Below is a list of compositions by Darius Milhaud sorted by category.

Below is a list of compositions by Darius Milhaud sorted by category.

Below is a list of compositions by Darius Milhaud sorted by category.

Below is a list of compositions by Darius Milhaud sorted by category.

Below is a list of compositions by Darius Milhaud sorted by category.

Below is a list of compositions by Darius Milhaud sorted by category.

This is a list of compositions for cello and piano. It includes sonatas as well as other pieces for cello and piano.

Below is a list of compositions by Darius Milhaud sorted by category.

Below is a list of compositions by Darius Milhaud sorted by category.

La Cheminée du roi René (The Chimney of King René), Op. 205, is a suite in seven movements for wind quintet, composed in 1939 by the French composer Darius Milhaud. The title alludes to a Provençal proverb playing on words for 'fireplace', 'chimney' and 'promenade': the 15th-century King of Sicily René d'Anjou is said to have enjoyed walks in the winter sun of Provence.

Below is a list of compositions by Darius Milhaud sorted by category.

Below is a list of compositions by Darius Milhaud sorted by category.

The Symphony No. 3, Op. 271, sub-titled Te Deum, is a work for orchestra and chorus by French composer Darius Milhaud. The piece originated in a 1946 request by Radio France for a Te Deum celebrating the allied victory in World War II. Instead of confining himself to a setting of the liturgical text, Milhaud delivered a four-movement symphony in which the orchestra plays two movements (I and III) alone. The chorus joins without words in Movement II; only in the finale is the Latin text of the Te Deum sung. This symphony is not to be confused with Milhaud's Chamber Symphony No. 3 "Sérénade," op. 71 (1921). Milhaud's Third Symphony has a total running time of about 27 minutes. The descriptive titles of the movements are as follows: This symphony is published by Heugel & Cie. Recordings of this symphony include a 1997 all-digital recording by Alun Francis and the Radio-Sinfonieorchester Basel, part of a boxed set of Milhaud's Symphonies No. 1-12 on CPO.

Below is a list of compositions by Darius Milhaud sorted by category.

This article lists the classical guitar music in the classical guitar repertoire. It includes baroque guitar and vihuela music, but not lute music. This music is most commonly performed by classical guitarists and requires the use of a variety of classical guitar techniques to play. During the Renaissance, the guitar was likely to have been used as it frequently is today in popular music, that is to provide strummed accompaniment for a singer or a small group. There also were several significant music collections published during the 16th century of contrapuntal compositions approaching the complexity, sophistication and breadth of lute music from the same period. Most Renaissance lute music has been transcribed for guitar (see List of composers for lute). The baroque guitar (c.1600–1750) was a string instrument with five courses of gut strings and moveable gut frets. The first (highest pitched) course was sometimes a single string. It replaced the Renaissance lute as the most common instrument found in the home. The romantic guitar, in use from approximately 1790 to 1830, was the guitar of the Classical and Romantic period of music, showing remarkable consistency in the instrument's construction during these decades. By this time guitars used six, sometimes more, single strings instead of courses. The romantic guitar eventually led to a different type of guitar in Spain: the fan-braced Spanish guitars of Torres, which may be seen as the immediate precursor of the modern classical guitar. In the 20th century, many non-guitarist composers wrote for the instrument, whereas previously only players of the instrument had done so.

A violin sonata is a musical composition for violin, which is nearly always accompanied by a piano or other keyboard instrument, or by figured bass in the Baroque period.

Below is a list of compositions by Darius Milhaud sorted by category.

Below is a list of compositions by Darius Milhaud sorted by category.

Below is a list of compositions by Darius Milhaud sorted by category.

Below is a list of compositions by Darius Milhaud sorted by category.

The term string quartet is a type of musical composition or a group of four people who play the quartets. Many composers from the mid-18th century onwards wrote string quartets. The associated musical ensemble consists of two violinists, a violist, and a cellist. The string quartet was developed into its present form by the Austrian composer Joseph Haydn, whose works in the 1750s established the ensemble as a group of four more-or-less equal partners. Since that time, the string quartet has been considered a prestigious form; writing for four instruments with broadly similar characteristics both constrains and tests a composer. String quartet composition flourished in the Classical era, and Mozart, Beethoven and Schubert each wrote a number of them. Many Romantic and early-twentieth-century composers composed string quartets, including Mendelssohn, Schumann, Brahms, Dvořák, Janáček, and Debussy. There was a slight lull in string quartet composition later in the 19th century, but it received a resurgence in the 20th century, with the Second Viennese School, Bartók, Shostakovich, Babbitt, and Carter producing highly regarded examples of the genre, and it remains an important and refined musical form. The standard structure for a string quartet as established in the Classical era is four movements, with the first movement in sonata form, allegro, in the tonic key; a slow movement in a related key and a minuet and trio follow; and the fourth movement is often in rondo form or sonata rondo form, in the tonic key. Some string quartet ensembles play together for many years and become established and promoted as an entity in a manner similar to an instrumental soloist or an orchestra.

Darius Milhaud (French: [daʁjys mijo]; Provençal: [miˈjawt]; 4 September 1892 – 22 June 1974) was a French composer, conductor, and teacher. He was a member of Les Six—The Group of Six—and one of the most prolific composers of the 20th century. His compositions are influenced by jazz and Brazilian music and make extensive use of polytonality. Milhaud is considered one of the key modernist composers. He taught many future jazz and classical composers, including Burt Bacharach, Dave Brubeck, Philip Glass, Steve Reich, György Kurtág, Karlheinz Stockhausen and Iannis Xenakis among others.

A clarinet–violin–piano trio is a standardized chamber musical ensemble made up of one clarinet, one violin, and one piano participating in relatively equal roles, or the name of a piece written for such a group. 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 works can be (or already have been) transcribed for a clarinet–violin–piano trio. Unlike a standard piano trio or a concerto, there is no standard form for a composition for a clarinet–violin–piano trio: a piece can have any number of movements. Acoustically, the choice of a clarinet, violin, and piano is characteristic in that most chamber music (and most music in general) contains high (soprano), mid-range (alto/tenor), and low (bass/baritone) parts. However, both a clarinet and a violin play relatively high-pitched parts, making for a less-balanced sound than a trio that contains a more possible range, such as a violin–cello–piano trio. Timbral contrast is provided between the woodwind (clarinet), bowed string (violin), and keyboard instrument (piano). Aside from its classical use, this combination of instruments is common in traditional Ashkenazi Jewish music.

The viola sonata is a sonata for viola, sometimes with other instruments, usually piano. The earliest viola sonatas are difficult to date for a number of reasons: in the Baroque era, there were many works written for the viola da gamba, including sonatas (the most famous being Johann Sebastian Bach's Three Sonatas for Viola da Gamba and Harpsichord, now most often played on the cello) in the Classical era and early Romantic, there were few works written with viola specifically in mind as solo instrument, and many of these, like those of the Stamitz family, may have been written for the viola d'amore, like most of their viola works—though it is now customary to play them on the viola; it was more typical to publish a work or set, like George Onslow's opus 16 cello sonatas, or Johannes Brahms's Two Clarinet Sonatas in the late 19th century, that specified the viola as an alternate. Two early exceptions were the viola sonata of Felix Mendelssohn (1824, posthumously published in 1966) and the opus 1 sonata of the composer Ernst Naumann (1832–1910), published in 1854. The viola returned to a solo role in the 20th century. Max Reger wrote three sonatas for either clarinet or viola at the beginning of the century. Paul Hindemith, himself a viola virtuoso, composed works several sonatas for viola solo, and others for viola and piano such as the Sonata for Viola and Piano, Op. 11 No. 4 in 1919. Rebecca Clarke composed the Sonata for viola and piano the same year. Bax's Viola Sonata, written (like Walton's concerto) for the great English viola player Lionel Tertis in 1923, is one of his most-played and oft-recorded chamber works. Mieczysław Weinberg wrote four viola sonatas between 1971 and 1983. The Sonata for Viola and Piano, Op. 147, is the last composition by Dmitri Shostakovich, completed in July 1975 and dedicated to Fyodor Druzhinin. György Ligeti wrote his Sonata for Solo Viola between 1991 and 1994. In the 21st century, Graham Waterhouse wrote a viola sonata entitled Sonata ebraica , completed in 2013.

The viola sonata is a sonata for viola, sometimes with other instruments, usually piano. The earliest viola sonatas are difficult to date for a number of reasons: in the Baroque era, there were many works written for the viola da gamba, including sonatas (the most famous being Johann Sebastian Bach's Three Sonatas for Viola da Gamba and Harpsichord, now most often played on the cello) in the Classical era and early Romantic, there were few works written with viola specifically in mind as solo instrument, and many of these, like those of the Stamitz family, may have been written for the viola d'amore, like most of their viola works—though it is now customary to play them on the viola; it was more typical to publish a work or set, like George Onslow's opus 16 cello sonatas, or Johannes Brahms's Two Clarinet Sonatas in the late 19th century, that specified the viola as an alternate. Two early exceptions were the viola sonata of Felix Mendelssohn (1824, posthumously published in 1966) and the opus 1 sonata of the composer Ernst Naumann (1832–1910), published in 1854. The viola returned to a solo role in the 20th century. Max Reger wrote three sonatas for either clarinet or viola at the beginning of the century. Paul Hindemith, himself a viola virtuoso, composed works several sonatas for viola solo, and others for viola and piano such as the Sonata for Viola and Piano, Op. 11 No. 4 in 1919. Rebecca Clarke composed the Sonata for viola and piano the same year. Bax's Viola Sonata, written (like Walton's concerto) for the great English viola player Lionel Tertis in 1923, is one of his most-played and oft-recorded chamber works. Mieczysław Weinberg wrote four viola sonatas between 1971 and 1983. The Sonata for Viola and Piano, Op. 147, is the last composition by Dmitri Shostakovich, completed in July 1975 and dedicated to Fyodor Druzhinin. György Ligeti wrote his Sonata for Solo Viola between 1991 and 1994. In the 21st century, Graham Waterhouse wrote a viola sonata entitled Sonata ebraica , completed in 2013.

In music, a sonata (; pl. sonate) is a piece that consists of 3 or 4 movements that can be for different musical instruments. The term evolved through the history of music, designating a variety of forms until the Classical era, when it took on increasing importance. Sonata is a vague term, with varying meanings depending on the context and time period. By the early 19th century it came to represent a principle of composing large-scale works. It was applied to most instrumental genres and regarded—alongside the fugue—as one of two fundamental methods of organizing, interpreting and analyzing concert music. Though the musical style of sonatas has changed since the Classical era, most 20th- and 21st-century sonatas maintain the overarching structure. The term sonatina, pl. sonatine, the diminutive form of sonata, is often used for a short or technically easy sonata.