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 O to R 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: F to H List of compositions for viola: I to K List of compositions for viola: L to N List of compositions for viola: S List of compositions for viola: T to Z

This is a list of compositions by Wolfgang Rihm. His output numbers more than 500 works. Rihm's compositions were published by Universal Edition. IRCAM has a list of Rihm's works. Rihm was extremely prolific, and much of his music has yet to be commercially recorded. His works include thirteen string quartets, the opera Die Eroberung von Mexico (1987–1991, based on texts by Antonin Artaud), over twenty song cycles, the oratorio Deus Passus (1999–2000, commissioned by the Internationale Bachakademie Stuttgart), Jagden und Formen for chamber orchestra (1995–2001), more than thirty concertos, and a series of interrelated orchestral works bearing the general title Vers une symphonie fleuve ("Towards a river symphony"). He sometimes revised or adapted his finished work. For example, in 1992 he completely rewrote Ins Offene ... for orchestra (1990) and used it as the basis for his piano concerto Sphere (1994). Then he recast the piano part of Sphere to create Nachstudie for solo piano (1994). In 2002, he wrote Sphäre nach Studie (a new version of Nachstudie) for harp, two double basses, piano, and percussion, as well as Sphäre um Sphäre (a new version of Sphere) for two pianos and chamber ensemble. He also experimented with writing musical fragments, for example in his Alexanderlieder (1975–1976, described as a "fragmentary song accompaniment"), cuts and dissolves for orchestra (1976–1977), Bagatelles (1977–1978), Lenz-Fragmente (1980), or more recently Fetzen (Scraps) for string quartet and accordion (1999–2004)

The Abegg Trio was a German piano trio. Since its foundation in 1976, it played in the original line-up. In 2017 the ensemble disbanded after its 41st birthday.

Siegfried Palm (25 April 1927 – 6 June 2005) was a German cellist who is known worldwide for his interpretations of contemporary music. Many 20th-century composers like Kagel, Ligeti, Xenakis, Penderecki and Zimmermann wrote music for him. He was also Rektor of the Hochschule für Musik Köln and Intendant of the Deutsche Oper Berlin.

Among the fairly large repertoire for the standard piano trio (violin, cello, and piano) are the following works: Ordering is by surname of composer.

This is a list of compositions by Wolfgang Rihm. His output numbers more than 500 works. Rihm's compositions were published by Universal Edition. IRCAM has a list of Rihm's works. Rihm was extremely prolific, and much of his music has yet to be commercially recorded. His works include thirteen string quartets, the opera Die Eroberung von Mexico (1987–1991, based on texts by Antonin Artaud), over twenty song cycles, the oratorio Deus Passus (1999–2000, commissioned by the Internationale Bachakademie Stuttgart), Jagden und Formen for chamber orchestra (1995–2001), more than thirty concertos, and a series of interrelated orchestral works bearing the general title Vers une symphonie fleuve ("Towards a river symphony"). He sometimes revised or adapted his finished work. For example, in 1992 he completely rewrote Ins Offene ... for orchestra (1990) and used it as the basis for his piano concerto Sphere (1994). Then he recast the piano part of Sphere to create Nachstudie for solo piano (1994). In 2002, he wrote Sphäre nach Studie (a new version of Nachstudie) for harp, two double basses, piano, and percussion, as well as Sphäre um Sphäre (a new version of Sphere) for two pianos and chamber ensemble. He also experimented with writing musical fragments, for example in his Alexanderlieder (1975–1976, described as a "fragmentary song accompaniment"), cuts and dissolves for orchestra (1976–1977), Bagatelles (1977–1978), Lenz-Fragmente (1980), or more recently Fetzen (Scraps) for string quartet and accordion (1999–2004)

Among the fairly large repertoire for the standard piano trio (violin, cello, and piano) are the following works: Ordering is by surname of composer.

This is a list of compositions by Wolfgang Rihm. His output numbers more than 500 works. Rihm's compositions were published by Universal Edition. IRCAM has a list of Rihm's works. Rihm was extremely prolific, and much of his music has yet to be commercially recorded. His works include thirteen string quartets, the opera Die Eroberung von Mexico (1987–1991, based on texts by Antonin Artaud), over twenty song cycles, the oratorio Deus Passus (1999–2000, commissioned by the Internationale Bachakademie Stuttgart), Jagden und Formen for chamber orchestra (1995–2001), more than thirty concertos, and a series of interrelated orchestral works bearing the general title Vers une symphonie fleuve ("Towards a river symphony"). He sometimes revised or adapted his finished work. For example, in 1992 he completely rewrote Ins Offene ... for orchestra (1990) and used it as the basis for his piano concerto Sphere (1994). Then he recast the piano part of Sphere to create Nachstudie for solo piano (1994). In 2002, he wrote Sphäre nach Studie (a new version of Nachstudie) for harp, two double basses, piano, and percussion, as well as Sphäre um Sphäre (a new version of Sphere) for two pianos and chamber ensemble. He also experimented with writing musical fragments, for example in his Alexanderlieder (1975–1976, described as a "fragmentary song accompaniment"), cuts and dissolves for orchestra (1976–1977), Bagatelles (1977–1978), Lenz-Fragmente (1980), or more recently Fetzen (Scraps) for string quartet and accordion (1999–2004)

This is a list of compositions by Wolfgang Rihm. His output numbers more than 500 works. Rihm's compositions were published by Universal Edition. IRCAM has a list of Rihm's works. Rihm was extremely prolific, and much of his music has yet to be commercially recorded. His works include thirteen string quartets, the opera Die Eroberung von Mexico (1987–1991, based on texts by Antonin Artaud), over twenty song cycles, the oratorio Deus Passus (1999–2000, commissioned by the Internationale Bachakademie Stuttgart), Jagden und Formen for chamber orchestra (1995–2001), more than thirty concertos, and a series of interrelated orchestral works bearing the general title Vers une symphonie fleuve ("Towards a river symphony"). He sometimes revised or adapted his finished work. For example, in 1992 he completely rewrote Ins Offene ... for orchestra (1990) and used it as the basis for his piano concerto Sphere (1994). Then he recast the piano part of Sphere to create Nachstudie for solo piano (1994). In 2002, he wrote Sphäre nach Studie (a new version of Nachstudie) for harp, two double basses, piano, and percussion, as well as Sphäre um Sphäre (a new version of Sphere) for two pianos and chamber ensemble. He also experimented with writing musical fragments, for example in his Alexanderlieder (1975–1976, described as a "fragmentary song accompaniment"), cuts and dissolves for orchestra (1976–1977), Bagatelles (1977–1978), Lenz-Fragmente (1980), or more recently Fetzen (Scraps) for string quartet and accordion (1999–2004)

Traditionally a clarinet quintet is a chamber musical ensemble made up of one clarinet, plus the standard string quartet of two violins, one viola, and one cello. Now the term clarinet quintet can refer to any combination of instruments in the clarinet family (mainly B♭, E♭, bass, and E♭ alto clarinets). The term is also used to refer to a piece written for one of these ensembles.

This is a list of compositions by Wolfgang Rihm. His output numbers more than 500 works. Rihm's compositions were published by Universal Edition. IRCAM has a list of Rihm's works. Rihm was extremely prolific, and much of his music has yet to be commercially recorded. His works include thirteen string quartets, the opera Die Eroberung von Mexico (1987–1991, based on texts by Antonin Artaud), over twenty song cycles, the oratorio Deus Passus (1999–2000, commissioned by the Internationale Bachakademie Stuttgart), Jagden und Formen for chamber orchestra (1995–2001), more than thirty concertos, and a series of interrelated orchestral works bearing the general title Vers une symphonie fleuve ("Towards a river symphony"). He sometimes revised or adapted his finished work. For example, in 1992 he completely rewrote Ins Offene ... for orchestra (1990) and used it as the basis for his piano concerto Sphere (1994). Then he recast the piano part of Sphere to create Nachstudie for solo piano (1994). In 2002, he wrote Sphäre nach Studie (a new version of Nachstudie) for harp, two double basses, piano, and percussion, as well as Sphäre um Sphäre (a new version of Sphere) for two pianos and chamber ensemble. He also experimented with writing musical fragments, for example in his Alexanderlieder (1975–1976, described as a "fragmentary song accompaniment"), cuts and dissolves for orchestra (1976–1977), Bagatelles (1977–1978), Lenz-Fragmente (1980), or more recently Fetzen (Scraps) for string quartet and accordion (1999–2004)

Johannes Brahms (; German: [joˈhanəs ˈbʁaːms] ; 7 May 1833 – 3 April 1897) was a German composer, virtuoso pianist, and conductor of the mid-Romantic period. His music is noted for its rhythmic vitality and freer treatment of dissonance, often set within studied yet expressive contrapuntal textures. He adapted the traditional structures and techniques of a wide historical range of earlier composers. His œuvre includes four symphonies, four concertos, a Requiem, much chamber music, and hundreds of folk-song arrangements and Lieder, among other works for symphony orchestra, piano, organ, and choir. Born to a musical family in Hamburg, Brahms began composing and concertizing locally in his youth. He toured Central Europe as a pianist in his adulthood, premiering many of his own works and meeting Franz Liszt in Weimar. Brahms worked with Ede Reményi and Joseph Joachim, seeking Robert Schumann's approval through Joachim. He gained both Robert and Clara Schumann's support and guidance. Brahms stayed with Clara in Düsseldorf, becoming devoted to her amid Robert's insanity and institutionalization. The two remained close, lifelong friends after Robert's death. Brahms never married, perhaps in an effort to focus on his work as a musician and scholar. He was a self-conscious, sometimes severely self-critical composer. Though innovative, his music was considered relatively conservative within the polarized context of the War of the Romantics, an affair in which Brahms regretted his public involvement. His compositions were largely successful, attracting a growing circle of supporters, friends, and musicians. Eduard Hanslick celebrated them polemically as absolute music, and Hans von Bülow even cast Brahms as the successor of Johann Sebastian Bach and Ludwig van Beethoven, an idea Richard Wagner mocked. Settling in Vienna, Brahms conducted the Singakademie and Gesellschaft der Musikfreunde, programming the early and often "serious" music of his personal studies. He considered retiring from composition late in life but continued to write chamber music, especially for Richard Mühlfeld. Brahms's contributions and craftsmanship were admired by his contemporaries like Antonín Dvořák, whose music he enthusiastically supported, and a variety of later composers. Max Reger and Alexander Zemlinsky reconciled Brahms's and Wagner's often contrasted styles. So did Arnold Schoenberg, who emphasized Brahms's "progressive" side. He and Anton Webern were inspired by the intricate structural coherence of Brahms's music, including what Schoenberg termed its developing variation. It remains a staple of the concert repertoire, continuing to influence composers into the 21st century.

Johannes Brahms (; German: [joˈhanəs ˈbʁaːms] ; 7 May 1833 – 3 April 1897) was a German composer, virtuoso pianist, and conductor of the mid-Romantic period. His music is noted for its rhythmic vitality and freer treatment of dissonance, often set within studied yet expressive contrapuntal textures. He adapted the traditional structures and techniques of a wide historical range of earlier composers. His œuvre includes four symphonies, four concertos, a Requiem, much chamber music, and hundreds of folk-song arrangements and Lieder, among other works for symphony orchestra, piano, organ, and choir. Born to a musical family in Hamburg, Brahms began composing and concertizing locally in his youth. He toured Central Europe as a pianist in his adulthood, premiering many of his own works and meeting Franz Liszt in Weimar. Brahms worked with Ede Reményi and Joseph Joachim, seeking Robert Schumann's approval through Joachim. He gained both Robert and Clara Schumann's support and guidance. Brahms stayed with Clara in Düsseldorf, becoming devoted to her amid Robert's insanity and institutionalization. The two remained close, lifelong friends after Robert's death. Brahms never married, perhaps in an effort to focus on his work as a musician and scholar. He was a self-conscious, sometimes severely self-critical composer. Though innovative, his music was considered relatively conservative within the polarized context of the War of the Romantics, an affair in which Brahms regretted his public involvement. His compositions were largely successful, attracting a growing circle of supporters, friends, and musicians. Eduard Hanslick celebrated them polemically as absolute music, and Hans von Bülow even cast Brahms as the successor of Johann Sebastian Bach and Ludwig van Beethoven, an idea Richard Wagner mocked. Settling in Vienna, Brahms conducted the Singakademie and Gesellschaft der Musikfreunde, programming the early and often "serious" music of his personal studies. He considered retiring from composition late in life but continued to write chamber music, especially for Richard Mühlfeld. Brahms's contributions and craftsmanship were admired by his contemporaries like Antonín Dvořák, whose music he enthusiastically supported, and a variety of later composers. Max Reger and Alexander Zemlinsky reconciled Brahms's and Wagner's often contrasted styles. So did Arnold Schoenberg, who emphasized Brahms's "progressive" side. He and Anton Webern were inspired by the intricate structural coherence of Brahms's music, including what Schoenberg termed its developing variation. It remains a staple of the concert repertoire, continuing to influence composers into the 21st century.