After our concerts, we have a short questions and answer (Q&A) session. Below is a sample of the answers our musicians gave, or could have given.

What do you call “chamber music”? How does it differ from background music?

The short answer is that Chamber Music developed in the 17th century with small group of musicians playing together for their own enjoyment, in a small room (camera or “chamber”). That is a definition that is still valid today: professional orchestra musicians get together to play chamber music, for the pleasure of reading good music and understanding the mind(s) behind it. Understanding rationally first, then more deeply, physically: that is what the rehearsal process does. After musicians reached a sufficient understanding, then they invite more people into a conversation they can lead: the chamber music concert.

Background music is a 20th century invention, a by-product of the electronic distribution of music.

Why is classical music so “high brow”, intimidating?

It is sad that classical music has that reputation, and we are doing what we can to correct it. Classical music demands more from listeners than many other music, and it is our responsibility as musicians to reassure the audience to not be intimidated.

All music appeals to the senses, the memory and the emotions of its listeners. Classical music, especially chamber music, also appeals to the intellect. Music makes tangible abstractions like time or mathematics (ex: harmonics) in a way that words could not. Most chamber music is wordless, yet it is meaningful. In our concerts and our outreach to the community, we strive to put every audience member in a disposition to better understand the language of music.

How does a new listener grasp that language? By noticing patterns. Patterns become “form”. At our concerts, we help our audience noticing them. The first step of music literacy is simply noticing patterns. The following steps are naming them, and learning the codification that allows these patterns to be printed on paper, called “reading music”. This is very much the same way a child learns a new language. Listening carefully and noticing patterns comes well before reading and writing. At our concerts, we help our audience to recognize patterns, and with translating some of them (ex: allegro, adagio,…).

It is helpful to remember that before music could be recorded and distributed in the early 20th century, people learned more about music. To enjoy listening to it, they had to make it. Most chamber music, especially for the piano, was written for amateur musicians, and there were many, many of them before recordings made music education less widespread. The peak of piano sales in the United States was in… 1923! Listening to live chamber music trains the musical sense even when one does not practice an instrument.

What is the difference between a violin and a viola?

Can you talk about your instruments?

The answer to this question varied for each musician, but point to the meaningful and fascinating art of the luthier, and how the musician and his/her instrument become one. Cremona, Stradivarius, Guarneri are names gracing the rich history of luthery. In short, if it takes decades to train a musicians, the instruments are also the result of skills acquired through many years. The musicians work with form, “the heavens”, the luthiers work with matter, “the earth”.

Who is your favorite composer? Favorite period in music?

“It is like asking a mother to pick her favorite child” was one answer.

But when pressed to name one, Johann Sebastian Bach was the unanimous answer at our April ’24 concert. Why? In short, just as chamber music is music-for-musicians, so are many compositions by JS Bach. His music was published only years after his death. He is also the name bearer of a large family of musicians, and a rich period for music: baroque.

Another answer: “it is the role of professional musicians to make every composer sound like their favorite one”.

How did you compose this concert’s program?

The April concert was a “pot-pourri” with seven (7) short pieces, covering a broad variety of chamber music, composed between 1765 and 1918. Other concerts may feature longer, complete pieces to explore just two or three composers more in depth. Our series’ goal is to introduce a new public to chamber music, while fairly presenting the depth of this form of composition.

At what age did you start playing your instrument?

Young 🙂 The stories for each musician are colorful and different, but youth is a constant.

What is the biggest venue you have performed in?

Sport stadiums seating tens of thousands are now used for concerts, and at some point in their professional career, our musicians have played in such venues. They recommend the very different UP CLOSE AND CLASSICAL experience to both musicians and listeners.