The middle of the 19th century saw more changes in society and in musical tastes, which had their impact on chamber music composition and performance
Home music-making in the 19th century; painting by Jules-Alexandre Grün.
While improvements in instruments led to more public performances of chamber music, it remained very much a type of music to be played as much as performed. Amateur quartet societies sprang up throughout Europe, and no middling-sized city in Germany or France would be without one. These societies sponsored house concerts, compiled music libraries, and encouraged the playing of quartets and other ensembles.[34]
Thousands of quartets were published by hundreds of composers; between 1770 and 1800, more than 2000 quartets were published,[35] and the pace did not decline in the next century. Throughout the 19th century, composers published string quartets now long neglected: George Onslow wrote 36 quartets and 35 quintets; Gaetano Donizetti wrote dozens of quartets, Antonio Bazzini, Anton Reicha, Carl Reissiger, Joseph Suk and others wrote to fill an insatiable demand for quartets. In addition, there was a lively market for string quartet arrangements of popular and folk tunes, piano works, symphonies, and opera arias.[36]
But opposing forces were at work. The middle of the 19th century saw the rise of superstar virtuosi, who drew attention away from chamber music toward solo performance. Frédéric Chopin and Franz Liszt presented "recitals" – a term coined by Liszt – that drew crowds of ecstatic fans who swooned at the sound of their playing. The piano, which could be mass-produced, became an instrument of preference, and many composers, like Chopin and Liszt, composed primarily if not exclusively for piano.[37]

Vilemina Norman Neruda leading a string quartet, about 1880
The ascendance of the piano, and of symphonic composition, was not merely a matter of preference; it was also a matter of ideology. In the 1860s, a schism grew among romantic musicians over the direction of music. Liszt and Richard Wagner led a movement that contended that "pure music" had run its course with Beethoven, and that new, programmatic forms of music were the future of the art. The composers of this school had no use for chamber music. Opposing this view was Johannes Brahms and his associates, especially the powerful music critic Eduard Hanslick. This War of the Romantics shook the artistic world of the period, with vituperative exchanges between the two camps, concert boycotts, and petitions.
Although amateur playing thrived throughout the 19th century, this was also a period of increasing professionalization of chamber music performance. Professional quartets began to dominate the chamber music concert stage. The Hellmesberger Quartet, led by Joseph Hellmesberger, and the Joachim Quartet, led by Joseph Joachim, debuted many of the new string quartets by Brahms and other composers. Another famous quartet player was Vilemina Norman Neruda, also known as Lady Hallé. Indeed, during the last third of the century, women began taking their place on the concert stage: an all-women string quartet led by Emily Shinner, and the Lucas quartet, also all women, were two notable examples. (Wikipedia)

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