eingefroren. (in der Erinnerung). By Christian Jost. For clarinet, violin and piano. This edition: ED 9877. Chamber Music with Piano. Grade 4. Score and parts. Composed 2005. 50 pages. Duration 10 minutes. Published by Schott Music (SD.49033366). ISBN 9790001139168. Bereits in seinen sensationellen Opernerfolgen "Vipern" und "Death knocks" stieg Christian Jost weit in die Untiefen der menschlichen Psyche hinein. Seine neueste Kammermusik-Komposition "eingefroren" sucht einen musikalischen Weg in das Gedachtnis. Bruchstuckhaft flackern in vorbeihuschenden Motiven und kurzfilmartigen Phrasen Bilder von im Unterbewusstsein gespeicherten Erinnerungsstromen auf.

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).

duo 3 by Rebecca Saunders. For Viola, Percussion. Modern. Performing score. Composed Composed: 1999; First Performance: 23 November 1999, Huddersfield Contemporary Music Festival. Duration 17.5 minutes. Published by Edition Peters (PE.P7551). Rebecca Saunders was born in London in 1967, and currently resides in Berlin.Viola and Percussion (performing score) ; co-commissioned by Huddersfield Contemporary Music Festival (with funds from the Arts Council of England) , Ensemble Q-02, and Ars Musica, Brussels.

dolcificare a piacere - "r.e.c." by Walter Feldmann. For Women's voice, Cello solo, English Horn, Piano. This edition: paperbound. Score. Language: all languages. Composed 1997. 28 pages. Duration 10 min. Published by Carus Verlag (CA.1631900). With Language: all languages.

dolcificare a piacere - "r.e.c." by Walter Feldmann. For Women's voice, Cello solo, English Horn, Piano. Score available separately - see item CA.1631900. Parts: 4 Instruments. Language: all languages. Composed 1997. 96 pages. Duration 10 min. Published by Carus Verlag (CA.1631909). With Language: all languages.

dichroic seventeen by Rebecca Saunders. Contemporary Small Ensemble. For Accordion, 2 Percussion, Piano, Electric Guitar, Cello, 2 Double Bass. Modern. Full Score. Composed Composed: 1998; First Performance: 1 December 1999, Funkhaus Wallrafplatz, Cologne. Duration 17.5 minutes. Published by Edition Peters (PE.P7525). Rebecca Saunders was born in London in 1967, and currently resides in Berlin.Accordion, 2 Percussion, Piano, Electric Guitar, Violoncello, 2 Vibraphones (score) ; West German Radio Commission.

Fantastic music for guitar, violin and cello by this still very underrated guitarist composer.

courbes - sequences by Walter Feldmann. For Flute, Viola, Harp. This edition: paperbound. Score. Language: all languages. Composed 1992/93. 46 pages. Duration 11 min. Published by Carus Verlag (CA.1630100). With Language: all languages.

courbe 2 by Walter Feldmann. For Viola, Electronics. This edition: paperbound. Score. Language: all languages. Composed 1993/rev. 2001. 34 pages. Duration 8 min. Published by Carus Verlag (CA.1630200). With Language: all languages.

con minime ali Sonatina by Paolo Ugoletti (1956-). For Violin and Piano. String Instruments. 48 pages. Published by Edizioni Suvini Zerboni (M7.ESZ-8870).

Cello, Double Bass. Koch-raphael, E

Flute, Cello, Guitar, Percussion (Playing-Score). Koch-raphael, E

Final Alice is the fifth of six large works for soprano and orchestra based on Lewis Carroll's Alice in Wonderland books. 'Cello Acrostic is an arrangement of Acrostic Song, the lullaby-like concluding aria from Final Alice.

asidled (1993) by Andrew Digby. For Alto Saxophone, 2 Trombones, Tuba, Violin, Viola, 2 Contrabass. This edition: paperbound. Score. Language: all languages. Composed 1993. 18 pages. Duration 7 min. Published by Carus Verlag (CA.1630800). With Language: all languages.

asidled (1993) by Andrew Digby. For Alto Saxophone, 2 Trombones, Tuba, Violin, Viola, 2 Contrabass. This edition: paperbound. Score available separately - see item CA.1630800. Set of parts. Language: all languages. Composed 1993. 96 pages. Duration 7 min. Published by Carus Verlag (CA.1630809). With Language: all languages.

approaching white. (replay for small ensemble). By Norbert Sterk. Chamber Music (Strings & Winds). For clarinet, baritone saxophone, guitar, violin, viola, cello and bass. Score. Composed (2004). 36 pages. Published by Doblinger Music Publishers (DB.06-00932-PA).

approaching white. (replay for small ensemble). By Norbert Sterk. Chamber Music (Strings & Winds). For clarinet, baritone saxophone, guitar, violin, viola, cello and bass. Set of parts. Composed (2004). 56 pages. Published by Doblinger Music Publishers (DB.06-00932-ST). ISBN M-012-40656-3.

anschlage - ausschlage. (Modelle No. 5 - Szenische Variationen fur 3 Instrumentalisten). By Dieter Schnebel. For flute, cello and harpsichord. This edition: ED 6641. Scores. Grade 6. Playing score. Composed 1965-66. 28 pages. Duration 20 minutes. Published by Schott Music (SD.49006505). ISBN 9790001070621.

absences ("fragmente"). (2. Streichquartett). By Walter Feldmann. For 2 Violins, Viola, Cello. This edition: paperbound. Score. Language: all languages. Composed 1991-92/1997. 22 pages. Duration 12 min. Published by Carus Verlag (CA.1631500). With Language: all languages.

absences ("fragmente"). (2. Streichquartett). By Walter Feldmann. For 2 Violins, Viola, Cello. Score available separately - see item CA.1631500. Playing score. Language: all languages. Composed 1991-92/1997. 66 pages. Duration 12 min. Published by Carus Verlag (CA.1631509). With Language: all languages.

above the shadow of the candle fur Flote, Klarinette, Violine, Cello, Klavier (1999). (For Flute, Clarinet, Violin, Violoncello And Piano). By Vadim Karassikov. For flute/clarinet/violin/cello/piano. This edition: Stapled. Score. Composed 1999. 12/23 pages. Duration 15'. Published by Baerenreiter Verlag (BA.BA8286). ISBN 9790006521296. 42.0 x 29.5 cm inches.

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."

a due fur Viola und Klavier (1997) by Beat Furrer. For viola/piano. Performance score and parts. Composed 1997. 18/9 pages. Duration 24'. Published by Baerenreiter Verlag (BA.BA7490). ISBN 9790006503650. 42.0 x 29.5 cm inches.