Arrangements for string instruments were highly popular in the first part of the nineteenth century, but they had served a purpose and market different to that for the piano transcriptions that now took centre stage. The former were played by men, the latter by women; the focus during string quartet parties was on developing the performer, the latter on displaying the performer to best advantage. Piano performances, whether solo or in ensemble combinations, tended to be demonstrations to the audience of feeling, taste, and a moderate level of technical accomplishment—suitable attributes for a woman. Public performance and publication now took over the main role in canon formation, while chamber music’s meaning and function was redefined and split off from the dazzling Salonmusik and the still performance-based but decorous Hausmusik. The public quartet concerts of the 1820s and ’30s (especially those of Schuppanzigh’s quartet), along with reviewers’ endorsements of silent listening, and Beethoven’s increasingly difficult conceptions, changed the status of that genre.