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.

Trio No. 1 for Piano, Violin, and Cello in B Major, Op. 8, Original Version (1854) Allegro con moto Scherzo: Allegro molto Adagio non troppo Finale: Allegro molto agitato Trio No. 1 for Piano, Violin, and Cello in B Major, Op. 8, Revised Version (1891) Allegro con brio Scherzo: Allegro molto Adagio Allegro Trio No. 2 for Piano, Violin, and Cello in C Major, Op. 87 Allegro Andante con moto Scherzo: Presto Finale: Allegro giocoso Trio No. 3 for Piano, Violin, and Cello in C Minor, Op. 101 Allegro energico Presto non assai Andante grazioso Allegro molto Trio for Piano, Violin, and Natural Horn [Waldhorn] (or Cello or Viola) in E-flat Major, Op. 40 Andante Scherzo: Allegro Adagio mesto Finale: Allegro con brio Trio for Piano, Clarinet (or Viola), and Cello in A Minor, Op. 114 Allegro Adagio Andante grazioso Allegro

Double Concerto for Violin and Cello (Cello part). 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.

Judith Weir's Night is a work for Violin and Cello. Commissioned by Enterprise Music Scotland Night was written for High Heels and Horse Hair - comprised of Alice Rickards (Violin) andSonia Cromarty (Cello) who gave the first performance on 3rd November 2015 at Cottiers Theatre in Glasgow. Please note this item comes with two scores - one for the violinist and another for thecellist. Night was written for a late evening concert which aimed to use lighting design to explore aspects of life in the dark in three distinct but interrelated parts - NightMenagerie Night Anxiety and Late Night Radio.

Par MOZART WOLFGANG AMADEUS. Since their publication in the New Mozart Edition, Mozart's sonatas K. 10–15 count as piano trios. Furthermore, the title of the first edition, published by father and son Mozart in 1765 reads 'Six Sonates pour le Clavecin qui puevent se jouer avec l'accompagnement de Violon ou Flaute Traversiere”. In other words, these pieces are harpsichord sonatas that may be accompanied at will by a violin or a transverse flute. In a partial press run of the first edition a cello part was included. Our new edition is the first to take these conflicting formats into account by presenting two separate versions, one being the unaltered harpsichord part, the other a full score with separateinstrumental parts for violin/flute and cello. The harpsichord part [CV 51. 010/10] is indeed capable of standing by itself and requires no instrumental expansion. The melody instrument, in contrast, merely function as an accompaniment or contribute brief interjections, or, in the case of the cello, reinforce the left hand of the keyboard. In other words, K. 10–15 are not only Mozart's earliest piano trios, they are also his earliest keyboard sonatas to survive intact./ Répertoire / Violon, Violoncelle et Piano

Light And Matter was jointly commissioned by the Library of Congress Britten Sinfonia Norrbotten NEO and the Aeolian Chamber Players in honour of the 50th anniversary of the Bowdoin International MusicFestival. Composed in 2014 by Finnish composer Kaija Saariaho the piece is for Violin Cello and Piano. Saariaho states that her inspiration for this work came from looking out of herwindow in New York at the changing lights and movements of Morningside Park. The piece manages to accurately represent the dynamism of movement and kinetic energy through the musical interplay of the threeinstruments. The piece saw its world premiere at  Bowdoin International Festival on July 30th 2014 with Renee Jolles on Violin Nicholas Canellakis on Cello and Benjamin Hochman onPiano.

Three Nocturnal Movements - For Violin Solo Violoncello Solo And Orchestra by Per Nørgård (2015). Based on Remembering Child for Viola and Orchestra(1986). Premiered by Peter Herresthal (violin) and Jakob Kullberg (cello) with Bergen Philharmonic June 6th 2015 in Bergen Norway. The original version was premiered by Pinchas Zukerman and the St. Paul' s Chamber Orchestra conducted by Arturo di Mecke on September 12th 1986.Programme Note:The news of the tragic death of Samantha Smith reached me in the early stages of preparation for the commissioned work for viola and chamberorchestra. Already an admirerer of this childworker for peace and nuclear disarmament I completed my work strongly inspired by this unique and uniquely symbolic fate of our time. Music from humble sources - including my composition Beach Poppy a choral work from 1960 - are woven into the texture of the composition. I was guided by the original meaning of the word 'remembering' (making whole healing) in opposition to 'dismembering' (tearing apart): The healing power of the child.(Per Nørgård)