(Fr. nonette; Ger. Nonett; It. nonetto).
By analogy with the sextet, septet and octet, the term ‘nonet’, first used early in the 19th century, denotes a composition in the nature of chamber music for nine solo instruments. While in works by such composers as Haydn (HII: 9, 17 and 20) and Ignace Pleyel (b111) the addition of ‘a nove stromenti’ or ‘ŕ neuf instruments’ specifies the size of the ensemble required in connection with such generic terms as divertimento, serenade or sinfonia concertante, in 1813 Louis Spohr was the first to mention the number of instruments employed in the actual title of a piece of music. His popular Grand nonetto op.31 to some extent defines the constituents of the ensemble still regarded as standard today: flute, oboe, clarinet, horn, bassoon, violin, viola, cello and double bass. Two works by Clementi for the same combination of instruments, both entitled Nonetto (wo30 and wo31), cannot be dated, but since they were never published they had no influence.
Spohr's outstanding nonet, which brings out in an exemplary manner the qualities of each instrument ‘in accordance with its character and nature’ (as requested by Johann Tost, who commissioned it), inspired other composers to write nonets of their own. They included Louise Farrenc (op.38, 1849), Georges Onslow (op.77, 1851), Franz Lachner (1875), Joseph Rheinberger (op.139, 1884), C.V. Stanford (Serenade op.95, 1905), René Leibowitz (Chamber Concerto op.10, 1944) and Tilo Medek (Nonet in Nine Movements, 1974). Within the nonet repertory, already a small one, the nonets of Josef Bohuslav Foerster (op.147, 1931) and Alois Hába (entitled Fantazie: op.40, 1931, and op.41, 1932) form a separate line of tradition closely connected with the Czech Nonet; Martinů dedicated his 1959 Nonet to the ensemble on its 35th anniversary. Nonets for string instruments have been written by Nicolai von Wilm (op.150, 1911) and Copland (1960), and nonets with piano were composed by Jan Bedřich Kittl (perf. 1836, lost) and Henri Bertini (op.107, 1845).
Further works for nine instruments other than the classic Spohr ensemble have been written, particularly in the 20th century, but have not as a rule been described by their composers as nonets. In addition, their texture is often more reminiscent of a concerto or symphony, and breaks the chamber music mould, for instance in works by Milhaud (chamber symphony Le printemps op.43, 1917), Egon Kornauth (Kammermusik op.31, 1924), Krenek (Sinfonische Musik for nine solo instruments op.11, 1922), Bruno Stürmer (Suite op.9, 1923), Villa-Lobos (Nonet with percussion and chorus, 1923) and Webern (Symphony op.21, 1928, and Concerto op.24, 1931–4).
For bibliography see Chamber music.
MICHAEL KUBE