{"id":27114,"date":"2024-05-30T16:46:45","date_gmt":"2024-05-30T16:46:45","guid":{"rendered":"https:\/\/www.writemyessays.app\/blog\/questions\/chamber-music-in-the-19th-century-beethoven-in-the-concert-hall-vs-schubert-in-the-parlor\/"},"modified":"2024-05-30T16:46:45","modified_gmt":"2024-05-30T16:46:45","slug":"chamber-music-in-the-19th-century-beethoven-in-the-concert-hall-vs-schubert-in-the-parlor","status":"publish","type":"questions","link":"https:\/\/www.writemyessays.app\/blog\/questions\/chamber-music-in-the-19th-century-beethoven-in-the-concert-hall-vs-schubert-in-the-parlor\/","title":{"rendered":"Chamber Music in the 19th Century: Beethoven in the Concert Hall vs Schubert in the Parlor"},"content":{"rendered":"

This is the prompt:<\/p>\n

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Frisch establishes the social and political context of the 19th century.  <\/span>He also draws our attention to the separation of music for the home (parlor) and music for the concert stage.  <\/span>This touches on a still present topic in music:  <\/span>approachability and audience reception.  <\/span>Frisch presents two pieces of chamber music for comparison:  <\/span>Beethoven’s String Quartet in c# minor, op. 131 and Schubert’s “Gretchen am Spinnrade.”  <\/span>Beethoven is now widely recognized for his large-scale concert works, while Schubert remains most notable for his chamber music compositions, often intended for private, parlor performances.  <\/span>As you listen to the two pieces, do you agree with Frisch?  <\/span>Is there an element of the “party piece” in Schubert’s Lied that is absent from Beethoven’s quartet?  <\/span>What is your reaction to the pieces?<\/p>\n

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And this is my outline and some thoughts I have:<\/p>\n


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1. Introduction <\/span><\/p>\n


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2. Summary of Frisch\u2019s thoughts<\/p>\n


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3. Context of the time<\/p>\n


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Before diving into the two influential pieces this essay will cover, it is important to note the context of the time that they were written. <\/span><\/p>\n


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\t<\/span>– Metternich era<\/p>\n

\t\t<\/span>– Klemenz Wenzel von Metternich – chancellor of Austria<\/p>\n

\t\t<\/span>– became chief architect and enforcer or European geopolitics from 1815 up to the revolutions of 1848<\/p>\n

\t\t<\/span>– 1814-1815 he hosted the Congress of Vienna<\/p>\n

\t\t<\/span>– brought about two trends of music: private music-making (Schubert) and grand scale music venues (Beethoven)<\/p>\n

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4a. Summary of Beethoven\u2019s String Quartet<\/p>\n

\t<\/span>– composed in 1825-26<\/p>\n

\t<\/span>– considered one of his late works<\/p>\n

\t<\/span>– 7 movements with no breaks<\/p>\n

\t\t<\/span>– slow fugue in c# minor -> sonata-form allegro in D major -> transition -> slow movement in A major -> scherzo in E major -> transition -> finale in c# minor<\/p>\n

\t<\/span>– seemed incomprehensible at the time<\/p>\n


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4b. Personal Reaction to Beethoven\u2019s String Quartet<\/p>\n


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\t<\/span>– \u201cstring quartets became the most prestigious type of chamber music during the late eighteenth century\u201d<\/p>\n

\t<\/span>– written only a year or two before his death, when his hearing was gone<\/p>\n

\t<\/span>– to me, reminiscent of what would be to come in music – difficult to endure post modern pieces<\/p>\n

\t<\/span>– could not just be casually whipped out to play among friends<\/p>\n


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5a. Summary of Schubert\u2019s Lied<\/p>\n

\t<\/span>– Op. 2<\/p>\n

\t<\/span>– composed November 1814<\/p>\n

\t<\/span>– setting of a text from Part 1 of Goethe\u2019s Faust<\/p>\n

\t\t<\/span>– Gretchen (Margaret) is at her spinning wheel, fantasizing about Faust<\/p>\n

\t<\/span>– the right hand is the spinning wheel<\/p>\n

\t<\/span>– the bottom left hand is Gretchen\u2019s food on the treadle<\/p>\n

\t<\/span>– the top left hand is the clicks of the spindle as it turns<\/p>\n


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5b. Personal Reaction to Schubert\u2019s Lied<\/p>\n

\t<\/span>– I really enjoy this piece. I like the haunting melody and the way Schubert uses the piano to transport the audience to the setting.<\/span><\/p>\n


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6.  <\/span>Comparing the two pieces<\/p>\n

\t<\/span>– Gretchen am Spinnrade is definiltey more of a party piece. It’s short and easyish to perform. The piano piece, while telling a story, doesn’t require a virtuoso to play. The piano part is repetive and simple, making it easy to just whip out when some friends come over. Beethoven’s piece is long and difficult to continuosly pay attention to. It’s odd and drawn out, so really wouldn’t be too enjoyable at a gathering of friends. It’s difficult and impressive, so would be better in a concert hall or large venue.<\/span><\/p>\n


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7a. Reflection<\/p>\n


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7b. Conclusion<\/p>\n


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Unorganized Facts from Frisch:<\/p>\n

-Schubertiads represent the \u201cconvivial domesticity\u201d in the Metternich era<\/p>\n

\t<\/span>– he grew popular through little events like those, not big concerts or publications <\/span><\/p>\n

\t<\/span>– Schubert represents the cushy middle class joy of making and enjoying music in the parlor among friends<\/p>\n

– Beethoven is the opposite of this<\/p>\n


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Unorganized Opinions:<\/p>\n