Sofia Asgatovna Gubaidulina (24 October 1931 – 13 March 2025) was a Soviet and Russian composer of modernist sacred music. She was highly prolific, producing numerous chamber, orchestral and choral works. Her output has been described as exploring the tensions between Western and Eastern music, and has been characterised by "innovative use of microtonality and chromaticism, rhythm over form and use of contrasting tonalities. Her compositions have been praised for their "emotional intensity", while she described her music as bringing legato, that is, a sense of "connected flow into the fragmented staccato of life." Alongside Alfred Schnittke, Arvo Pärt and Edison Denisov, Gubaidulina was considered one of the foremost composers of the former Soviet Union who were disfavoured by the authorities including the KGB, but whose work became frequently commissioned and performed by major international orchestras, with her first major breakthrough being her violin concerto Offertorium (1980).

This is an incomplete list of compositions by the Russian composer Sofia Gubaidulina (1931–2025). She was highly prolific, producing numerous chamber, orchestral and choral works. Her output has been described as exploring the tensions between Western and Eastern music, and is characterised by "innovative use of microtonality and chromaticism, rhythm over form and a use of contrasting tonalities. Gubaidulina incorporated unusual instrumental combinations. In Erwartung ("In Anticipation") combines a range of percussion instruments (bongos, güiros, temple blocks, cymbals and tam-tams among others) with a saxophone quartet. Melodically, she uses frequent and intense chromatic motifs rather than long melodic phrases. She sought to use music to attain unity with the divine. She achieved this through the use of micro-chromaticism (i.e., quarter tones) and frequent glissandi. Explaining her use of harmonics, specifically in her Rejoice! sonata for violin and cello, Gubaidulina said that "the possibility for string instruments to derive pitches of various heights at one and the same place on the string can be experienced in music as the transition to another plane of existence. And that is joy. Asked in 2011 about her increasing prolificacy as she got older and if she ever felt like slowing down, Gubaidulina replied that she had "many interesting projects, more than I can ever make...and there are always new soundscapes to explore."

The double bass, also known as the upright bass, the acoustic bass, the bull fiddle, the Bass Fiddle, the string bass, or simply the bass, is the largest and lowest-pitched chordophone in the modern symphony orchestra (excluding rare additions such as the octobass). It has four or five strings, and its construction is in between that of the gamba (viol) and the violin family. The bass is a standard member of the orchestra's string section, along with violins, violas, and cellos, as well as the concert band, and is featured in concertos, solo, and chamber music in Western classical music. The bass is used in a range of other genres, such as jazz, blues, rock and roll, rockabilly, country music, bluegrass, tango, folk music and certain types of film and video game soundtracks. The instrument's exact lineage is still a matter of some debate, with scholars divided on whether the bass is derived from the viol or the violin family. Being a transposing instrument, the bass is typically notated one octave higher than tuned to avoid excessive ledger lines below the staff. The double bass is the only modern bowed string instrument that is tuned in fourths (like a bass guitar, viol, or the lowest-sounding four strings of a standard guitar), rather than fifths, with strings usually tuned to E1, A1, D2 and G2. The double bass is played with a bow (arco), or by plucking the strings (pizzicato), or by slapping the strings for certain rock and roll and rockabilly styles, or via a variety of extended techniques. In orchestral repertoire and tango music, both arco and pizzicato are employed. In jazz, blues, and rockabilly, pizzicato is the norm. Classical music and jazz use the natural sound produced acoustically by the instrument, as does traditional bluegrass. In funk, blues, reggae, and related genres, the double bass is often amplified.

This is an incomplete list of compositions by the Russian composer Sofia Gubaidulina (1931–2025). She was highly prolific, producing numerous chamber, orchestral and choral works. Her output has been described as exploring the tensions between Western and Eastern music, and is characterised by "innovative use of microtonality and chromaticism, rhythm over form and a use of contrasting tonalities. Gubaidulina incorporated unusual instrumental combinations. In Erwartung ("In Anticipation") combines a range of percussion instruments (bongos, güiros, temple blocks, cymbals and tam-tams among others) with a saxophone quartet. Melodically, she uses frequent and intense chromatic motifs rather than long melodic phrases. She sought to use music to attain unity with the divine. She achieved this through the use of micro-chromaticism (i.e., quarter tones) and frequent glissandi. Explaining her use of harmonics, specifically in her Rejoice! sonata for violin and cello, Gubaidulina said that "the possibility for string instruments to derive pitches of various heights at one and the same place on the string can be experienced in music as the transition to another plane of existence. And that is joy. Asked in 2011 about her increasing prolificacy as she got older and if she ever felt like slowing down, Gubaidulina replied that she had "many interesting projects, more than I can ever make...and there are always new soundscapes to explore."

This is an incomplete list of compositions by the Russian composer Sofia Gubaidulina (1931–2025). She was highly prolific, producing numerous chamber, orchestral and choral works. Her output has been described as exploring the tensions between Western and Eastern music, and is characterised by "innovative use of microtonality and chromaticism, rhythm over form and a use of contrasting tonalities. Gubaidulina incorporated unusual instrumental combinations. In Erwartung ("In Anticipation") combines a range of percussion instruments (bongos, güiros, temple blocks, cymbals and tam-tams among others) with a saxophone quartet. Melodically, she uses frequent and intense chromatic motifs rather than long melodic phrases. She sought to use music to attain unity with the divine. She achieved this through the use of micro-chromaticism (i.e., quarter tones) and frequent glissandi. Explaining her use of harmonics, specifically in her Rejoice! sonata for violin and cello, Gubaidulina said that "the possibility for string instruments to derive pitches of various heights at one and the same place on the string can be experienced in music as the transition to another plane of existence. And that is joy. Asked in 2011 about her increasing prolificacy as she got older and if she ever felt like slowing down, Gubaidulina replied that she had "many interesting projects, more than I can ever make...and there are always new soundscapes to explore."

String piano is a term coined by American composer-theorist Henry Cowell (1897–1965) to collectively describe pianistic extended techniques in which sound is produced by direct manipulation of the strings, instead of or in addition to striking the piano's keys. Pioneered by Cowell in the 1920s, such techniques are now often called upon in the works of avant-garde classical music composers.

Sofia Asgatovna Gubaidulina (24 October 1931 – 13 March 2025) was a Soviet and Russian composer of modernist sacred music. She was highly prolific, producing numerous chamber, orchestral and choral works. Her output has been described as exploring the tensions between Western and Eastern music, and has been characterised by "innovative use of microtonality and chromaticism, rhythm over form and use of contrasting tonalities. Her compositions have been praised for their "emotional intensity", while she described her music as bringing legato, that is, a sense of "connected flow into the fragmented staccato of life." Alongside Alfred Schnittke, Arvo Pärt and Edison Denisov, Gubaidulina was considered one of the foremost composers of the former Soviet Union who were disfavoured by the authorities including the KGB, but whose work became frequently commissioned and performed by major international orchestras, with her first major breakthrough being her violin concerto Offertorium (1980).

A bassoon sonata is a larger-scale work for bassoon, usually with keyboard accompaniment. Most bassoon sonatas are substantial, multi-movement works, often based on Classical sonata form. Bassoon sonatinas, by comparison, tend to be shorter works, often in a single movement. Like bassoon concertos, bassoon sonatas were relatively uncommon until the twentieth century, at which point they became plentiful. During the twentieth century, the term bassoon sonata came to denote a wider range of works, including sonatas for solo bassoon and sonatas for bassoon in various duets with other instruments (such as cello or oboe).

Sofia Asgatovna Gubaidulina (24 October 1931 – 13 March 2025) was a Soviet and Russian composer of modernist sacred music. She was highly prolific, producing numerous chamber, orchestral and choral works. Her output has been described as exploring the tensions between Western and Eastern music, and has been characterised by "innovative use of microtonality and chromaticism, rhythm over form and use of contrasting tonalities. Her compositions have been praised for their "emotional intensity", while she described her music as bringing legato, that is, a sense of "connected flow into the fragmented staccato of life." Alongside Alfred Schnittke, Arvo Pärt and Edison Denisov, Gubaidulina was considered one of the foremost composers of the former Soviet Union who were disfavoured by the authorities including the KGB, but whose work became frequently commissioned and performed by major international orchestras, with her first major breakthrough being her violin concerto Offertorium (1980).

Sofia Asgatovna Gubaidulina (24 October 1931 – 13 March 2025) was a Soviet and Russian composer of modernist sacred music. She was highly prolific, producing numerous chamber, orchestral and choral works. Her output has been described as exploring the tensions between Western and Eastern music, and has been characterised by "innovative use of microtonality and chromaticism, rhythm over form and use of contrasting tonalities. Her compositions have been praised for their "emotional intensity", while she described her music as bringing legato, that is, a sense of "connected flow into the fragmented staccato of life." Alongside Alfred Schnittke, Arvo Pärt and Edison Denisov, Gubaidulina was considered one of the foremost composers of the former Soviet Union who were disfavoured by the authorities including the KGB, but whose work became frequently commissioned and performed by major international orchestras, with her first major breakthrough being her violin concerto Offertorium (1980).

Sofia Asgatovna Gubaidulina (24 October 1931 – 13 March 2025) was a Soviet and Russian composer of modernist sacred music. She was highly prolific, producing numerous chamber, orchestral and choral works. Her output has been described as exploring the tensions between Western and Eastern music, and has been characterised by "innovative use of microtonality and chromaticism, rhythm over form and use of contrasting tonalities. Her compositions have been praised for their "emotional intensity", while she described her music as bringing legato, that is, a sense of "connected flow into the fragmented staccato of life." Alongside Alfred Schnittke, Arvo Pärt and Edison Denisov, Gubaidulina was considered one of the foremost composers of the former Soviet Union who were disfavoured by the authorities including the KGB, but whose work became frequently commissioned and performed by major international orchestras, with her first major breakthrough being her violin concerto Offertorium (1980).

This is an incomplete list of compositions by the Russian composer Sofia Gubaidulina (1931–2025). She was highly prolific, producing numerous chamber, orchestral and choral works. Her output has been described as exploring the tensions between Western and Eastern music, and is characterised by "innovative use of microtonality and chromaticism, rhythm over form and a use of contrasting tonalities. Gubaidulina incorporated unusual instrumental combinations. In Erwartung ("In Anticipation") combines a range of percussion instruments (bongos, güiros, temple blocks, cymbals and tam-tams among others) with a saxophone quartet. Melodically, she uses frequent and intense chromatic motifs rather than long melodic phrases. She sought to use music to attain unity with the divine. She achieved this through the use of micro-chromaticism (i.e., quarter tones) and frequent glissandi. Explaining her use of harmonics, specifically in her Rejoice! sonata for violin and cello, Gubaidulina said that "the possibility for string instruments to derive pitches of various heights at one and the same place on the string can be experienced in music as the transition to another plane of existence. And that is joy. Asked in 2011 about her increasing prolificacy as she got older and if she ever felt like slowing down, Gubaidulina replied that she had "many interesting projects, more than I can ever make...and there are always new soundscapes to explore."

This is a list of musical compositions for cello and orchestra ordered by their authors' surnames.

This is an incomplete list of compositions by the Russian composer Sofia Gubaidulina (1931–2025). She was highly prolific, producing numerous chamber, orchestral and choral works. Her output has been described as exploring the tensions between Western and Eastern music, and is characterised by "innovative use of microtonality and chromaticism, rhythm over form and a use of contrasting tonalities. Gubaidulina incorporated unusual instrumental combinations. In Erwartung ("In Anticipation") combines a range of percussion instruments (bongos, güiros, temple blocks, cymbals and tam-tams among others) with a saxophone quartet. Melodically, she uses frequent and intense chromatic motifs rather than long melodic phrases. She sought to use music to attain unity with the divine. She achieved this through the use of micro-chromaticism (i.e., quarter tones) and frequent glissandi. Explaining her use of harmonics, specifically in her Rejoice! sonata for violin and cello, Gubaidulina said that "the possibility for string instruments to derive pitches of various heights at one and the same place on the string can be experienced in music as the transition to another plane of existence. And that is joy. Asked in 2011 about her increasing prolificacy as she got older and if she ever felt like slowing down, Gubaidulina replied that she had "many interesting projects, more than I can ever make...and there are always new soundscapes to explore."

This is an incomplete list of compositions by the Russian composer Sofia Gubaidulina (1931–2025). She was highly prolific, producing numerous chamber, orchestral and choral works. Her output has been described as exploring the tensions between Western and Eastern music, and is characterised by "innovative use of microtonality and chromaticism, rhythm over form and a use of contrasting tonalities. Gubaidulina incorporated unusual instrumental combinations. In Erwartung ("In Anticipation") combines a range of percussion instruments (bongos, güiros, temple blocks, cymbals and tam-tams among others) with a saxophone quartet. Melodically, she uses frequent and intense chromatic motifs rather than long melodic phrases. She sought to use music to attain unity with the divine. She achieved this through the use of micro-chromaticism (i.e., quarter tones) and frequent glissandi. Explaining her use of harmonics, specifically in her Rejoice! sonata for violin and cello, Gubaidulina said that "the possibility for string instruments to derive pitches of various heights at one and the same place on the string can be experienced in music as the transition to another plane of existence. And that is joy. Asked in 2011 about her increasing prolificacy as she got older and if she ever felt like slowing down, Gubaidulina replied that she had "many interesting projects, more than I can ever make...and there are always new soundscapes to explore."

In classical music, a piano quintet is a work of chamber music written for piano and four other instruments, most commonly (since 1842) a string quartet (i.e., two violins, viola, and cello). The term also refers to the group of musicians that plays a piano quintet. The genre flourished during the nineteenth century. Until the middle of the nineteenth century, most piano quintets were scored for piano, violin, viola, cello, and double bass. Following the success of Robert Schumann's Piano Quintet in E♭ major, Op. 44 in 1842, which paired the piano with a string quartet, composers increasingly adopted Schumann's instrumentation, and it was this form of the piano quintet that dominated during the second half of the nineteenth century and into the twentieth century. Among the best known and most frequently performed piano quintets, aside from Schumann's, are Schubert's Trout quintet and the piano quintets of Johannes Brahms, César Franck, Antonín Dvořák and Dmitri Shostakovich.

This article lists compositions written for the viola. The list includes works in which the viola is a featured instrument: viola solo, viola and piano, viola and orchestra, ensemble of violas, etc. Catalogue number, date of composition and publisher (for copyrighted works) are also included. Ordering is by composer surname. This pages lists composers whose surname falls into the F to H alphabetic range. For others, see respective pages: List of compositions for viola: A to B List of compositions for viola: C to E List of compositions for viola: I to K List of compositions for viola: L to N List of compositions for viola: O to R List of compositions for viola: S List of compositions for viola: T to Z

This is an incomplete list of compositions by the Russian composer Sofia Gubaidulina (1931–2025). She was highly prolific, producing numerous chamber, orchestral and choral works. Her output has been described as exploring the tensions between Western and Eastern music, and is characterised by "innovative use of microtonality and chromaticism, rhythm over form and a use of contrasting tonalities. Gubaidulina incorporated unusual instrumental combinations. In Erwartung ("In Anticipation") combines a range of percussion instruments (bongos, güiros, temple blocks, cymbals and tam-tams among others) with a saxophone quartet. Melodically, she uses frequent and intense chromatic motifs rather than long melodic phrases. She sought to use music to attain unity with the divine. She achieved this through the use of micro-chromaticism (i.e., quarter tones) and frequent glissandi. Explaining her use of harmonics, specifically in her Rejoice! sonata for violin and cello, Gubaidulina said that "the possibility for string instruments to derive pitches of various heights at one and the same place on the string can be experienced in music as the transition to another plane of existence. And that is joy. Asked in 2011 about her increasing prolificacy as she got older and if she ever felt like slowing down, Gubaidulina replied that she had "many interesting projects, more than I can ever make...and there are always new soundscapes to explore."

This is an incomplete list of compositions by the Russian composer Sofia Gubaidulina (1931–2025). She was highly prolific, producing numerous chamber, orchestral and choral works. Her output has been described as exploring the tensions between Western and Eastern music, and is characterised by "innovative use of microtonality and chromaticism, rhythm over form and a use of contrasting tonalities. Gubaidulina incorporated unusual instrumental combinations. In Erwartung ("In Anticipation") combines a range of percussion instruments (bongos, güiros, temple blocks, cymbals and tam-tams among others) with a saxophone quartet. Melodically, she uses frequent and intense chromatic motifs rather than long melodic phrases. She sought to use music to attain unity with the divine. She achieved this through the use of micro-chromaticism (i.e., quarter tones) and frequent glissandi. Explaining her use of harmonics, specifically in her Rejoice! sonata for violin and cello, Gubaidulina said that "the possibility for string instruments to derive pitches of various heights at one and the same place on the string can be experienced in music as the transition to another plane of existence. And that is joy. Asked in 2011 about her increasing prolificacy as she got older and if she ever felt like slowing down, Gubaidulina replied that she had "many interesting projects, more than I can ever make...and there are always new soundscapes to explore."

This is an incomplete list of compositions by the Russian composer Sofia Gubaidulina (1931–2025). She was highly prolific, producing numerous chamber, orchestral and choral works. Her output has been described as exploring the tensions between Western and Eastern music, and is characterised by "innovative use of microtonality and chromaticism, rhythm over form and a use of contrasting tonalities. Gubaidulina incorporated unusual instrumental combinations. In Erwartung ("In Anticipation") combines a range of percussion instruments (bongos, güiros, temple blocks, cymbals and tam-tams among others) with a saxophone quartet. Melodically, she uses frequent and intense chromatic motifs rather than long melodic phrases. She sought to use music to attain unity with the divine. She achieved this through the use of micro-chromaticism (i.e., quarter tones) and frequent glissandi. Explaining her use of harmonics, specifically in her Rejoice! sonata for violin and cello, Gubaidulina said that "the possibility for string instruments to derive pitches of various heights at one and the same place on the string can be experienced in music as the transition to another plane of existence. And that is joy. Asked in 2011 about her increasing prolificacy as she got older and if she ever felt like slowing down, Gubaidulina replied that she had "many interesting projects, more than I can ever make...and there are always new soundscapes to explore."

This is an incomplete list of compositions by the Russian composer Sofia Gubaidulina (1931–2025). She was highly prolific, producing numerous chamber, orchestral and choral works. Her output has been described as exploring the tensions between Western and Eastern music, and is characterised by "innovative use of microtonality and chromaticism, rhythm over form and a use of contrasting tonalities. Gubaidulina incorporated unusual instrumental combinations. In Erwartung ("In Anticipation") combines a range of percussion instruments (bongos, güiros, temple blocks, cymbals and tam-tams among others) with a saxophone quartet. Melodically, she uses frequent and intense chromatic motifs rather than long melodic phrases. She sought to use music to attain unity with the divine. She achieved this through the use of micro-chromaticism (i.e., quarter tones) and frequent glissandi. Explaining her use of harmonics, specifically in her Rejoice! sonata for violin and cello, Gubaidulina said that "the possibility for string instruments to derive pitches of various heights at one and the same place on the string can be experienced in music as the transition to another plane of existence. And that is joy. Asked in 2011 about her increasing prolificacy as she got older and if she ever felt like slowing down, Gubaidulina replied that she had "many interesting projects, more than I can ever make...and there are always new soundscapes to explore."

This is an incomplete list of compositions by the Russian composer Sofia Gubaidulina (1931–2025). She was highly prolific, producing numerous chamber, orchestral and choral works. Her output has been described as exploring the tensions between Western and Eastern music, and is characterised by "innovative use of microtonality and chromaticism, rhythm over form and a use of contrasting tonalities. Gubaidulina incorporated unusual instrumental combinations. In Erwartung ("In Anticipation") combines a range of percussion instruments (bongos, güiros, temple blocks, cymbals and tam-tams among others) with a saxophone quartet. Melodically, she uses frequent and intense chromatic motifs rather than long melodic phrases. She sought to use music to attain unity with the divine. She achieved this through the use of micro-chromaticism (i.e., quarter tones) and frequent glissandi. Explaining her use of harmonics, specifically in her Rejoice! sonata for violin and cello, Gubaidulina said that "the possibility for string instruments to derive pitches of various heights at one and the same place on the string can be experienced in music as the transition to another plane of existence. And that is joy. Asked in 2011 about her increasing prolificacy as she got older and if she ever felt like slowing down, Gubaidulina replied that she had "many interesting projects, more than I can ever make...and there are always new soundscapes to explore."

Musical settings of sayings of Jesus on the cross are compositions which set seven short phrases uttered by Jesus on the cross, as gathered from the four Christian Gospels narrating the Crucifixion of Jesus. Several composers have written musical settings of the traditional collection of seven sayings, sometimes called Seven Last Words and ultima septem verba, for various combinations of voice and/or instruments. Eventually these settings became a separate form of Passion music. Perhaps the most outstanding work in this genre in the Lutheran tradition is the work by Heinrich Schütz. Joseph Haydn composed string quartets titled Die sieben letzten Worte unseres Erlösers am Kreuze (The seven last words of our Redeemer on the cross).

The trumpet repertoire consists of solo literature and orchestral or, more commonly, band parts written for the trumpet. Tracings its origins to 1500 BC, the trumpet is a musical instrument with the highest register in the brass family. Among the repertoire for the trumpet are the following works: