Salon Music and the Art of Intimate Performance

Performing a Chopin Nocturne in front of hundreds of people has often made me feel that something was “off.” The intimacy of the music sometimes feels lost in a large concert hall. Many works by Chopin and Schubert, for instance, were composed for smaller, more personal settings. However, we have grown accustomed to hearing what was once considered “salon music” in grand concert venues.

Throughout the twentieth century, the term “salon music” was often dismissed as being of lesser quality—perceived as simple, easy-listening pieces. Yet, this perception could not be further from the truth. A Mazurka, one of Chopin’s signature forms and the one he was most comfortable writing in, is not just a simple tune. For him, the Mazurka represented a deep connection to his homeland, Poland—a place he longed for throughout his life.

The Importance of the Salon in the 19th Century

In the 19th century, the salon played a crucial role in artistic and intellectual life. Great thinkers, musicians, and artists gathered in these spaces to share ideas, perform new compositions, and engage in philosophical discussions. Some of the most renowned figures of the time—Franz Liszt, Clara Schumann, Pauline Viardot, and Fanny Hensel (née Mendelssohn)—hosted salons where art, music, and literature flourished.

Liszt’s salon in Weimar, where he lived on the Altenburg estate with Countess Marie d’Agoult, was particularly notable. Weimar, considered the philosophical heart of Germany at the time, attracted a staggering number of intellectuals and musicians. These gatherings weren’t just concerts; they were immersive experiences combining music, conversation, and fine dining.

Changing Contexts in Performance

The recital, as we know it today, has evolved significantly. Robert Schumann himself remarked that his larger works, such as the Fantasie Op. 17 and Kreisleriana Op. 16, were not meant for public performance but rather for private settings among musicians. Even Beethoven distinguished between music for the general public (such as his symphonies) and works intended for the more refined listener (such as his string quartets).

In the 19th century, integral performances of entire sonatas were rare. Musicians frequently played only select movements—something we see even in the early 20th century, when violinist Pablo Sarasate performed just the second movement of a sonata rather than the full piece.

Rediscovering the Salon Experience

Many of the performances we now read about in history books as “public concerts” were, in fact, intimate salon gatherings. Liszt’s soirées at the Altenburg often featured a combination of music, discussion, and his favorite cognac and wine. His students would test out new repertoire, and Liszt himself would occasionally perform and explain works to his guests.

Personally, I find great inspiration in these mixed artistic evenings. While formal recitals hold their own beauty, an intimate setting that includes poetry, fine wine, or a beautifully prepared dinner creates an experience unlike any other. There is something profoundly special about listening to Chopin’s music while sipping a wonderful glass of wine or pairing Debussy’s compositions with champagne and oysters—his favorite meal.

CuisineMusique: Reviving the Salon Spirit

With this philosophy in mind, I co-founded CuisineMusique alongside the incredible chef Elvis Mesic. Together, we curate evenings that combine the highest standards of gastronomy with the greatest works of music. A five-course dinner intertwined with two or three musical interludes elevates both art forms, crafting an unforgettable evening for our guests.

By bringing back the salon experience, we offer a multisensory journey—one that honors the traditions of the past while embracing the refinements of today.