![]() This conversational paradigm – which refers to the way one instrument introduces a melody or motif and then other instruments subsequently "respond" with a similar motif – has been a thread woven through the history of chamber music composition from the end of the 18th century to the present. Johann Wolfgang von Goethe described chamber music (specifically, string quartet music) as "four rational people conversing". Playing chamber music requires special skills, both musical and social, that differ from the skills required for playing solo or symphonic works. For more than 100 years, chamber music was played primarily by amateur musicians in their homes, and even today, when chamber music performance has migrated from the home to the concert hall, many musicians, amateur and professional, still play chamber music for their own pleasure. However, by convention, it usually does not include solo instrument performances.īecause of its intimate nature, chamber music has been described as "the music of friends". Most broadly, it includes any art music that is performed by a small number of performers, with one performer to a part (in contrast to orchestral music, in which each string part is played by a number of performers). Frederick the Great plays flute in his summer palace Sanssouci, with Franz Benda playing violin, Carl Philipp Emanuel Bach accompanying on keyboard, and unidentified string players painting by Adolph Menzel (1850–52)Ĭhamber music is a form of classical music that is composed for a small group of instruments-traditionally a group that could fit in a palace chamber or a large room. By 1989 every seat for every performance of the season had been sold before opening night.For other uses, see Chamber music (disambiguation). Under Carol Fox (1956–1981) and Ardis Krainik (1981–1997), the Lyric found subscriber support in a broadening base of business and professional patronage. Opera was reborn in Chicago with the creation of the ![]() Park, as well as making success impossible for subsequent companies in the 1930s. Had a major impact on opera in Chicago, putting an end to the Civic Opera and summertime operas at Of modern design at Madison and Wacker Drive, six days after the stock market crash of 1929. The Chicago Civic Opera moved into the Civic Opera House, a 45-story The establishment of a permanent resident opera company in Chicago, together with the new venues of radio and the phonograph, democratized opera by making it available to a new and broader audience. Together, the two Chicago companies brought opera to 62 cities, large and small, between 19. Like its predecessor, the Civic Opera toured nationally. Its president, the utilities magnate Samuel Insull, pursued a businesslike, populist policy designed to broaden the social and financial basis of opera's support. Support for opera was by then so widespread that a new organization, the Chicago Civic Opera, was formed almost at once. The lavish season of 1921–22 included among its triumphs the world premiere of Prokofiev'sīut closed with a deficit, covered by the McCormicks, of over a million dollars, which ended the company. The dominating operatic personality in Chicago from 1910 to 1931 was lyric soprano and actress Mary Garden, who was appointed general director (or “directa,” as she insisted on being called) after Campanini's death. It established the city as an operatic center of national prominence, thanks in large part to music director and conductor Cleofante Campanini's openness to experimentation and innovation and to the patronage of Harold and Edith McCormick. It hosted touring companies until 1910, when the Chicago Grand Opera Company was opened as the city's first permanent resident company. ![]() The Chicago Opera Festival Association lobbied for a new permanent operaĪn architectural and acoustical marvel, was opened downtown. Population contributed to the vogue of Wagner in the mid-1880s, and declining ticket prices made opera available not only to elites but to the socially aspiring middle class. Opera and the other arts exploded in Chicago in the 1880s. In 1865, Uranus Crosby used his wartime distilling fortune to open Crosby's Opera House, which hosted touring opera companies until it burned down in the Sporadic visits of Italian opera companies predominated through theĮra. ![]() Ominously, the house burned down on the second night. A small visiting troupe first brought opera to Rice's Theater in 1850. Like the other arts, opera was slow to develop as a part of Chicago's social and cultural identity. ![]()
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