Some thoughts on short chamber music recitals

Here’s the repertoire I will be playing at a chamber recital for Dayton Philharmonic donors on Sunday:

Max Bruch, No. 2 and No. 6 (Nocturne) from Eight Pieces for Clarinet, Viola, and Piano, Op. 83.
Malcolm Arnold, Sonatina for Clarinet and Pianoforte (1951).
Camille Saint-Saëns, Movements II and IV from the Sonate for Clarinet and Piano, Op. 167.
Gabriel Fauré, Barcarolle No. 4 in A-flat Major for piano, Op. 44.
W. A. Mozart, Trio (Kegelstatt) for clarinet, viola, and piano, KV 498.

The recital is a private event that will be presented in a patron’s home. (Apologies to any local fans who would have liked to attend!) A reception will follow so that everyone can mingle in the (hopefully) golden afterglow of a good performance. Now why do I bring all of this up?

I think this kind of more informal event is a really good idea for performing institutions like orchestras and chamber music societies. I have done a few things like this in the past for other institutions or groups, and it is always educational, fun, and eye-opening all at the same time. Here are some of my reasons for why this is important today:

1) Audience/donor/musician connections. Today it’s all about breaking down that wall between the stage and the first row. Events like this let musicians get to know their audience members, and audience members get to know the musicians they see week after week on stage. It is also important for musicians (or any other artists) to learn about the people in their communities who can financially support artistic institutions. Those connections can lead to new endeavors or programs that enrich the arts scene of any town or city.

2) Special musical opportunities for working musicians. There are not too many people in our field who would turn down the opportunity to play some chamber music for a small, appreciative audience. Most professional musicians (especially those who play in an orchestra) appreciate the chance to express themselves in intimate settings through chamber music. Orchestra administrations are beginning to address this need in more creative and beneficial ways these days. A good-quality chamber music program that involves many musicians over the course of a season can also be a huge morale-booster. Higher morale = healthier artistic environment.

3) Unique programming. These small, short, informal recitals can withstand a more bricolage-like approach to programming. Formal big-league chamber concerts can get a little stuffy sometimes with their emphasis on lengthy and dramatic string quartets, piano quartets, etc. These private events can feature more varied, shorter, and lighter works, including even some compositions of questionable merit, simply because it is a little more about entertainment than deep structural listening. Our program above includes many styles that span centuries and three different types of instrumentation (clarinet-viola-piano trio, clarinet-piano duo, and piano solo). An astute observer might also notice that we are actually performing an incomplete work (only two of the four movements from the Saint-Saëns clarinet sonata)! Well, before the program police rant and rave about how terrible this is, let me just say this: It is a matter of historical record that common performance practice in the nineteenth century involved the presentation of single movements from larger works, as well as a wide range of styles and instrumentations. At a concert back then one could have easily heard a single movement from a Beethoven symphony, a couple of arias from Cosi fan tutte, and then maybe a big virtuoso piano solo (something like the Spanish Rhapsody by Liszt), all in one half of an evening’s program.

Well, I think it is right and appropriate to try this kind of thing again today. After all, there is nothing to lose (except stuffiness) and everything to gain. Besides, presenting shorter works lets the guests refill their drink glasses more often.

Let me also say that much of this lighter music really should be played in a living room or smaller performance venue (that’s why it’s called chamber music). There is a time and place for the larger concert hall, but also a time and place for the small, intimate setting. Both situations can reap meaningful rewards for receptive audiences.

If anyone would like to offer additional thoughts on the topic of this post, please feel free to leave a comment.