Composed by Various. Arranged by Michelle Hynson. String Duet. Classical, Folk. Softcover. 64 pages. Published by Hal Leonard

By Johann Sebastian Bach. Edited by Forbes. For Violin, Violoncello. Canon alla duodecima (in contrapunto alla quinta) and 2 Canons per augmentationem (in contrario motu); BWV 1080. Published by C.F. Peters.

Edited by Lajos Vigh. Instrumental duet book for violin and cello. 47 pages. Published by Editio Musica Budapest.

Score with Separate Pull-Out Parts. By Various. String Duet. Pop. Softcover. 80 pages. Published by Hal Leonard

(Violin and Cello Volume 1, Performance Score). By J�¶rg Widmann and J. For Cello, Violin, String Duet (Score). G Schirmer String Ensemble. Softcover. 36 pages. Schott Music #ED20526. Published by Schott Music

Arranged by Jerome Naulais. For violin, cello and optional piano. Grade 3. Published by Editions Marc Reift

Composed by Ludwig van Beethoven (1770-1827). Edited by Robert D. Levin. For Cello, Violin. Henle Music Folios. Softcover. 16 pages. G. Henle #HN1265. Published by G. Henle

Violin and cello

SKU: NR.89306

For violin and vcello, 2003. Composed by Carlos Peron Cano. String instruments. Score. Composed 2003. Noten Roehr #89306. Published by Noten Roehr (NR.89306).

Violin and Cello

SKU: BT.MUSM570360130

Composed by Thomas Simaku. Score Only. 9 pages. University of York Music Press #MUSM570360130. Published by University of York Music Press (BT.MUSM570360130).

English.

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 Violin and Cello. By Jean Sibelius. (Parts). Boosey and Hawkes Chamber Music. Book only. Size 8.25x11.75 inches. 4 pages. Published by Boosey & Hawkes.