Sonata for Violin and Violoncello-Following the intoxicating sounds of La Valse the smaller scoring and modern musical language of Sonata For Violin And Violoncello were a shock. Yet this pioneering work has now become a permanent fixture onthe concert stage.To help the players two performance scores are provided in which the other instrument’s part is also given. Both parts are included in a marked and an unmarked version.Sonata For Violin AndVioloncello was composed by Maurice Ravel between between 1920 and 1922.

Irish Music for Strings Score + Parties. Par AUTEURS DIVERS. The cheerful and often melancholic melodies of Ireland lend themselves well for easy string quartet or ensemble repertoire. Wonderful tunes such as 'A Lovely Lass” and 'The Foggy Dew” have been arranged by Speckert for two violins, viola and cello. In all pieces the viola can be replaced by a third violin. 'Fiddle Tunes” forms part of the 'Easy String Ensemble” series./ Répertoire / Ensemble à Cordes

Sonata for Violin and Cello and composed by Luigi Boccherini was transcribed and annotated by Paul Bazelaire a professor at the National Conservatoire. Ideal for a recital or for a contest this sonata in four parts is quite challenging for both instruments and would require advanced skills. The Cello score is written over the C and the F key and each of the four parts includes numerous repetitions and fast sections. These four parts are 1. Allegretto Spiritoso 2. Vivace 3. Grave and 4. Allegro Assai. This really nice Sonata will be a delight to play and to listen to. LuigiBoccherini (1743-1806) composed numerous pieces for various instruments including Cello duets chamber music cantatas ballets orchestral music masses and a large amount of music for strings.

For violin cello and piano'The title 'Time Will Pronounce'is taken from the last lines of Joseph Brodsky’s poem 'Bosnia Tune' which deals with the horror of the unnecessary unacceptable daily deaths in Bosnia during 1992 (andstill in 1993): ‘Time whose sharp blood-thirsty quill parts the killed from those who kill will pronounce the latter tribe as your type’. The violin and cello are (generally) treated as a unit independent of the piano. Theform (generally) alternates slow and fast tempi without motivation. The musical ideas are (generally) carried over from section to section. (Generally) the harmonic melodic and textual materials features third and semitonesderived (generally) from the movement of the bass part in the opening bars.

For more than forty years Allain Gaussin fascinated by astrophysics has found a major source of inspiration in observing the cosmos as attest a number of works going from Vent solaire (1974) to Philae (2015) by way of L’Harmonie des sphères (2006). Ten years later the 'Messiaen du Pays de la Meije' Festival hosted the first performance of the piano trio Les Céphéides. The musical journey enables the listener to enter a space 'just as impalpable and fragile' as that in which moves each Cepheid variable – this star whose brightness varies over regular periods according to two elements: the diameter of the heavenly body and thetemperature reading of its surface. How does one translate such a change in music? The bow's sautillé gettato on the violin and cello gives the score's opening pages this granular glittering that leads us 'towards the centre of the Cepheid variables'. From there a stream of colourful arabesques – the composer's 'ribbon figures' – gushes forth. After a weightless transition the cello unfurls its contemplative meditation which ends up in a suspended coda open onto the infinity of the starry vault. As musicologist Michèle Tosi accurately says so it is that the full richness 'of a teeming imaginary universe' unfolds.

POD-Hugh Wood's Ithaka for Violin Viola and Cello. Score. Inspired by C. P. Cavafy's poem this work was commissioned by the Florin Ensemble and generously supported by the Britten-PearsFoundation the RVW Trust and the Swaledale Festival which hosted the first performance at St. Andrew's Church Grinton on 2nd June 2016. The performers were Charles Mutter (Violin) Alastair Scahill (Viola) and Catherine Rimer(Cello).

Partie de Violoncelle. Par GLASS PHILIP. Philip Glass?s Double Concerto for Violin, Cello and Orchestra was composed in the spring of 2010 as a commission from the Netherlands Dance Theater, premiered by the Hague Philharmonic (Residentie Orkest) conducted by Jurjen Hempel on April 22, 2010 with violinist Cecilia Bernardini and cellist Maarte-Maria den Herder. / Date parution : 2022-04-26/ Répertoire / Violon et Violoncelle

Strolling Strings Vol. 1-A collection of some of the most popular tunes of all-time arranged for easy level Cello with Piano accompaniment by James 'Red' McLeod.

For Violin Cello and Piano. Composer's Notes 'Even though this work was intended to celebrate (as instructed by the commissioner Brolly Arts of Salt LakeCity) the wildlife and landscape of Utah (and especially its birdlife notably the sora which has a noticeable influence on the melodic writing at times) the title refers ironically in this 'natural' context to the re-seeing’of (mainly industrial) reality in early Soviet photography. Aleksandr Rodchenko (1881-1956) drew attention to the new type of photographer as someone who photographs 'facts' and who is able through photography to fight against'looking like art' with high quality examples and to do this you have to experiment going as far as the ‘easelisation’ of the photographic art.The work was written for and first performed by the Ahn Trio in November2004 in Salt Lake City and is dedicated to the memory of John Peel the British radio disc jockey who died during the final stages of its composition.' - Michael Nyman

This exuberant modernist work from the 1930s by the forward-thinking and eclectic American composer George Antheil. Dedicated to Aaron Copland this Sonatina was designed to be performed as a Violin/Cello duo or as a Pianosolo. A lively boistrous and entertaining piece edited by Ron Erickson.

When looking recently for a Violin and Cello duet for two talented children to play at the Inverness Music Festival Lorna McDougall came up with the idea of arranging Paganini's Caprice No.24.

Written for his colleague Janos Starker David Baker's Quintet (also called the Two Cello Quintet) was premiered at Indiana University's Eva Janzer Memorial Concert. The Bloomington press wrote of the performance: a romantic work...eclectic and conservative but in this instance (Baker's) writing had a special sense of urgency that grabbed one's attention and kept it focused on the piece.

Three concert duets by Niccolo Paganini for Violin and Cello. This Urtext edition edited by Kurt Schumacher.