POSSIBILITIES FOR THE DEVELOPMENT OF CHAMBER MUSIC 
 
 IN THE UNITED STATES 
 
 BY 
 
 IRA A. McKinney 
 
 THESIS 
 
 FOR THE 
 
 DEGREE OF BACHELOR OF MUSIC 
 
 IN 
 
 MUSIC 
 
 SCHOOL OF MUSIC 
 UNIVERSITY OF ILLINOIS 
 
 1922 
 
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UNIVERSITY OF ILLINOIS 
 
 
 192^-- 
 
 THIS IS TO CERTIFY THAT THE THESIS PREPARED UNDER MY SUPERVISION BY 
 
 lj_a__Aj_JiQ.Klnney 
 
 ENTITLED____P_OSSIBILIT-IES-ZOP-TEEL-DEV^:LaPLIENII^-OE-CEAiiBER 
 
 jnisic_j:N--TFJL-mir]:En-STATER 
 
 IS APPROVED BY ME AS FULFILLING THIS PART OF THE REQUIREMENTS FOR THE 
 DEGREE OF EACKELOE-OF-MUaiC-IIi-ilURia 
 
Digitized by the Internet Archive 
 
 in 2016 
 
 https://archive.org/details/possibilitiesforOOmcki 
 
POSSIBILITIES FOR THE DEVELOPMENT OF CHAMBER MUSIC 
 
 IN THE UNITED STATES 
 
 BY 
 
 IRA A. McKinney 
 
 THESIS 
 
 FOR THE 
 
 DEGREE OF BACHELOR OF MUSIC 
 
 IN 
 
 MUSIC 
 
 SCHOOL OF MUSIC 
 UNIVERSITY OF ILLINOIS 
 
 1922 
 
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Possibilities for the Development of Chairiber Music 
 
 in the 
 
 United States 
 
Music has been one of the cultural subjects in education, 
 from time immemorial, to the present day. It has existed in 
 ensemble and in solo work. Both instrumental and vocal efforts 
 have helped to pave the way to a perfected appreciation of the 
 highest and noblest expression of the universal language, 
 music. The most intimate, the most beautiful and the most 
 profound of all forms of music is that which goes by the name 
 of Chamber Music, 
 
 Chamber Music includes compositions which are written 
 for limited groups of instruments, suitable to be performed 
 in small rooms. It includes both vocal and instrumental. 
 Karrov/ed in its application, it means only a few performers in 
 instrumental ensemble. By the word 'few’ is meant any number 
 fromi two to ten. The character of the music must be of a 
 serious type. Throughout this discussion the term Chamber 
 Music will be used in the narrow sense. 
 
 By understanding the beginnings and the developments of 
 Chamber Music in other countries, we can better appreciate the 
 developments of it in our own country. 
 
 N. Kilburn has written a very interesting book entitled 
 •’The Story of Chamber of Music." He tells us that in the time 
 of the Frankish kings, the word chamber was applied to the 
 room in the royal palace in which the monarch's private 
 property was kept and in which he looked after his private 
 affairs. When royalty took up the cultivation of music, it 
 was as a private, not a court function. The concerts given 
 for the entertainment of the royal family took place in the 
 
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 king's chamber or private room. 
 
 He also tells us that near the end of the fifteenth 
 century it became customary to introduce instrumental music at 
 the banquets of the wealthier classes, and what may be 
 regarded as Chamber music was used as a stimulus and a cover 
 for conversation. From these sources, it seems likely that 
 this form of music made a beginning. | 
 
 I 
 
 We have many composers of Chamber Music in the seventeenth | 
 century. Re ink in (1623-1722) a pupil of the celebrated 
 Amsterdam composer, Sweenlinck, wrote a Quartet or Suite for 
 two violins, a viola, and bass, which he named ’’Kortus 
 Musicus.” Henry Purcell (1628-16S3) an English composer, 
 wrote a fine set for stringed instruments known as the Golden 
 Sonata. Correlli (1653-1713) published in 1685, twelve 
 chamber sonatas for two violins, cello and harpsichord. John 
 Sebastian Bach (1685-1750) wrote compositions for clavier, 
 strings and flute. Those which belong particularly to chamber 
 music are, the Sonata in C major for two violins and clavier, 
 another in G major for flute, violin and clavier, and also one 
 in C minor written for the same instruments. 
 
 Other composers who wrote Chamber Music about the time 
 of Bach were Tart ini, Geminiani, Gardini, Pugnani, Dittersdorf, 
 Boccherini, Haydn, and Philipp Emanuel Bach, a son of John 
 Sebastian. Haydn published his first string quart ett in 1755. 
 Some of the great violin makers such as Amati, Guarneri and 
 v-vujSh adi vur i contributed much to Chamber Music. They not only 
 made violins, through a conrimercial point of view, but they were 
 
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 interested in good music in that they furnished the performers 
 with the highest tone possible. 
 
 The old composers set the pattern. Under the title of 
 the ’’Musical Union” were commenced a series of Chamber Music 
 concerts in London in 1845 by John Ella, a violinist, 
 
 "Musical Winter Evenings" was the title of another series of 
 concerts, at which the best ensemble music was performed by 
 the leading artists of England and foreign countries. 
 
 Outside of Germany England took the lead in Chamber 
 Music and was not slow in being followed by other countries, 
 Cambridge University Musical Society, Cambridge University 
 Musical Club, Oxford University Musical Union and the People's 
 Concert Society, were institutions which advanced Chamber Music 
 in England from 1643 to 1884. 
 
 In the Outlook of May 3, 1915, under the title of 
 "Domesticating Music" occurs this article: "The real fruit of 
 the Chamber Music Club is in the audience of appreciative 
 listeners, who have learned to want such music and to support 
 it. It is this group of creative listeners that gives ground 
 for hoping that good music may some day be domesticated in 
 America." We might add that when it is domesticated in the 
 school, it will soon find its way elsewhere. 
 
 The American Encyclopedia of Music Theory says the 
 following: "Chamber Music was not known to assume a definite 
 form until the violin was made so prominent in all instrumental 
 compositions. It was in Germany that these smaller instrumental 
 forms developed. Chamber Music began with Haydn’s first quartet. 
 

 
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 written about the middle of the eighteenth century, when the 
 sonata form had assumed definite shape. Composers have found 
 by experiment that the string quartet offers every opportunity 
 of instrumental music both as to expression and technical 
 construct ion. " 
 
 The string quartet plays only a higher type of music, 
 which soloists and orchestras oftentimes do not do. It 
 develops confidence, co-operation, and enthusiasm. Three 
 prominent quartettes are: "The Flonzaley String Quartette," 
 "The Zoellner Quartette," and "The Olive Mead Quartette." The 
 last is the leading woman string quartette in the world. 
 
 Kneisel says, "On account of the flexibility of the 
 instruments of a string quartette and the capability of 
 expression of the strings. Chamber Music can be carried to a 
 nicer, finer finish than almost any other instrumental 
 performance. It does not depend upon startling effects, like 
 those produced by the orchestra, by a volume of sound, but by 
 inate beauty, purity and appeals through the intellectual 
 faculties to the higher emotions," 
 
 Chamber Music has had a great effect upon the musical 
 life of America. It is becoming every day more widely known 
 and better liked. In volume 106 of the Outlook we find that 
 there is no greater music than that which can be produced by 
 six or eight performers or less, in a small hall or a room of 
 moderate size. It further says that the intruder into sacred 
 Tioet of music is Arnold Schoenberg. He has created a 
 sensation with a string quartet. He has written a quartet 
 that lasts fifty-two minutes without interruption. And during 
 

 
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 those fifty-two minutes scarcely once will the ordinary hearer 
 recognize what seems even an approach to any familiar chord. 
 Volume 105 Outlook says that there is no way by which the 
 greatest number of people can learn to know the greatest works 
 of music than by means of Chamber Music concerts. 
 
 The literature of Chamber Music comprises works that 
 are unsurpassed in all music. Beethoven's quartets are as 
 great as his symphonies. Haydn, Mozart, Schubert, Schimann, 
 Brahms, would remain immortal if all their compositions with 
 the exception of their Chamber Music were lost to the world. 
 
 In the American History and Encyclopedia of Music, 
 Liebling gives the following list of Chamber Music compositions 
 in which the piano is used: Piano and Violin — Sonatas by 
 
 Bach, Beethoven, Brahms, Franck, Cade. Goldmark, Suite (Opus 
 11); Sonatas by Grieg (Opus 8, 13, and 45); Handel, Haydn, 
 Mozart; Five Sonatas by Raff; Sonatas by Reger; Suites by 
 Ries ; Rubinstein, Sonatas, (Opus 13 and 18); Xavier Scharwenka, 
 Sonata (Opus 46); Schubert, Rondo in B minor; Schuett, Suite 
 (Opus 44); Schumann, Two Sonatas; Sinding, Suite (Opus 10); 
 Sonatas (Opus 27 and 70); Sitt, Three Sonatanas (Opus 62); 
 Sjogren, Sonata (Opus 18). 
 
 Piano, Violin and Cello — Trios by Arensky, Bargiel, 
 Beethoven, Bernard, Chopin (Opus 8); Dvorak, Gade, Godard, 
 Haydn, Lalo, Mendelssohn (Opus 49 and 66); Mozart, Reger, 
 Rubinstein (Opus 52); Scharwenka (Opus 1); Schubert (Opus 99 
 and 100); Schuett, Walzermaerchen ; Schumann (Opus 63, 80 and 
 110); Sinding, (Opus 64 and 87); Tschaikowsky , Volkmann. 
 
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 Piano, Violin, Viola, and Cello — Quartets by Brahms, 
 Beethoven, Rheinberger, Schumann. 
 
 Quintets for Piano and Strings — by Brahms, Dvorak, 
 
 Mozart, Reinecke in A major (Opus 83); Rubinstein (Opus 89); 
 Schubert (Opus 114); and Schumann (Opus 44). 
 
 Piano Septets — by Hummel and Saint-Saens, 
 
 Piano and Cello — Sonatas by Bach and Beethoven; Chopin, 
 Introduction and Polonaise (Opus 3); and Sonata (Opus 65); 
 Sonatas by Godard, Grieg (Opus 36); Mendelssohn (Opus 45 a,nd 
 58); Reger (Opus 28 and 78); Rubinstein (Opus 18); Suite by 
 Saint-Saens; Strauss, Sonata (Opus 6). 
 
 Piano and Viola — Rubinstein, Sonata (Opus 49). 
 
 Piano and Flute — Sonatas by Bach, Meyer, Olbersleben 
 and Reinecke, Undine (Opus 167). 
 
 Piano and Clarinet — Weber, Grand Duo Concertante (Opus 
 
 48) . 
 
 Dunhill in his ”A Treatise for Students” gives a very 
 complete list of Chamoer Music compositions and their composers, 
 from which the following which I deemed the most important 
 were taken: 
 
 Beethoven 
 
 String Quartet in F 
 String Quartet in A 
 String Quartet in F 
 String Quartet in E minor 
 String Quartet in C 
 String Quartet in E flat 
 
 Opus 18 
 Opus 18 
 Opus 59 
 Opus 59 
 Opus 59 
 Oous 74 
 
 Number 1 
 Number 5 
 Number 1 
 Number 2 
 Number 3 
 
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 String Quartet in F minor 
 
 
 Opus 
 
 95 
 
 
 
 
 String Quartet in C sharp 
 
 minor Opus 
 
 131 
 
 
 
 
 String Quartet in A minor 
 
 
 Opus 
 
 132 
 
 
 
 
 String Quartet in F 
 
 
 Opus 
 
 135 
 
 
 
 
 String Trio 
 
 in D 
 
 
 Opus 
 
 9 
 
 
 Number 2 
 
 
 String Trio 
 
 in G 
 
 
 Opus 
 
 9 
 
 
 Number 1 
 
 
 String Trio 
 
 in C 
 
 
 Opus 
 
 Q 
 
 
 Number 3 
 
 
 Sonata, piano 
 
 and violin 
 
 in A 
 
 
 Opus 
 
 12 
 
 Number 
 
 2 
 
 Sonata, piano 
 
 and violin 
 
 in A 
 
 
 Opus 
 
 45 
 
 
 
 Sonata, piano 
 
 and cello 
 
 in F 
 
 
 Opus 
 
 5 
 
 Number 
 
 1 
 
 Sonata, piano 
 
 and cello 
 
 in A 
 
 
 Opus 
 
 69 
 
 
 
 Trio, piano 
 
 and strings 
 
 in C 
 
 minor 
 
 Opus 
 
 1 
 
 Number 
 
 3 
 
 Trio, piano 
 
 and strings 
 
 in D 
 
 
 Opus 
 
 70 
 
 Number 
 
 1 
 
 1 
 
 Trio, piano 
 
 and strings 
 
 in E 
 
 flat 
 
 Opus 
 
 70 
 
 Number 
 
 2 
 
 Serenade, flute, violin and viola 
 
 Opus 
 
 25 
 
 
 
 Septet 
 
 
 
 
 Opus 
 
 20 
 
 
 
 Brahms 
 
 
 
 
 
 
 
 
 String Quartet 
 
 in B flat 
 
 
 Opus 
 
 67 
 
 
 
 
 String Quartet 
 
 in C minor 
 
 
 Opus 
 
 51 
 
 Number 1 
 
 
 String Quartet 
 
 in A minor 
 
 
 Opus 
 
 51 
 
 Number 2 
 
 
 String Quintet 
 
 in F 
 
 
 Opus 
 
 85 
 
 
 
 
 String Quartet 
 
 in G 
 
 
 Opus 
 
 111 
 
 
 
 
 String Sextet 
 
 in B flat 
 
 
 Opus 
 
 18 
 
 
 
 
 String Sextet 
 
 in G 
 
 
 Opus 
 
 36 
 
 
 
 
 Sonata, piano 
 
 and violin in G 
 
 
 Opus 
 
 28 
 
 
 
 Sonata, piano 
 
 and violin in A 
 
 
 Opus 
 
 100 
 
 1 
 

 
 
 
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 Sonata, piano and 
 
 violin 
 
 in D minor 
 
 Opus 
 
 1C8 
 
 
 Sonata, piano and 
 
 cello 
 
 in E minor 
 
 Opus 
 
 38 
 
 
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 in C 
 
 Opus 
 
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 Trio, piano and strings 
 
 in C minor 
 
 Opus 
 
 101 
 
 
 Quartet ,piano and 
 
 strings 
 
 in G minor 
 
 Opus 
 
 25 
 
 
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 strings 
 
 in A minor 
 
 Opus 
 
 26 
 
 
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 Opus 
 
 115 
 
 
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 Opus 
 
 115 
 
 
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 Opus 
 
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 Opus 
 
 40 
 
 
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 in G 
 
 Opus 
 
 54 Number 
 
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 in D minor 
 
 Opus 
 
 76 Number 
 
 3 
 
 String Quartet 
 
 
 in G 
 
 Opus 
 
 20 Number 
 
 2 
 
 String Quartet 
 
 
 in B 
 
 Opus 
 
 64 Number 
 
 2 
 
 String Quartet 
 
 
 in B flat 
 
 Opus 
 
 71 Number 
 
 1 
 
 Mendelssohn 
 
 
 
 
 
 
 String Quartet 
 
 
 in F minor 
 
 Opus 
 
 80 
 
 
 String Quartet 
 
 
 in D 
 
 Opus 
 
 44 Number 
 
 1 
 
 String Quartet 
 
 
 in E flat 
 
 Opus 
 
 44 Number 
 
 3 
 
 String Quintet 
 
 
 in A 
 
 Opus 
 
 18 
 
 
 Sonata, piano and 
 
 cello 
 
 in B flat 
 
 Opus 
 
 45 
 
 
 Sonata, piano and 
 
 cello 
 
 in D 
 
 Opus 
 
 58 
 
 
 Var iat ions 
 
 
 
 Opus 
 
 17 
 
 
 Trio, piano and strings 
 
 in C minor 
 
 Opus 
 
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 Opus 
 
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 Opus 
 
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 Opus 
 
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 Opus 
 
 41 
 
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 in F 
 
 Opus 
 
 41 
 
 Number 
 
 2 
 
 Sonata, piano and violin 
 
 in A minor 
 
 Opus 
 
 105 
 
 
 
 Sonata, piano and violin 
 
 in D minor 
 
 Opus 
 
 121 
 
 
 
 Trio, piano and strings 
 
 
 
 in D minor 
 
 Opus 
 
 63 
 
 
 

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 The above list does not exhuast the number of combinations 
 of instruments for which music has been written. Under the 
 head of Chamber Music we find duets, trios, quartets, quintets, 
 sextets, septets, and octets. The quartet usually signifies 
 four string instruments; first and second violins, viola and 
 cello. The piano sometimes takes the place of the second 
 violin. V/ood and brass instruments are sometimes introduced 
 for the larger groups, and in fact, no definite arrangement of 
 instruments can be fixed upon, as composers have written music 
 for an almost endless number of different combinations. 
 
 All of the parts of the combinations must be equal in 
 being interesting and in having important passages to perform. 
 That is, one part is not continuously predominant to the others. 
 The tones of combinations of instruments must blend so that 
 the melody may run the entire gamut, from the lowest tone of 
 the lowest instrument to the highest tone of the highest 
 instrument. To be strictly Chamber Music each player has his 
 own, individual part to play and at any moment may have the 
 predominant part. Thus in Chamber Music, every small detail 
 can be grasped by the audience. It is unusual for instruments 
 to double parts, even if there were more than the usual, 
 number of players. Although there is a great amount of 
 technical work for the different instruments, each one must 
 work as a part of a unit. 
 
 The treasures of Chamber Music are hidden to moat people 
 

 
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- 11 - 
 
 but are prized by few. Dunhill in hia ”A Treatise for 
 Students” says "Chamber Music is not for the crowd, and one 
 cannot readily attune oneself to receive it if the crowd is 
 present. It has no glaiiiour of vivid coloring — >it is in music 
 very much what a water-color drawing is in the art of painting. 
 The scheme as a whole is more subdued, and instead of the 
 heavy, rich layers of pigment, completely hiding the rough 
 canvass upon which they are imposed, we find a soft, quiet 
 toning, every shade of which is important and telling, laid 
 with an unerring hand, upon a surface, the delicate texture of 
 which is still visible, contributing its 07 m value to the 
 charm and reality of the whole picture, as well as receiving 
 and absorbing the impressions, which the well-guided brushes 
 have laid upon it." 
 
 For a long time, musicians considered the string 
 quartet too light a group of instruments to portray or to 
 give them a chance to display their musical ideas, but this 
 was because they failed to understand the wonderful power and 
 scope of the instruments, expecially of the violin. With a 
 greater mastery of this wonderful instrument, the sonata 
 form was perfected, and such masters as Haydn, Mozart and 
 Beethoven created qualities with such fluent and simple 
 melodies, so well balanced and symmetrical in form, that they 
 still hold their places in the concert rooms to-day. 
 
 They found by experiment that the string quartet offers 
 every opportunity for the development, both as to expression 
 and technic . 
 
 Thus far I have discussed Chamber Music in a general 
 
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- 12 - 
 
 v/ay . Now I shall discuss it more specifically. It is 
 possible for one to hear if not to perform more Chamber Music 
 than has been bis custom. In every community groups of 
 persons possessing the different instruments may be found. 
 
 They can be taught to play together. In that way the 
 individuals as well as the community will be benefited. Of 
 course great accomplishments have had little beginnings. 
 
 Little beginnings have their influence. In this manner Chamber 
 Music could have a beginning. 
 
 Chamber Music may be made an incentive in the high 
 school just as being a member of a team in athletics is. In 
 athletics the aim is to develop physically all of the students 
 of the school, then to select the few to represent it in 
 contests. So in music the aim should be to develop the 
 appreciation of the entire group, then to select the best 
 material available for ensemble work. Let the orchestra be a 
 training in preparation for the ensemble class. Promotions 
 can be made to the Chamber Music group at regular appointed 
 times, upon successfully passing the required examinations 
 and meeting the requirements. Credit for work in ensemble 
 music could be granted just as often done for orchestra or 
 other music work. \^en Chamber Music is made a high school 
 subject, the standard of music will be raised and an incentive 
 for serious musical work will be created. 
 
 In ensemble work where there are only a few players, 
 any of the combinations of instruments could be used. 
 
 Practical experience teaches us that in the average high school 
 orchestra we meet a majority of piano, violin, cello, flute. 
 
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- 13 - 
 
 cornet, clarinet, trombone, saxophone and drum players while 
 the important and indispens ible instruments for imparting 
 color and volume, such as the viola, bass, oboe, bassoon and 
 French horns are practically beyond reach. This condition has 
 to be met and solved and the only solution is to make the best 
 of the material at hand. 
 
 Dr. G. Stanley Hall says, ”Music is a human necessity 
 in modern life. The fundamental view, on which my own theory 
 of music and musical education is based is that music is the 
 language of the heart, very much as speech is that of the 
 intellect. It is older and more all-conditioning for the life 
 of the individual. The new psychology is stressing this point 
 of view in every way. Therefore education in music is coming 
 to occupy a higher and even higher place." 
 
 When Chamber Music becomes a part of the school life, it will 
 find its way into the home and then into the community. 
 
 Many of the cities of our country have their organizations 
 of Chamber Music societies, others have concerts with 
 travelling musicians. The New York Chamber Music Society, 
 Carolyn Beebe, pianist and founder, gave three recitals in 
 Aeolian Hall, New York City, within the last year. One of 
 the selections played was Percy Granger's new work, "Green 
 Bushes." On the second concert, a new Chamber Music 
 composition by Ethel Leginska, called "From a Life". This 
 composition is still in manuscript. This organization also 
 played among its nximbers Caplets Quintet for piano and strings. 
 
 The Barrere Ensemble gave a series of Sunday evening 
 concerts in New York City at which his Little Symphony, the 
 

 
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 miniature orchestra, organized by George Barrere, played 
 among a varied program two new numbers; Suite Ditirambio by 
 Domenica Brescia and Vincent d* Indy's Sarabande and Minuet. 
 This organization is composed of the following instruments: 
 flute, oboe, clarinet, horn and bassoon. 
 
 Adolf Weidig and class of the American Conservatory in 
 Chicago gave the following program in Kimball Hall, Saturday, 
 November fifth, last: 
 
 Schumann Quintet 
 
 Brahms F minor Quintet 
 
 Dvorak A major Quintet 
 
 Dohanyi C minor Qunitet 
 
 The Beethoven Trio of Chicago in a recent concert in 
 Academy Hall of that city played the following numbers: 
 
 Leken Trio in C minor 
 
 Schubert Andante, Opus 99 
 
 Arensky D minor Trio 
 
 The Chicago String Quartet, a new organization, gave a 
 concert in Kimball Hall in March, 1922, in which they played 
 the 
 
 Mozart Q,uartet in B flat major 
 
 Rimsky-Korsakof f Allegro Russe 
 
 Quartet in F major 
 
 In Urbana, Illinois, at the University of Illinois, 
 three Chamber Music organizations have been heard in concerts 
 within the last year, namely: Flonzaley String Quartet, 
 Barrere Wood Wind String Quartet, and the University of 
 Illinois String Quartet. 
 
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 The University of Illinois String Quartet composed of 
 the folloT/ing persons, Manoah Leide, Andrus 0. Griffith, George 
 Foss Schwartz, and Leveret t A. Adams, played 
 
 Quartet No. 47 in F minor Haydn 
 
 Quartet in D major Op. 18, No. 3 Beethoven 
 
 Only a few of the many organizations of Chamber Music 
 of the United States have received mention in this treatise, but 
 these few are typical of the great work that has been and is 
 being done to further the cause of music in our vast and powerful 
 nat ion. 
 
 Why should not the United States produce and foster art 
 of an exceptional order? We are a sympathetic people with varied 
 national arts. We have been quick to respond to the originality, 
 characteristic of the freedom of life in a democratic country. 
 
 Our hopes and aspirations are ever for the betterment of mankind, 
 therefore, our faith points to the possibilities for the 
 development of Amateur Chamber Music in the United States.