music. Church originally. and chamber instr. the music did not differ in style; stylistic differences between them became clear only in the 18th century. For example, I. I. Kvanz wrote in 1752 that classical music requires “more animation and freedom of thought than church style.” Higher instr. the form became cyclic. sonata (sonata da camera), formed on the basis of dance. suites. It became most widespread in the 17th century. trio sonata with its varieties – church. and chamber sonatas, a somewhat smaller solo sonata (unaccompanied or accompanied by basso continuo). Classic samples of trio sonatas and solo (with basso continuo) sonatas were created by A. Corelli. At the turn of the 17-18 centuries. the concerto grosso genre arose, at first also subdivided into the church. and chamber varieties. In Corelli, for example, this division is carried out very clearly – out of the 12 concerti grossi (op. 7) he created, 6 are written in the church style, and 6 in the chamber style. They are similar in content to his sonatas da chiesa and da camera. K ser. 18th century church division. and the chamber genres are gradually losing their significance, but the difference between classical music and concert music (orchestral and choral) becomes more and more clear.

All R. 18th century in the work of J. Haydn, K. Dittersdorf, L. Boccherini, W. A. ​​Mozart formed the classic. types of instr. ensemble – sonata, trio, quartet, etc., have developed typical. instr. compositions of these ensembles, a close relationship was established between the nature of the presentation of each part and the capabilities of the instrument for which it is intended (previously, as you know, composers often allowed the performance of their work with different compositions of instruments; for example, G. F. Handel in a number of his “solo” and sonatas indicate several possible instrumental compositions). Possessing rich will express. opportunities, instr. the ensemble (especially the bow quartet) attracted the attention of almost all composers and became a kind of “chamber branch” of the symphony. genre. Therefore, the ensemble reflected all the main. directions of music art-va 18-20 centuries. – from classicism (J. Haydn, L. Boccherini, W. A. ​​Mozart, L. Beethoven) and romanticism (F. Schubert, F. Mendelssohn, R. Schumann, etc.) to the ultramodernist abstractionist currents of modern. bourgeois “avant-garde”. In the 2nd floor. 19th century outstanding examples of instr. K. m. created I. Brahms, A. Dvorak, B. Smetana, E. Grieg, S. Frank, in the 20th century. — C. Debussy, M. Ravel, M. Reger, P. Hindemith, L. Janacek, B. Bartok, B. Britten and others.

A huge contribution to K. m. was made by Russian. composers. In Russia, the spread of chamber music began in the 70s. 18th century; first instr. the ensembles were written by D.S. Bortnyansky. K. m. received further development from A. A. Alyabyev, M. I. Glinka and reached the highest art. level in the work of P. I. Tchaikovsky and A. P. Borodin; their chamber compositions are characterized by a pronounced nat. content, psychology. A. K. Glazunov and S. V. Rakhmaninov paid much attention to the chamber ensemble, and for S. I. Taneev it became the main. kind of creativity. Exceptionally rich and diverse chamber instruments. owl heritage. composers; its main lines are lyrical-dramatic (N. Ya. Myaskovsky), tragic (D. D. Shostakovich), lyrical-epic (S. S. Prokofiev) and folk-genre.

In the process of historical development style K. m. has undergone means. changes, approaching now with the symphonic, then with the concert (“symphonization” of bow quartets by L. Beethoven, I. Brahms, P. I. Tchaikovsky, features of the concerto in L. Beethoven’s “Kreutzer” sonata, in S. Frank’s violin sonata, in ensembles of E. Grieg). In the 20th century the opposite trend has also been outlined – rapprochement with K. m. symf. and conc. genres, especially when referring to the lyrical-psychological. and philosophical topics that require deepening in ext. the world of man (14th symphony by D. D. Shostakovich). Symphonies and concertos for a small number of instruments received in modern. music is widespread, becoming a variety of chamber genres (see Chamber Orchestra, Chamber Symphony).

From con. 18th century and especially in the 19th century. prominent place in the music claim-ve took wok. K. m. (in the genres of song and romance). Exclude. attention was paid to her by romantic composers, who were especially attracted to the lyric. world of human feelings. They created a polished wok genre, developed in the finest details. miniatures; In the 2nd floor. 19th century a lot of attention wok. K. m. was given by I. Brahms. At the turn of the 19th-20th centuries. composers appeared, in the work of which chamber woks. genres occupied a leading position (H. Wolf in Austria, A. Duparc in France). The genres of song and romance were widely developed in Russia (since the 18th century); exclude. arts. reached heights in chamber woks. works of M. I. Glinka, A. S. Dargomyzhsky, P. I. Tchaikovsky, A. P. Borodin, M. P. Mussorgsky, N. A. Rimsky-Korsakov, S. V. Rachmaninov. Numerous romances and chamber woks. cycles created owls. composers (A. N. Aleksandrov, Yu. V. Kochurov, Yu. A. Shaporin, V. N. Salmanov, G. V. Sviridov, etc.). During the 20th century a chamber wok that corresponded to the nature of the genre was formed. performance style based on declamation and revealing the finest intonational and semantic details of music. Outstanding Russian. chamber performer 20th century was M. A. Olenina-D’Alheim. The largest modern zarub. chamber vocalists – D. Fischer-Dieskau, E. Schwarzkopf, L. Marshall, in the USSR – A. L. Dolivo-Sobotnitsky, N. L. Dorliak, Z. A. Dolukhanova and others.

Numerous and varied chamber instruments. miniatures of the 19th and 20th centuries Among them are fp. “Songs without words” by F. Mendelssohn-Bartholdy, plays by R. Schumann, waltzes, nocturnes, preludes and etudes by F. Chopin, chamber piano. works of small form by A. N. Scriabin, S. V. Rachmaninov, “Fleeting” and “Sarcasm” by S. S. Prokofiev, preludes by D. D. Shostakovich, violin pieces such as “Legends” by G. Veniavsky, “Melodies” and “ Scherzo by P. I. Tchaikovsky, cello miniatures by K. Yu. Davydov, D. Popper, etc.

In the 18th century K. m. was intended exclusively for home music-making in a narrow circle of connoisseurs and amateurs. In the 19th century Public chamber concerts also began to take place (the earliest concerts were by the violinist P. Baio in Paris in 1814); to ser. 19th century they have become an integral part of Europe. music life (chamber evenings of the Paris Conservatory, concerts of the RMS in Russia, etc.); there were organizations of amateurs of K. m. (Petersb. about-in K. m., founded in 1872, etc.). Owls. philharmonics regularly arrange chamber concerts in special events. halls (Small Hall of the Moscow Conservatory, Small Hall named after M. I. Glinka in Leningrad, etc.). Since the 1960s K. m. concerts are also given in large halls. Prod. K. m. increasingly penetrate into the conc. performers’ repertoire. Of all types of ensemble instr. The string quartet became the most popular performing style.

References: Asafiev B., Russian music from the beginning of the XIX century, M. – L., 1930, reprinted. – L., 1968; History of Russian Soviet Music, vol. I-IV, M., 1956-1963; Vasina-Grossman V. A., Russian classical romance, M., 1956; her own, Romantic song of the 1967th century, M., 1970; her, Masters of the Soviet romance, M., 1961; Raaben L., Instrumental Ensemble in Russian Music, M., 1963; his, Soviet chamber and instrumental music, L., 1964; his, Masters of the Soviet chamber-instrumental ensemble, L., XNUMX.

L. H. Raaben