Chamber music is niche, but not like you think
Understanding the unique world of chamber musicians and Quartet Collectives
by Sara Laws
In the process of helping me understand what commissions are and what they mean for Belvedere, Ingrid Keller answered my other spinoff questions about the acclaimed musical groups that are coming to Richmond for Belvedere events.
What are quartet collectives, to those in the music world?
I was curious about how groups like the Attacca Quartet and OWLS became household names. I wondered where they stand in relation to the rest of the musical profession in the US and abroad.
Ingrid helped me understand: Attacca Quartet, with two Grammys under their belt, has achieved broad recognition beyond the chamber music community. This is partly because they’ve been around longer than OWLS, a quartet collective that will play for Belvedere in 2026.
While not as universally known, OWLS commands great respect within the chamber music community. One reason for this is that each member of the group is “soloistically good”—more on this below.
Another reason OWLS is so well-respected among chamber musicians is that they experiment in a way that works. OWLS features an “inverted quartet” configuration, featuring one violin, a viola, and two cellos. Basically, when a cello replaces a violin, the shift in sound is palpable. It significantly alters the resonance of the music.
But Ingrid corrected me on the idea that these groups are universally known. Even with their Grammys, Attacca, for example, is not a “household” name for everyone.
I learned that there’s a difference between being acclaimed in American music generally and being acclaimed within the chamber music community.
“The chamber musician identity is a niche, even though I don’t love the word ‘niche,’” said Ingrid.
“ Chamber music isn’t a reversion back to when the aristocracy had the only ‘good’ concerts in town. We’re not cosplaying Marie Antoinette here.”
Not everyone who plays the violin or cello professionally is going to be following the groups like OWLS or Attacca. Some might not be aware that there are quartet groups like these that travel together and work together on projects in a sort of freelance capacity.
I hadn’t realized this: Chamber musicians are essentially freelancers, thriving in a challenging environment that demands exceptional skill. It’s a big hustle, and you have to be “soloistically” good to succeed.
Chamber musicians are rockstars—and freelancers—of their craft
“This is one thing our guests and newer audiences should understand about the whole “chamber music” thing,” Ingrid added.
“It’s not meant to be a reversion back to some mothball-eaten tradition where the aristocracy had the only ‘good’ concerts in town that kept out the masses. We’re not cosplaying Marie Antoinette here,” she said.
“Instead, I’m hoping our ticket holders can think of it this way: It’s like attending an NBA game courtside. Or like having a perfect seat at a West End production.”
These aren’t perfect parallels because of course, Broadway and the NBA generate a lot of revenue and tend to have different audiences than a chamber music organization like Belvedere.
“Chamber musicians are niche because so few people who can do it. Not just because making music is hard, but because making a life as a musician is hard.”
But Ingrid’s point is essentially the following: For those who truly love the sport of basketball or the art of a Broadway show, you want a front row seat. You want to be that close to the most talented human beings alive.
That’s the parallel: Hearing a chamber musician in a salon environment is like having a front-row seat to NBA-level basketball skills.
It takes your breath away to be that close to their talent, their excellence.
“These are true craftspeople who aren't just paid to perform for you, but achieve an excellence that so few can,” said Ingrid of the musicians who grace Belvedere’s programs.
Chamber musicians are niche because there are so few people who can do it. Not just because making music is hard, but because making a life as a musician is hard.
“And the ‘niche’ musicians we invite to Richmond are so soloistically good that they can fly in, practice for a day, and then perform in my house for you,” Ingrid added.
“You have to be damn good to be able to do that, without the protection and security of a large concert hall or a full orchestra, which are a little safer for musicians because you’re never the only violinist on stage and there’s not that close contact with the audience.”
Instead, you’re getting Bernadette Peters or LeBron James in a living room. Think of how vulnerable that close proximity can make the artist.
“Hearing a chamber musician in a salon environment is like having a front-row seat to NBA-level basketball skills.”
But chamber musicians thrive in such settings because of their deep love for their craft and the immense dedication they’ve invested to reach this level of artistry.
Again, it’s not that Belvedere aspires to cater to an exclusive group of guests. In fact, Ingrid sometimes cringes at the vibe of exclusivity that chamber music can give off. But that’s not the “niche” Ingrid was referring to.
For musicians, this is a niche line of work because that soloistic excellence, combined with the very difficult life constraints of being a chamber music freelancer, is something few can actually do.
For audiences, it’s niche because being so close to this kind of talent, this caliber of art, is exceedingly rare.
Explore Belvedere’s four commissioned works for the 2025-2026 season:
Are new musical commissions part of music history?
Why does Belvedere commission new musical compositions?
