The Story of Chamber Music

This historic book may have numerous typos and missing text. Purchasers can download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1904 Excerpt: ... as without precedent and artistically bad. That Haydn, Mozart, and Beethoven had already introduced such movements into their chamber music was either unknown to these critics, or ignored by them. The andante of this quartette contains some of its author's noblest thoughts, expressed with the utmost clearness. Special attention may be directed to the middle section in C major of this movement, with its strongly-marked military rhythm and highly characteristic effects. The other two compositions in this form are that in A major, op. 26, and in C minor, op. 60. In the commencement of the former we have a fine example of poetic expression, yet at the close the same material is worked out, in a contrapuntal manner, which is quite Quintett (F Minor) remarkable. The slow movement of this Quartett has been referred to by Mr. Fuller Maitland as an example of exquisite tone colour,1 and this work, and that in G minor already referred to, are regarded by this writer as among the loveliest of Brahms' works. The Piano Quartett in C minor, op. 60, does not show the same high qualities as the other two, and is indeed somewhat lacking in spontaneity. The second entry of the strings in the opening movement has a chromatic passage which is more like Spohr than Brahms, nor is the chorale which appears in the last movement at all in his usual style. Of the works for piano and strings, the great Quintett in F minor, op. 34, is a remarkable example. It has been said that Brahms has the gift of making simplicity memorable, and this is Q'ntett 'n S.. /, L. F Minor illustrated by the commencement of this quintett. To hear it once is to be impressed with its power, and although viewed theoretically it seems almost commonplace, it produces in performan...