String quartets bring vitality, warmth and intimacy to any wedding ceremony. Able to accommodate most wedding venues and armed with a wealth of classical repertoire, they provide not only versatility, but beauty and elegance to the occasion. With so much music available, however, it can be daunting to know where to begin. Here are a few highlights that go beyond the standard wedding fare and can help jump-start the process.

Tchaikovsky: String Quartet No. 1

Planning the music for the beginning of any ceremony can be tricky. You want something lyrical and expressive yet with enough spark to keep the momentum going as family and friends reunite and eagerly await the celebration. Peter Tchaikovsky's String Quartet No. 1, aptly nicknamed The Accordion for the pulsing breathlessness of this first movement, starts with a quiet energy that slowly builds into a joyous explosion of musical fireworks. It's a combination of beautiful melodies, lush harmonies and just the right amount of fire.

Bach: Cello Suite No. 3

One of the often-underused advantages of having a quartet is that you have four highly skilled musicians available for your service. Why not highlight them individually? Johann Sebastian Bach’s Cello Suites are a staple of any cellist’s repertoire. While the common piece to turn to is the Prelude from the First Suite ….

… the Prelude from the Third Suite is stately, dignified and equally as beautiful; an elegant accompaniment as grandparents, parents and distinguished guests process for the ceremony.

Rochberg: String Quartet No. 6

This little-known gem would make the perfect processional for the creative traditionalist. Based upon Johann Pachelbel's now iconic and widely used Canon, the third movement of George Rochberg’s quartet keeps the structure and beautiful lines found in the 17th-century classic while providing new life through an infusion of neo-romantic intensity — the perfect combination of old and new.

Borodin: String Quartet No. 2

Weddings are a celebration of two becoming one, and the first movement of this piece by Alexander Borodin is a gorgeous representation of that same ideal. The piece consists primarily of violin and cello in graceful dialogue — yet culminates with the two united as one in the celebratory closing theme. Whether as a stand-alone piece or in an accompanying role, this piece is sure to captivate all in attendance.

Haydn: ‘Lark Quartet’

What better way to send off your guests than with this joyous spitfire? The fourth movement of Franz Joseph Haydn’s Lark Quartet is a classical favorite that can kick-start the festivities so they're sure to last well into the night.

We asked listeners to tell us their favorite chamber music pieces. Here are the top 20 vote-getters.

20. Nielsen: Woodwind Quintet

This work embodies a conversation, with composer Carl Nielsen putting in his program notes that he "attempted to render the characters of the various instruments. At one moment they are all talking at once, at another they are quite alone."

LISTEN — Nielsen: Wind Quintet I. Allegro ben moderato

19. Mozart: Gran Partita

W.A. Mozart's Serenade No. 10, more commonly known as "Gran Partita," showcases his ability to masterfully combine different themes and textures. Scored for twelve winds and string bass, this is the work in the movie Amadeus that convinced Antonio Salieri that Mozart was the voice of God.

LISTEN — Serenade No. 10 "Gran Partita": IV. Adagio

18. Haydn: String Quartet Op. 76, No. 3 "Emperor"

One of Haydn's most famous quartets, the second movement features the melody from "God Save Emperor Francis," which is now used in the German national anthem. This melody will easily get stuck in your head, in the best way possible.

LISTEN — String Quartet Op. 76 No. 3 "Emperor" II. Poco adagio, cantabile

17. Grieg: String Quartet

Edvard Grieg is able to create a thick texture and soaring melodies in his String Quartet. An important piece to bridge the quartets of Beethoven to those of Debussy, the composer Franz Liszt said "it is a long time since I have encountered a new composition, especially a string quartet, which has intrigued me as greatly as this distinctive and admirable work by Grieg."

LISTEN — String Quartet No. 1: I. Un poco andante

16. Schubert: String Quintet

This work is considered one of Franz Schubert's best, and one of his last before his untimely death. The addition of a second cello creates a depth in the lower register that is haunting and lush. It's no wonder why this is considered one of the greatest chamber works of all time.

LISTEN — String Quintet in C Major: I. Allegro ma non troppo

15. Schumann: Piano Quintet in Eb major

Robert Schumann's Piano Quintet is considered one of the works to revolutionize the form, making it a staple of the Romantic Era. He dedicated the work to his wife and fellow composer, Clara Schumann, who was the pianist for its premiere.

LISTEN — Piano Quintet: II. In modo d'una marcia. Un poco largamente

14. Messiaen: Quartet for the End of Time

Olivier Messiaen wrote this piece while he was a prisoner of war in a German camp. First performed by fellow prisoners, the work draws from a passage in the Book of Revelations and is now considered one of his most important works.

LISTEN — Quartet for the End of Time: I. Liturgie de cristal

13. Debussy: Sonata for flute, viola, and harp

Although Debussy is known for being a very impressionist composer, he actually looked to the styling of French Baroque music for his sonata for flute, viola and harp. The result is a beautiful painting of sounds, some structured and intentional, while others are more abstract.

LISTEN — Sonata for Flute, Viola and Harp: II. Interlude; Tempo di minuetto

12. Brahms: Trio for Violin, Horn, and Piano in Eb major

Johannes Brahms wrote this piece to commemorate the death of his mother, exploring his grief through the four movements. He is able to express the different ways in which this emotion can be felt, with the second movement recalling happier memories of days gone by.

LISTEN — Horn Trio: I. Andante - poco piu animato

11. Tchaikovsky: String Quartet No. 1

The second movement of Pyotr Tchaikovsky's String Quartet No. 1 has become famous in its own right — it's melancholic sounds are said to have brought author Leo Tolstoy to tears, and the melody was used as the basis for the tune "On the Isle of May."

LISTEN — String Quartet No. 1: II. Andante cantabile

10. Schubert: String Quartet No. 14 "Death and the Maiden"

The "Death and the Maiden" quartet is one of Franz Schubert's most famous works. It was written after he suffered a major illness and realized he was dying. All movements are written in a minor key, driving home the urgency and fear of death as well as highlighting the few respites in major motifs.

LISTEN — String Quartet No. 14 "Death and the Maiden" Andante con moto

9. Janáček: String Quartet No. 2 "Intimate Letters"

Leos Janáček wrote his String Quartet No. 2 as a sort of manifesto on love to a woman 38 years younger than him. They exchanged over 700 letters through his life, and this work was meant as a testament to their relationship. The result is a work filled with passion and longing.

LISTEN — String Quartet No. 2 "Intimate Letters" III. Moderato

8. Mendelssohn: Octet

Felix Mendelssohn was 16 when he wrote this work as a gift for a friend. You can hear his youthful excitement and brilliance throughout the work, but especially in the first movement. It's melodic swells highlight his brilliance and promise as a composer.

LISTEN — String Octet: I. Allegro moderato, ma con fuoco

7. Dvořák: Serenade for Winds

Antonin Dvořák's Serenade for Winds evokes the Rococo style, combining the worlds of aristocracy and common folk. It's easy to picture yourself walking around a Baroque castle while listening to this regal piece.

LISTEN — Serenade for Winds: I. Moderato, quasi marcia

6. Debussy: String Quartet

The only string quartet Claude Debussy ever wrote marks a true departure from classical harmony to a more freeing view of composing. Composer Pierre Boulez even said that Debussy freed chamber music from "rigid structure, frozen rhetoric and rigid aesthetics" with this work. Listen to how the second movement utilizes pizzicato and strumming.

LISTEN — String Quartet: II. Assez vif et bien rythme

5. Ravel: String Quartet

Like Debussy, Maurice Ravel only wrote one string quartet. It is greatly influenced by Debussy's, but blazes a new path in a different way. Even so, listen to how the second movement utilizes pizzicato and strumming just like Debussy's. Instead of rejecting traditional forms, Ravel works within them to create a quartet that has stood the test of time.

LISTEN — String Quartet: II. Assez vif. Tres rythme

4. Mozart: Clarinet Quintet in A major

One of the best-known and earlier pieces written for clarinet, W.A. Mozart's Clarinet Quintet was written for the clarinetist Anton Stadler. Their working relationship produced another work for clarinet — Mozart's Concerto for Clarinet and Orchestra — and changed the history of the instrument forever.

LISTEN — Clarinet Quintet: II. Larghetto

3. Beethoven: Piano Trio No. 7 "Archduke"

The composer was the pianist at the premiere of his "Archduke" piano trio, and it was one of his final performances due to his increasing deafness. The work is written beautifully for piano, violin and cello, with each instrument trading off the melody seamlessly.

LISTEN — Piano Trio No. 7 "Archduke": I. Allegro moderato

2. Schubert: Piano Quintet in A major, "Trout Quintet"

Franz Schubert's "Trout Quintet" gets its name from the fourth movement, which is based on variations of his lied by the same name. Its childish playfulness and textures make this work a lasting classic in the chamber music repertoire.

LISTEN — "Trout Quintet": IV. Thema with Variations; Andante

1. Dvořák: String Quartet No. 12 "American"

It's no wonder Antonin Dvořák's "American" quartet topped our list — it embodies his compositional style from his stay in America, where he encountered musical influences from all across the country. You can hear hints of folk music, spirituals, and indigenous melodies, all tied together in a magical bow. Although Dvořák only lived in the U.S. for a few years, he captured the spirit of American classical music and influenced it for years to come.

LISTEN — String Quartet No. 12 "American": I. Allegro ma non troppo

You can hear all of these works, and more on our new Chamber Music stream. Is your favorite one missing from this list? Let us know!

And Madeline Island loves its chamber music. After all, what's not to love? This summer classic brings world-class ensembles to this idyllic Lake Superior getaway for a month of concerts. And when they're not performing, they're teaching talented college and high school musicians to become next generation of great artists. Classical MPR's John Birge caught up with the Arianna Quartet after their 17th summer on Madeline Island, performing, mentoring and — we hope — goofing off a bit too! No better place for that.

On this episode of YourClassical Story, Doris Leipziger from Plantation, Fla., shares how her father's love for classical music was imparted on her.

What's YourClassical Story? Share it with other classical music lovers.

As classical music videos go, making sure everyone looks their best while being doused with water from filled balloons is probably not a primary concern. But that's how the latest promotional clip by the Diderot String Quartet plays out.

And we can't stop watching.

Over the course of 4 minutes and 37 seconds, members of the quartet are shown before, during and after being continually pummeled with water balloons. Take a look.

The super-slow-motion footage adds to the artsiness of the proceedings. It helps, too, that the quartet's masterful recording of Mozart's Dissonance Quartet serves as the soundtrack.

If you're curious, here's what the highly photogenic members of the quartet — violinists Adriane Post and Johanna Novom, violist Kyle Miller and cellist Paul Dwyer — look like in their more typical classical trappings.

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Continuing Classical MPR's exploration of the first published string quartets by Beethoven, this week's Regional Spotlight includes the Beethoven String Quartet No. 5. Modeled after one of Beethoven's favorite Mozart quartets (which Beethoven himself copied by hand), the Beethoven Op 18 No. 5 is a romp of a work.

The Miró Quartet certainly think so. Here's their performance from a Chamber Music Society of St Cloud concert.

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In the early 1800s in Vienna, Beethoven had an opportunity unheard of for a composer: he got to write music for one of the world's first professional string quartets.

No longer was he writing for amateurs; now, he would write for the world's best string players.

Beethoven pulled out all the stops, during a time of great personal tragedy while he struggled with hearing loss.

Learn about the special music Beethoven wrote during this time from two members of the Cypress String Quartet.

Cypress just finished recording all of Beethoven's so-called "Middle String Quartets". Violinist Tom Stone and cellist Jennifer Kloetzel are guests on this week's Learning to Listen from Classical MPR.

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I teach students for a living. Throughout the day I speak about the joys of poetry, the complexities of environmental activism, and the range of writing that may — or may not — appeal to young minds. Mainly, though, I inhabit the world of discussions. In the classroom we debate and argue, seek understanding, and confront the inner workings of our own minds. During classroom discussion, music is often on my mind.

Sonority is what I'm often after in the classroom: a deep, resonant, full-bodied sound that lays out lessons, instructions, or other avenues for developing minds in learning. At its best, sonorous conversation often fills my classroom with lively topics about controversial issues: the Keystone XL pipeline; ISIS; the rhetoric of right-wing evangelicals; and climate change. After a day of teaching, my brain wanders towards Schubert.

Franz Schubert was a teacher too. In his journals he noted the drudgery of teaching and his indifference towards his students — but the opening movement of Schubert's String Quintet in C Major D. 956, commonly known as the "Cello Quintet," seems to mirror my own classroom and reminds me of rich discussion.

The opening chord of the "Cello Quintet" is mysterious, with endless possibilities — where will it go? — as if a teacher were saying, "Today, class, we will..." and leaving the statement hanging, waiting to unveil the surprise. Finally, the first violin takes the lead, sending the listener on her way through a series of responses by the four other voices (violin, two cellos, and viola), as if students are asking questions about what the homework was and what they're doing in class on any given day. The violins enter a back-and-forth with the three lower voices. The tension builds. The teacher asks the question: "What do you think about..."

Then, the music soars. The viola trying to get its point across, the violins working as one, complementing each other in the higher register, and the cellos playing descending scales, trying to get a word in edgewise.

After two minutes of tension we land. We know where we are. E-flat major. And for fourteen minutes this listener experiences a type of sublimity that Schubert executes masterfully. The theme is pulled apart, flows between voices, and creates a sonorous conversation between the five instruments. It's discussion at its best.

Eventually, the first violin brings the movement to an end with slight ornamentation before the final agreement that discussion is over. Though the piece continues for three more movements, the first — nearly twenty minutes long — is comprehensive, cohesive, and filled with luxurious harmonies. The listener, after a long day in the classroom, feels filled, nourished, and reaffirmed regarding why we learn: to better know our deep human experience.

Taylor Brorby is a writer, environmentalist, and GLBT rights activist. He received his M.A. in Liberal Studies from Hamline University in 2013, and is the current writer and communications consultant for the Dakota Resource Council.

Interested in writing about classical music for Classical MPR? Have a story about classical music to share? We want to hear from you!

When two colleagues and I formed a brass trio (trumpet, horn, trombone) in the Red River Valley area in 2014, naming ourselves didn't occur to me even though I had gone through this process before. It was designing a flier for a photographer friend to distribute that reminded me that we should come up with a memorable name if we want to do anything more than get a few scattershot gigs.

Chamber ensemble names tend to fit into a few categories, I've found, though there are plenty of exceptions. Many are named after places, such as the Minneapolis Trombone Choir and the Roseville String Ensemble. It's fairly common to be named after a composer, like the Amadeus (string) Quartet and the Twin Cities' the WolfGang. One-word names are popular (Cantus, the Moscow-based Rusquartet, the contemporary ensemble Zeitgeist), while some go the opposite route with more ornate names (my pals in the Compass Rose Brass Ensemble, the Long Island Chamber Ensemble of New York). A fifth popular category is nature-based names (the Rose Ensemble, Ensemble Polaris).

I suggested to Mark and Austin that we all bring a list of name ideas to our first rehearsal. Here is my initial brainstorm, the silly and boring alongside the more plausible (as I used to tell my writing students, at first you should let it be bad): Red River Brass Trio, Tres Brass, Piston Cor Posuane, Valves and Slides, the Joyful Brass, Valley Brass Trio, the MGA Brass (our initials), Resonant, Flood of Sound (floods being a distinctive, if not beloved, feature of our region), the Odin Trio, Trio Odin, the Loki Trio, and Musikk (Norwegian for music). The day after this brainstorm, I watched the first episode of the Cosmos TV series and was inspired to add the Sagan Trio, in honor of the wonderful scientist Carl Sagan.

I shared my list with the guys, and Austin shared what he had come up with. Two names overlapped with mine (Red River Brass Trio and Valley Brass Trio, unsurprisingly), and his other ideas were the Prairie Winds Brass and Sub Zero Brass. When Austin said this last name, Mark and I both lit up. It was catchy and fun, and we joked that even in the summer we could tell audiences and clients how cool we are. (Aren't we hilarious?) Although Mark hadn't come prepared with anything, he threw out Tundra Brass and Shelter Belt Brass as we discussed our options. We decided to sit on the decision for a few days, but I had a feeling Sub Zero Brass would be it.

Meanwhile, my dad, who had sat in on our rehearsal, wanted to join in the creative process. He emailed me this list of names: Prairie Rose Brass (nice), Bohemian Brass, Sodbuster Brass, Agassiz Brass, Scandinavian Brass, Banana Belt Brass (based on a joke from that weekend), Legendary Brass and Dakota Brass (already taken).

I emailed Austin and Mark to get their votes on the narrowed-down list of Prairie Rose Brass, Prairie Winds Brass, the Sagan Trio, and Sub Zero Brass. I cast my own vote for Sub Zero, and they both ended up doing the same. So it's unanimous: Welcome the Sub Zero Brass to the world!

Gwendolyn Hoberg is a classical musician and the owner of the editing and writing business Content & Contour. She lives in Moorhead, plays with the Duluth Superior Symphony Orchestra, and writes the Little Mouse fitness blog. She is also a co-author of The Walk Across North Dakota.

Are you in a chamber group? What names did you consider? Are there alternate names you'd suggest for existing chamber groups? Leave a comment below!

A friendship with one of the leading clarinetists of his day led to the first Concert Piece for Piano, Clarinet and Bassoon by Felix Mendelssohn. The composer spun out a beautiful singing part for his friend, the clarinetist Heinrich Baermann.

Clarinetist Jennifer Gerth, with bassoonist J Christopher Marshall and pianist Susan Billmeyer are heard in a performance of this buoyant and virtuoso work. The Mendelssohn Concert Piece No. 1 from last summer's Alexandria Festival of the Lakes is in this week's Regional Spotlight.

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School Spotlight highlights outstanding Minnesota school- and student-music ensembles during the academic year. Through this feature, Classical MPR hopes to expose listeners to the great music being made by young musicians across the state, and to generate more support for music education.

The audio featured today is of the Apollo Quartet competing in the Saint Paul String Quartet Competition at Sundin Music Hall at Hamline University. Students at the Artaria Chamber Music School (ACMS), the Apollo Quartet members are violinists Harris Bernstein and Jason Shu, violist Anders Cornell, and cellist Micah Cheng.

7:15 a.m.

• Franz Josef Haydn: String Quartet No. 53 in D major Op. 64, No. 5 "The Lark"—I. Allegro moderato .

7:15 p.m.

• Franz Schubert: Quartettsatz in C minor D.703—Allegro assai

Click on the link at the right to hear an additional selection from the Apollo Quartet.

• Samuel Barber: String Quartet in B minor Op.11—I. Molto allegro e appassionanto.

The Artaria Chamber Music School is a nationally recognized institution founded in 2002 by the Saint Paul-based Artaria String Quartet. Advanced string students audition to become part of the program and, if accepted, they are placed into quartets where they work to develop valuable communication, rehearsal and time-management skills essential to cultivating a successful and enjoyable chamber music experience.

The ensembles meet for coaching and occasional master classes every Saturday at the Episcopal Church of Saint John the Evangelist in Saint Paul. Students receive coaching from the members of Artaria and are given opportunities to attend and participate in master classes with nationally renowned string quartets such as the Saint Lawrence String Quartet, Pacifica String Quartet and Miami String Quartet. All ACMS quartets are required to participate in ACMS concerts throughout the year and many ACMS quartets also participate in and win awards at competitions locally and across the country.

In addition to maintaining a year-round program, the Artaria Quartet also runs the Stringwood Chamber Music Festival every June in Lanesboro, Minn. Each year has a different theme; summer 2013 celebrated the music of Antonín Dvořák, who wrote his "American" string quartet during his time in the Czech haven of Spillville, Iowa. Founded in 2000, this intensive camp brings together fine aspiring chamber musicians ages 12 to 19 at Eagle Bluff Environmental Learning Center for two weeks. Attendees are mentored by the Artaria Quartet, Stringwood alumni, and guest artists. Students spend their time rehearsing, performing in local venues and enjoying the beautiful environment and fun activities that Eagle Bluff and Lanesboro provide.

The Apollo Quartet in particular has been performing and receiving coaching at ACMS for three years, and during that time, it has participated in two national competitions. The Apollo Quartet is going for a third time and hoping to win a prize this time around.

To find out more about the Artaria Chamber Music School, including how to audition, go to www.acms.artaria.us

To find out more about Stringwood Chamber Music Festival go to www.stringwood.com

Upcoming Artaria Chamber Music School Fall Concert: Friday November 8th 2013, 7:00 p.m. at the Episcopal Church of Saint John the Evangelist, 60 Kent Street in Saint Paul (Portland at Kent Street).

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The 2013 Lakes Area Chamber Music Festival is currently underway in Brainerd, Minnesota.

The repertoire at the festival runs the gamut, but this performance from the 2011 festival can be described in one word: fun!

The Trio for Oboe, Bassoon and Piano by Francis Poulenc is a work that is pure delight; it seems to wear its hat at a jaunty angle.

In this week's regional spotlight, the spirited performance of Poulenc's Trio by oboist Kevin Pearl, bassoonist Norbert Nielubowski, and pianist Timothy Lovelace will be sure to lift your spirits.

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Composed in the last year of his life when money and health problems plagued the Mozart household, the String Quintet in D major has a placid almost otherworldly quality about it. A performance from the Bridge Chamber Music Festival in Northfield this past August is in this week's Regional Spotlight.

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As autumn begins, the later summer chamber music festival recordings are trickling into Classical MPR. In this week's Regional Spotlight are three all-star performers, concertmaster and principal cello of the Minnesota Orchestra, Erin Keefe and Tony Ross with pianist, Ester Wang. Mozart's Piano Trio, K.542 sings in their hands. From an August 23 performance at the Bridge Chamber Music Festival in Northfield comes this elegant, yet profound sounding, piece.

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What started as an idea to celebrate the beauty of the Duluth/Superior area is about to begin it's third season. The Three Bridges International Chamber Music Festival brings top musical talent to northern Minnesota for a few weeks each summer to perform and teach.

As the new season begin in early June, a concert performance of the Robert Schumann Piano Quartet Opus 47 from 2010 is in this week's Regional Spotlight.

The performers: Anton Miller, violin; Rita Porfiris, viola; Stefan Kartman, cello; Jeannie Yu, piano

(There is more about the performances in the 2011 season at the Events Calendar. For more information about the upcoming season of the Three Bridges International Chamber Music Festival, visit their website: threebridges.org)

Regional Spotlight airs Thursday at 3 p.m. on Classical MPR stations and web stream.

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"I want to go where everybody knows my name..."

The TV show CHEERS - unfussy, filled with friendly if quirky characters and a joy to watch - was very much like the Mozart Clarinet Quintet.

From the first musical theme Mozart makes you feel like you're right at home.

The piece is filled with friendly and quirky themes and is also a joy to listen to - especially in the concert performance from a Music in the Park recital last month with the Jupiter String Quartet and clarinetist Jose Franch-Ballester.

Their performance is in this week's Regional Spotlight.

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(The encore is "Oblivion" by Astor Piazolla.)

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A trip to Northfield takes a listener through the vast and, at times, rolling corn and soybean fields of southern Minnesota.

Fans of chamber music would have made that trip this August, the peak of the summer growing season, to attend a performance of the Bridge Chamber Music Festival.

From an August 13 performance at St Olaf College comes a work as vast as the topography. The opening of Schubert's last great work, his String Quintet in C, is in this week's Regional Spotlight.

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Taichi Chen and Hector Valdivia; violins, Andrea Een; viola, and Hannah Holman and David Carter, cellos

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