Originally, Édouard Lalo was meant to follow an officer's career but his musical talent soon became apparent and so he decided to become a musician. Every cellist is familiar with his Cello Concerto in d minor which is just as spirited as his "Symphonie espagnole".Many renowned virtuosi, from Julius Klengel to Leonard Rose, have published their own editions of the concerto. Henle's Urtext edition distances itself from all of the additions made by other editors, but it offers both an unmarked part and one with fingerings and bowings by the famous cellist Heinrich Schiff.

Commissioned by the Wigmore Hall for the composer's 60th birthday with funds from ACNI."viola:piano is one of a set of 6 pieces which I wrote in 2008 and 2009. Two of the others, violin:piano and cello:piano require the instrumentalists to play at different tempi from each other throughout. In this piece the players are playing together, but their material is, for the most part, quite different, and for the first 12 minutes, the two parts have little in common. It is only after this that they begin a more conventional contrapuntal relationship. This is the first of these pieces to be premiered. It was commissioned by the Wigmore Hall with funding from the Arts Council of Ireland. The piece is dedicated to Mary Rörich."            - Kevin Volans

sols del cello by Miquel Roger (1954-). For cello. Duration 7' 53''. Published by La Ma de Guido (MG.MG152). ISBN M-69208-152-4.

of comfort and joy (Holiday). By Musella. Arranged by Santa Cruz. For String Orchestra with Percussion (violin 1, violin 2, viola, cello, double bass, piano, vibraphone, chimes, percussion 1 (Low tom, Sleigh bells), percussion 2 (bass drum, tambourine, suspended cymbal, triangle)). String Music. Grade 4. Score only. Duration 4:00. Published by C. Alan Publications (CN.16541). This work fuses two well known traditional carols, God Rest Ye Merry Gentlemen and Carol of the Bells, into an intriguing tapestry of textures and colors. It is meant to allow the listener to consider the reflective and sometimes hectic and even tense nature of the holiday season. This work fuses two well known traditional carols, God Rest Ye Merry Gentlemen and Carol of the Bells, into an intriguing tapestry of textures and colors. It is meant to allow the listener to consider the reflective and sometimes hectic and even tense nature of the holiday season. The brooding, restless introduction gives way to a more buoyant treatment of God Rest with fragments of Carol of the Bells. The mood becomes turbulent and eventually Carol of the Bells becomes the main theme and God Rest in augmentation serves as the accompaniment. The work concludes with a fughetto built on a variant of the opening bass line sprinkled with thematic fragments from the two carols and subsides into a calm, peaceful conclusion. It was commissioned by Director's Choice Tour and Travel for the Tejeda Middle School Orchestra, San Antonio, Texas to commemorate their selection to perform at the 63rd annual Midwest Clinic in Chicago.

Oboe quartet in which the Norwegian composer used fractal mathematics as part of his compositional technique.The title and concept behind the piece comes from David Grossmann's novel see under: love, in which he among other things describes a man who joins a school of salmon on its way through the oceans. He swims, eats and sleeps together with them, and gradually he understands the forces that make this large group of fish swim almost as one body.

miniature instrument: violin. For violin. Instrumental Miniatures & Accessories. Material: Wooden. Published by Anne Fuzeau Productions - France (FZ.55037). A touch of music in your home thanks to this miniature instrument, violin. This decoration is delivered with his box and stand. Photos and sizes no-contractual.

mickey finn. (Violin Solo). By Donald Crockett. For Violin. LKM Music. 18 pages. Hal Leonard #X510013. Published by Hal Leonard (HL.41868). Unaccompanied.

grimmig Tod Der by Hermann Erpf. For SATB Soli and/or Chorus, Violin (Flute, Oboe), Viola (Clarinet), Cello (Bassoon). Cantata on an old folk song (Text Language: German). Choral. Sheet Music. Text Language: German. Published by Edition Peters (PE.P04867). With Text Language: German. Choral. Cantata on an old folk song.

for Soprano, Clarinet, Viola, and Piano by Sir Arthur Drummond Bliss (1891-1975). For Chamber Group, Soprano, Clarinet (Soprano). Music Sales America. Classical. 16 pages. Chester Music #CH03874. Published by Chester Music (HL.14004591). Arranged for soprano, clarinet, viola, and piano.

errance. (Violon et Piano). By Depelsenaire. For violin and piano. Published by Choudens (AH.AC20657).

ecole du Mecanisme Op.74 by Charles Dancla (1817-1907). Edited by Bernard Herrmann. For Violin. Intermediate. Sheet Music. Published by Edition Peters (PE.P01080). School of Mechanism (50 etudes in velocity for the violin).

For Violin and Cello.Published 2008.Dedicated to Peter Sheppard Skaerved and Neil Heyde."This music was composed during my DAAD residency in Berlin in October — November 2007. If I were to describe it in one sentence, I would say that it is based on the idea of 'two things seen/heard as one'."a2 (a due) is a well-known term to musicians; it is often found in orchestral scores indicating a given passage that is to be played by two instruments of the same family. Although violin and cello could well be regarded as 'first cousins' of the string family, the literal implementation of the term a2 as a 'compositional strategy' would have been too much (!) for a piece of chamber music consisting of no more than two players. Not surprisingly, this never happens in this work; in fact, the opposite is true: regardless of how it appears on paper (i.e. on one or two staves), the music for each instrument is constantly based on two layers."This musical 'interpretation' of the title gives an indication as to how the textural format of the piece operates. However, this was by no means the only thought that 'preoccupied' my mind whilst composing this music. Berlin made a profound impression on me. The remnants of the wall in Bernauer Straße and the cobbled two-stone line tracing the wall across where it once stood — a clear reminder of what not so long ago there were two different worlds in one city — provoked a strikingly dramatic effect. Border, death-strip, killing, and escape to freedom had a particularly evocative resonance, especially of the time when I lived for three years in a remote town in Southern Albania right at the border with Greece. There, there was a nameless road whose destination the authorities did not want you to know, but the locals called it the 'death-road'."In no way programmatic, in this context, the extra-musical dimension of the principal idea is very much part of the piece. Here, the musical and extra-musical interpretations cannot easily be separated, for they are two parts of the same thing: a2."As if to add another dimension to this idea, there are two versions of this piece: for viola & cello and violin & cello. The first version was premiéred by Garth Knox and Rohan de Saram at the 2008 Intrasonus Festival in Venice."

For Viola and Cello.Published 2008.Dedicated to Garth Knox and Rohan de SaramFirst performance: Intrasonus Festival Venice, 3 May 2008"This music was composed during my DAAD residency in Berlin in October — November 2007. If I were to describe it in one sentence, I would say that it is based on the idea of 'two things seen/heard as one'."a2 (a due) is a well-known term to musicians; it is often found in orchestral scores indicating a given passage that is to be played by two instruments of the same family. Although violin and cello could well be regarded as 'first cousins' of the string family, the literal implementation of the term a2 as a 'compositional strategy' would have been too much (!) for a piece of chamber music consisting of no more than two players. Not surprisingly, this never happens in this work; in fact, the opposite is true: regardless of how it appears on paper (i.e. on one or two staves), the music for each instrument is constantly based on two layers."This musical 'interpretation' of the title gives an indication as to how the textural format of the piece operates. However, this was by no means the only thought that 'preoccupied' my mind whilst composing this music. Berlin made a profound impression on me. The remnants of the wall in Bernauer Straße and the cobbled two-stone line tracing the wall across where it once stood — a clear reminder of what not so long ago there were two different worlds in one city — provoked a strikingly dramatic effect. Border, death-strip, killing, and escape to freedom had a particularly evocative resonance, especially of the time when I lived for three years in a remote town in Southern Albania right at the border with Greece. There, there was a nameless road whose destination the authorities did not want you to know, but the locals called it the 'death-road'."In no way programmatic, in this context, the extra-musical dimension of the principal idea is very much part of the piece. Here, the musical and extra-musical interpretations cannot easily be separated, for they are two parts of the same thing: a2."As if to add another dimension to this idea, there are two versions of this piece: for viola & cello and violin & cello. The first version was premiéred by Garth Knox and Rohan de Saram at the 2008 Intrasonus Festival in Venice."

Zwolftonspiel (31.8.1948) by Josef Mattias Hauer (1883-1959). Violin. For violin and piano. 2. Composed (1948). 3 pages. Published by Doblinger Music Publishers (DB.03-00382).

Zwolftonspiel (28.8.1949) by Josef Mattias Hauer (1883-1959). Violin. For violin and harpsichord. 1. Composed (1948). 3 pages. Published by Doblinger Music Publishers (DB.03-00381).

Zwolftonspiel (26.8.1948) by Josef Mattias Hauer (1883-1959). Violin. For violin and piano. 1-2. Composed (1948). 3 pages. Published by Doblinger Music Publishers (DB.03-00380). Fur den jungen Instrumentalisten sind die kurzen Werke, je ca. funf Minuten, zum Einhoren in diese Kompositionsweise sehr geeignet. (Neue Musikzeitung).

Zwolftonspiel (2.9.1956) by Josef Mattias Hauer (1883-1959). Violin. For violin and piano. 2-3. Composed (1956). 6 pages. Published by Doblinger Music Publishers (DB.03-00260).

Zwolf Spielstucke by Leopold Mozart (1719-1787). Edited by Erich Valentin. For 2 violins. This edition: ED 4136. String Instruments. Grade 2-3. Playing score. 24 pages. Published by Schott Music (SD.49004660). ISBN 9790001048873. Leopold Mozart (1719-1787) schrieb die zwolf Spielstucke als Anhang zur franzosischen Ausgabe seines "Versuchs einer grundlichen Violinschule" (1756). Diese Ausgabe der "Methode du Violon" (1770) ist die einzige der zahlreichen Fassungen und Ubersetzungen der beruhmten und bedeutenden Violinschule, die diese Stucke enthalt. Auch die deutsche Originalausgabe entbehrt dieser Satze. Da aber gerade die franzosische Ausgabe einen Seltenheitswert ohnegleichen besitzt, sind auch diese feinen, von Grund auf geigerischen "Duette", wie sie im Original heissen, unbekannt und sowohl der Forschung als auch der Praxis entzogen geblieben. Leopold Mozart, der Meister des "Popularen", das er immer wieder seinem Sohn anpries, gibt sich in diesen gefalligen Originalsatzen der an Wertvollem nicht gerade uberreichen Literatur fur zwei Violinen allein wesentlich vielseitiger al sin seinen sonstigen Instrumentalwerken. Die Duette Nr. 3 und 7 stammen aus den "Kanonischen Sonaten" von Georg Philipp Telemann. Die Satze sind frisch und unbeschwert anzupacken. Tempobezeichnungen und Phrasierungen sind original. Die Verzierungen (Vorhalte usw.) sind ausgeschrieben, bis auf Triller, Pralltriller und Doppelschlag, die jeder, wie Vater Mozart sagt, "nach seiner eigenen gesunden Beurtheilungskraft am rechten Ort muss wissen anzubringen.".

Zweites Spielbuch fur Geige und Klavier by Wilhelm Isselmann. Instrumental part(s). Published by Edition Tonger (E4.T1201-2). ISBN M-005-12012-4. Violine.

Zweites Sextett, Op. 36 by Johannes Brahms (1833-1897). Arranged by Carl Burchard. For violin, cello and piano duet. Facsimile Editions - Strings and Piano. Quartets. Romantic. Published by Rosewood Publications (RW.RFE-33).

An urtext edition. Includes an explanation of embellishments and fingerings by Marcello Abbado.

Zwei kleine Konzerte russ. Komponisten by Baklanova Komarowski. For Violin, Piano. Published by Friedrich Hofmeister Musikverlag (HF.FH-2743). ISBN M-2034-2743-8.

Zwei deutsche Marienlieder. (Erstdruck). By Georg Matthias Monn (1717-1750). Maria. For alto, violin, keyboard, organ. Organ score. Published by Doblinger Music Publishers (DB.08-00803-ORP). Bei der Orgelstimme handelt es sich um einen sparsam ausgesetzten Generalba! die Edition wurde dennoch in diesen Spezialkatalog aufgenommen, weil sie primar den hier angesprochenen Kreis interessiert.

Zwei antike Stucke fur Harfe und Flote by Alo Poldmae (1945-). For harp and flute (Score and set of parts). Duration 6'50. Published by Edition 49 (E4.E49-90396-01). ISBN M-2043-0193-5.