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Zigeunerweisen is in one movement but can be divided into four sections, the first three in the key of C minor and the last in A minor, based on the tempi: Moderato – An imposing, virtuosic introduction with slow majestic energy by the orchestra, then a little softer by the violin itself. Lento – The violin plays in lugubrious lento 4/4.
An example of a clarinet–viola–piano trio existed several hundred years before the clarinet–violin–piano trio; Mozart composed the Kegelstatt Trio in the 18th century, and the Romantic composer Max Bruch composed a suite of eight pieces for this combination, as well as a double concerto for viola, clarinet, and orchestra. Many of these ...
Opus 132: The Relic, recitative for bass and piano; Opus 133: Sonata for bassoon solo; Opus 134: From Afanasy Fet's Poetry, songs for bass and piano; Opus 135: Sonata No. 3 for viola solo (1982) Opus 136: Sonata No. 4 for viola solo (1983) Opus 136bis: Sonata No. 6 for violin and piano (1982) Opus 137: Symphony No. 17 Memory (1984)
Fleurs du mal, a piano sonata (1996–97) Insel der Sirenen (Island of the Sirens) for solo violin and 19 strings (1997) Sieben Abgesänge auf eine tote Linde (Seven Poems from a Dead Linde Tree) for soprano, clarinet, violin and piano (1997) String Quartet No. 1 (1997) [6] [7] Five Fragments for clarinet and piano (1997) [8] [9]
Two Lieder, for mixed choir, celesta, guitar, violin, clarinet and bass clarinet, op. 19 (1926) String Trio, op. 20 (1927) Symphony, op. 21 (1928) Quartet for violin, clarinet, tenor saxophone and piano, op. 22 (1930) Three Songs on Hildegard Jone's Viae inviae, for voice and piano, op. 23 (1934)
Concerto a Due Contrabbassi No.1 (Gran Duo Concertante) for 2 double basses and orchestra/piano (original version, 1844) Gran Duo Concertante for violin, double bass and orchestra/piano (1846) (arranged by Bottesini for Violin + Double bass and later updated for its publication) Gran Duo Concertante for clarinet in A, double bass and orchestra ...
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