3 Quartette für 2 Violinen, Viola und Violoncello, für angehende Quartettspieler

Mode of access: Internet.

Quartett für zwei Violinen, Viola und Violoncello, Op. 7 /

Mode of access: Internet.

Quartett für 2 Violinen, Viola und Violoncello, E-moll.

Mode of access: Internet.

Partita für Violine und Cello, Op. 27, Nr. 3 /

Mode of access: Internet.

Quartett für 2 Violinen, Viola, Violoncello : ein Tribut in vier Raten entrichtet an seine Gestrengen den deutschen Schulmeister.

Mode of access: Internet.

Banner folio; for violin and piano, containing the most popular melodies of the day, introducing selections, variations, medleys, round and square dances, &c. All arranged in an easy manner for amateurs.

"This book will answer for the Flute and Piano, also for the C. Clarinet and Piano."--t.p.

Quartett no. 1, F dur für 2 Violinen, Viola und Violoncell. [music] /

Foreword in German, with English translation.

Romance for violin, organ, violoncello and harp. [music] /

Caption title: Romance in B for violin, violoncello, harp and organ (or piano).

2. Quartett für 2 Violinen, Viola und Violoncello, opus 16

Mode of access: Internet.

II. Streichquartett. [music] : für zwei Violinen, Viola, Violoncello und (im 3. und 4. Satz: "Litanei" und "Entrückung", Gedichte von Stefan George) eine Sopranstimme, op. 10 /

Solo soprano added in 3 and 4 movements.

Führer durch die Literatur der Streichinstrumente (Violine, Viola, Violoncello)

"Bibliographischer Anhang": [206]-209.

Works for piano and one other instrument.

Fantasy, op. 159.--Sonata, A major, op. 162.--Introduction & Variations on Trockne Blumen, op. 160.--Sonata for piano and arpeggione or cello.

Dreimal sieben Gedichte aus Albert Girauds Pierrot Lunaire : op. 21 : für eine Sprechstimme, Klavier, Flöte (auch Piccolo), Klarinette (auch Bass-Klarinette), Geige (auch Bratsche), und Violoncello /

For narrator, flute (and piccolo), clarinet (and bass clarinet), violin (and viola), violoncello, and piano.

Tracing Beethoven Through the Ten Sonatas for Piano and Violin

Examination of Beethoven’s ten sonatas for piano and violin as a single arc, to uncover linkages between the individual sonatas and observe their stylistic evolution as a set, benefits from placing these works also in relation to the wider realm of Beethoven’s chamber music as a whole. During the years in which his sonatas for piano and violin were written, Beethoven often produced multiple works simultaneously. In fact, the first nine sonatas for piano and violin were written within a mere five-year span (1798 – 1803.) After a gap of nine years, Beethoven completed his tenth and final sonata, marking the end of his “Middle Period.” Because of this distribution, it is important to consider each of these sonatas not only as an interdependent set, but also in relation to the whole of Beethoven’s output for small ensemble. Beethoven wrote the last of his piano and violin sonatas in 1812, with a decade and a half of innovation still ahead of him. This provokes one to look beyond these sonatas to discover the final incarnation of the ideas introduced in these works. In particular, the key creative turning points within the ten sonatas for piano and violin become strikingly apparent when compared to Beethoven’s string quartets, which dramatically showcase Beethoven’s evolution in sixteen works distributed more or less evenly across his career. From the perspective of a string quartet player, studying the ten sonatas for piano and violin provides an opportunity to note similarities between the genres. This paper argues that examining the ten sonatas from a viewpoint primarily informed by Beethoven’s string quartets yields a more thorough understanding of the sonatas themselves and a broader conception of the vast network of interrelationships that produce Beethoven’s definitive voice. The body of this paper contains a full exploration of each of the ten sonatas for piano and violin, highlighting key musical, historical, and theoretical elements. Each of the sonatas is then put not only in context of the set of ten, but is contrasted with Beethoven’s sixteen string quartets, identifying unifying motives, techniques, and structural principles that recur across both bodies of work.

Cello day

This one-act two hander was intended as an experiment in incorporating JS Bach’s cello suites into a dramatic context. It also played with the dramatic possibilities and constraints of one character being verbal, and the other non-verbal. This first draft was shortlisted in the 2005 Queensland Theatre Company’s Queensland Premier’s Drama Award.