History of Classical Concert Halls

Construction of the Concert Hall
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History of Classical Concert Halls
The Western world is currently enjoying one of the best classical concert halls. Even though some concert halls were made in the 21st century, some have employed a concept of previous centuries. To understand the current classical concert halls successfully, it would be critical to understand the history of the previous halls, the improvements made to them, and the concepts that the current classical concert halls have borrowed from the previous halls.
Western World history consists of an outstanding connection between music development, musical ensembles, and the spaces where the music will be performed. A perfect example of this development is the connection between Byzantine and Early Christian religious practices. The socially and politically unstable medieval times prompted the church to be a primary vestige to continue advancing in the creative arts and scholarly knowledge. This process made the sacred music based on the church liturgy more prominent during this period. Most of this music embraced a chant that monks and clergy performed during certain parts of the Mass.[Peno, Vesna, and Zdravko Peno. "Byzantine church music between tradition and innovation." Journal of ISOCM 3 (2018): 248-252.]
These chants' slow-moving and monophonic nature highly depended on the church's architecture during this period. For instance, the largest part of the church was constructed using stone and was possessed extraordinarily by the long reverberation times. The reverberation was too much, making the audience struggle with the speech. The monastic choir also used the chant to show the text of the Mass in such a way that it improvised on the effect of spiritual and ethereal sounds, which resounded in the larger spaces.
Throughout different ages, it was evident that the composer, performers, and conductors understood a link between music and architecture. The following understanding made the rise of the orchestra and the Baroque period. Most wealthy mobility employed composers and musicians as private servants during this period. This factor made the performances exclusively performed in private and courtly circles such as salons, ballrooms, halls, or drawing rooms. The performing music ensembles were small due to the intimate nature of the following rooms. Later the composers moved from composing music that employed the combination of instruments that was composed of woodwind, strung, and brass instruments.
During this period, the Baroque and classical periods the place-bound composers. The two reasons that prompted this were the boundaries of the church or courtly employment situations and the risks and inadequacies among the available transit. The following composers were, therefore, more familiar with the limitations and their ability regarding the performing forces and the acoustic rooms in which they were playing this music. This understanding made researchers like Berlioz and Dart investigate the relationship between instrumentation size, early orchestral Baroque music, and the acoustic room nature hosting this performance.
The 18th century started to mark the beginning of another era. For example, similar ...