Six string sonatas were written by Italian composer Gioachino Rossini in 1804 but were not published until 1826. The sonatas are among Rossini's earliest recognized works, as he composed them while only 12 years old.

The Piano Sonata No. 2 in B♭ minor, Op. 35, is a piano sonata in four movements by Polish composer Frédéric Chopin. Chopin completed the work while living in George Sand's manor in Nohant, some 250 km (160 mi) south of Paris, a year before it was published in 1840. The first of the composer's three mature sonatas (the others being the Piano Sonata No. 3 in B minor, Op. 58 and the Sonata for Piano and Cello in G minor, Op. 65), the work is considered to be one of the greatest piano sonatas of the literature. The third movement of the Piano Sonata No. 2 is Chopin's famous funeral march (French: Marche funèbre; Polish: Marsz żałobny) which was composed at least two years before the remainder of the work and has remained, by itself, one of Chopin's most popular compositions. The Piano Sonata No. 2 carries allusions and reminiscences of music by J. S. Bach and by Ludwig van Beethoven; Beethoven's Piano Sonata No. 12 also has a funeral march as its third movement. A typical performance of Chopin's second sonata lasts between 21 and 25 minutes, depending on whether the repetition of the first movement's exposition is observed. While the Piano Sonata No. 2 gained instant popularity with the public, critical reception was initially more doubtful. Robert Schumann, among other critics, argued that the work was structurally inferior and that Chopin "could not quite handle sonata form", a criticism that did not withstand time. The work has been recorded by numerous pianists and is regularly programmed in concerts and piano competitions. The Marche funèbre exists in countless arrangements and has been performed at funerals all over the world (including Chopin's own), having become an archetypal evocation of death.

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.

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.

Gioachino Antonio Rossini (29 February 1792 – 13 November 1868) was an Italian composer of the late Classical and early Romantic eras. While he gained most of his fame for his 39 operas, he also wrote many pieces of chamber music , piano, and some sacred music. He set new standards for both comic and serious opera before retiring from large-scale composition while still in his thirties, at the height of his popularity. Born in Pesaro to parents who were both musicians (his father a trumpeter, his mother a singer), Rossini began to compose by the age of twelve and was educated at music school in Bologna. His first opera was performed in Venice in 1810 when he was 18 years old. In 1815 he was engaged to write operas and manage theatres in Naples. In the period 1810–1823, he wrote 34 operas for the Italian stage that were performed in Venice, Milan, Ferrara, Naples and elsewhere; this productivity necessitated an almost formulaic approach for some components (such as overtures) and a certain amount of self-borrowing. During this period he produced his most popular works, including the comic operas L'italiana in Algeri, Il barbiere di Siviglia (known in English as The Barber of Seville) and La Cenerentola, which brought to a peak the opera buffa tradition he inherited from masters such as Wolfgang Amadeus Mozart, Domenico Cimarosa and Giovanni Paisiello. He also composed opera seria works such as Tancredi, Otello and Semiramide. All of these attracted admiration for their innovation in melody, harmonic and instrumental colour, and dramatic form. In 1824 he was contracted by the Opéra in Paris, for which he produced an opera to celebrate the coronation of Charles X, Il viaggio a Reims (later cannibalised for his first opera in French, Le comte Ory), revisions of two of his Italian operas, Le siège de Corinthe and Moïse, and in 1829 his last opera, Guillaume Tell. Rossini's withdrawal from opera for the last 40 years of his life has never been fully explained; contributory factors may have been ill-health, the wealth his success had brought him, and the rise of spectacular grand opera under composers such as Giacomo Meyerbeer. From the early 1830s to 1855, when he left Paris and was based in Bologna, Rossini wrote relatively little. On his return to Paris in 1855 he became renowned for his musical salons on Saturdays, regularly attended by musicians and the artistic and fashionable circles of Paris, for which he wrote the entertaining pieces Péchés de vieillesse. Guests included Franz Liszt, Anton Rubinstein, Giuseppe Verdi, Meyerbeer, and Joseph Joachim. Rossini's last major composition was his Petite messe solennelle (1863).

Gioachino Antonio Rossini (29 February 1792 – 13 November 1868) was an Italian composer of the late Classical and early Romantic eras. While he gained most of his fame for his 39 operas, he also wrote many pieces of chamber music , piano, and some sacred music. He set new standards for both comic and serious opera before retiring from large-scale composition while still in his thirties, at the height of his popularity. Born in Pesaro to parents who were both musicians (his father a trumpeter, his mother a singer), Rossini began to compose by the age of twelve and was educated at music school in Bologna. His first opera was performed in Venice in 1810 when he was 18 years old. In 1815 he was engaged to write operas and manage theatres in Naples. In the period 1810–1823, he wrote 34 operas for the Italian stage that were performed in Venice, Milan, Ferrara, Naples and elsewhere; this productivity necessitated an almost formulaic approach for some components (such as overtures) and a certain amount of self-borrowing. During this period he produced his most popular works, including the comic operas L'italiana in Algeri, Il barbiere di Siviglia (known in English as The Barber of Seville) and La Cenerentola, which brought to a peak the opera buffa tradition he inherited from masters such as Wolfgang Amadeus Mozart, Domenico Cimarosa and Giovanni Paisiello. He also composed opera seria works such as Tancredi, Otello and Semiramide. All of these attracted admiration for their innovation in melody, harmonic and instrumental colour, and dramatic form. In 1824 he was contracted by the Opéra in Paris, for which he produced an opera to celebrate the coronation of Charles X, Il viaggio a Reims (later cannibalised for his first opera in French, Le comte Ory), revisions of two of his Italian operas, Le siège de Corinthe and Moïse, and in 1829 his last opera, Guillaume Tell. Rossini's withdrawal from opera for the last 40 years of his life has never been fully explained; contributory factors may have been ill-health, the wealth his success had brought him, and the rise of spectacular grand opera under composers such as Giacomo Meyerbeer. From the early 1830s to 1855, when he left Paris and was based in Bologna, Rossini wrote relatively little. On his return to Paris in 1855 he became renowned for his musical salons on Saturdays, regularly attended by musicians and the artistic and fashionable circles of Paris, for which he wrote the entertaining pieces Péchés de vieillesse. Guests included Franz Liszt, Anton Rubinstein, Giuseppe Verdi, Meyerbeer, and Joseph Joachim. Rossini's last major composition was his Petite messe solennelle (1863).

This list of compositions includes all the published works by English composer Benjamin Britten with opus number.

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

The sonata form (also sonata-allegro form or first movement form) is a musical structure generally consisting of three main sections: an exposition, a development, and a recapitulation. It has been used widely since the middle of the 18th century (the early Classical period). While it is typically used in the first movement of multi-movement pieces, it is sometimes used in subsequent movements as well—particularly the final movement. The teaching of sonata form in music theory rests on a standard definition and a series of hypotheses about the underlying reasons for the durability and variety of the form—a definition that arose in the second quarter of the 19th century. There is little disagreement that on the largest level, the form consists of three main sections: an exposition, a development, and a recapitulation; however, beneath this general structure, sonata form is difficult to pin down to a single model. The standard definition focuses on the thematic and harmonic organization of tonal materials that are presented in an exposition, elaborated and contrasted in a development and then resolved harmonically and thematically in a recapitulation. In addition, the standard definition recognizes that an introduction and a coda may be present. Each of the sections is often further divided or characterized by the particular means by which it accomplishes its function in the form. After its establishment, the sonata form became the most common form in the first movement of works entitled "sonata", as well as other long works of classical music, including the symphony, concerto, string quartet, and so on. Accordingly, there is a large body of theory on what unifies and distinguishes practice in the sonata form, both within and between eras. Even works that do not adhere to the standard description of a sonata form often present analogous structures or can be analyzed as elaborations or expansions of the standard description of sonata form.

The sonata form (also sonata-allegro form or first movement form) is a musical structure generally consisting of three main sections: an exposition, a development, and a recapitulation. It has been used widely since the middle of the 18th century (the early Classical period). While it is typically used in the first movement of multi-movement pieces, it is sometimes used in subsequent movements as well—particularly the final movement. The teaching of sonata form in music theory rests on a standard definition and a series of hypotheses about the underlying reasons for the durability and variety of the form—a definition that arose in the second quarter of the 19th century. There is little disagreement that on the largest level, the form consists of three main sections: an exposition, a development, and a recapitulation; however, beneath this general structure, sonata form is difficult to pin down to a single model. The standard definition focuses on the thematic and harmonic organization of tonal materials that are presented in an exposition, elaborated and contrasted in a development and then resolved harmonically and thematically in a recapitulation. In addition, the standard definition recognizes that an introduction and a coda may be present. Each of the sections is often further divided or characterized by the particular means by which it accomplishes its function in the form. After its establishment, the sonata form became the most common form in the first movement of works entitled "sonata", as well as other long works of classical music, including the symphony, concerto, string quartet, and so on. Accordingly, there is a large body of theory on what unifies and distinguishes practice in the sonata form, both within and between eras. Even works that do not adhere to the standard description of a sonata form often present analogous structures or can be analyzed as elaborations or expansions of the standard description of sonata form.

Six string sonatas were written by Italian composer Gioachino Rossini in 1804 but were not published until 1826. The sonatas are among Rossini's earliest recognized works, as he composed them while only 12 years old.