Violin, Piano SKU: HU.HN679 Composed by Wolfgang Amadeus Mozart. Edited by Wolf-Dieter Seiffert. Strings, Repertoire, Solos. Violin Concerto No. 5 A major K. 219. Classical. Softcover Book. 75 pages. G. Henle #HN679. Published by G. Henle (HU.HN679).

Edited from the first edition. Composed by Arcangelo Corelli (1653-1713). Edited by Wolfgang Birtel. This edition: Saddle stitching. Sheet music. Violin Library. Classical. Score and parts, Softcover. Op. 5/12. 36 pages. Schott Music #VLB183. Published by Schott Music (HL.49044361).

For violin and piano. Format: set of performance parts (includes separate pull out violin part). With solo part and piano accompaniment. Baroque, classical period and romantic period. Series: Whole World Series, No. 5. 304 pages. 9x12 inches. Published by Music Sales.

Composed by Wolfgang Amadeus Mozart (1756-1791), edited by Christoph Hellmut Mahling. K. 219. Set of performance parts (includes separate pull-out violin part) for violin and piano. Urtext of the New Mozart Edition. With solo part, piano reduction and introductory text. A Major. 69 pages. Published by Baerenreiter-Ausgaben (German import).

Composed by Georg Philipp Telemann (1681-1767), edited by Waldemar Woehl. For violin (oboe, flute, or recorder can be substituted), keyboard and basso continuo. Format: set of performance parts (includes separate pull out violin and continuo parts). With solo part, basso continuo part, keyboard realization and introductory text. Baroque. 88 pages. 9x12 inches. Published by Hortus Musicus.

Composed by Dmitri Shostakovich (1906-1975). Set of performance parts (includes separate pull-out violin part) for violin and piano. With solo part and piano reduction. A Minor. 76 pages. Published by Sikorski.

Composed by Arnaud Meier. For violin, piano. Classical, Educational. Grade 1. Score and Set of Parts. 5 pages (score); 2 pages (parts). Duration 2 minutes, 40 seconds. Published by FLEX Editions

Compiled by Barbara Barber. Collection for violin and piano accompaniment. With a set of parts. Series: Suzuki Method. 84 pages. Published by Alfred Publishing.

(Volume 2: Sonatas Nos. 4-6). By Luigi Boccherini (1743-1805). Edited by Rudolf Rasch. For Violin and Piano. Early Music. Score and parts. Op. 5 (G 25-30). 96 pages. Published by Ut Orpheus

Composed by Edouard Lalo (1823-1892), edited by Yehudi Menuhin. Set of performance parts (includes separate pull-out violin part) for violin and piano. Opus 21. With solo part and piano reduction. 44 pages. Published by C.F. Peters.

By Erik Satie (1866-1925). Arranged by Eric Vireton. Trumpet Solo and Piano accompaniment. For Trumpet solo and Piano. Classical, Educational. Grade 2. Score and set of parts. 5 pages (score); 2 pages (parts). Published by FLEX Editions

Chamber Music violin, piano

SKU: PR.144403270

Composed by Francis Thorne. Set of Score and Parts. With Standard notation. Composed 1987. 14+8 pages. Duration 17 minutes. Theodore Presser Company #144-40327. Published by Theodore Presser Company (PR.144403270).

UPC: 680160028849.

Chamber Music Cello, Piano, Violin

SKU: PR.414411630

Composed by Shulamit Ran. Set of Score and Parts. With Standard notation. 28+28+20+24+20+24 pages. Duration 20 minutes. Theodore Presser Company #414-41163. Published by Theodore Presser Company (PR.414411630).

ISBN 9781491114551. UPC: 680160089956. 9.5 x 13 inches.

EXCURSIONS is a one-movement work exploring two “characters.” A rhapsodic, descending passage is introduced by the cello, followed by a  static, chorale-like phrase for the violin and cello. Their individual developments are separated by a slow, contrasting middle section. The composer has written: “This is analogous to situations in life: we stand by a crossroad, choosing one option and forfeiting the other. But in art, the realm of the imagination, we can perhaps afford to pursue more than one route to its ultimate destination… or can we? It is symbolic that in this work both roads eventually lead to the same place.”.
Excursions for violin, cello and piano, is a one-movement work of tripartite structure in which materials explored in the first of three large sections are brought back in the last section.  The traditional statement-contrast-restatement form, which is readily suggested by such a description, is, however, not at all in the mold in which the work is cast.  Rather, my aim was to subject the essential materials of the piece (two “characters” –the rhapsodic, descending passage played by the cello in the very opening and, later, a static, slow moving, chorale-like phrase for the violin and cello) to two entirely different developments separated by a slow, contrasting middle section.  This is analogous to an exploration of the ramifications that two divergent choices made by the same person might lead to.  In life, as we stand by a crossroad, choosing one option usually means having to forfeit the other.  But in art, the realm of the imagination, we can perhaps afford to pursue more than one route to its ultimate destination…or can we?  It is, I believe, symbolic that in this work both roads eventually lead to the same place: in composing Excursions, it seemed absolutely inescapable that at the end the slow, contrasting middle sections – both more resigned and peaceful than the battling spirits of the outer parts – should return briefly to end the work. The piano trio combination (once highly favored, but to this composer still as challenging today) is approached here as a collaborative effort of three equal soloists – partners.  Of the available pairings, the two strings find themselves occasionally approached as a team pitted against the piano.  The cello-piano combination is also not uncommon here, and there is an extended violin cadenza toward the end of the piece.  The writing for the three instruments is closely and at times interlinked, but the players are all instructed to play from scores. Excursions was first performed at Brandeis University in 1982.