This cello solo starts out with piano motive that will be used throughout the piece and is then joined with the solo using the last phrase of the song. The next section uses the tune pretty much in its original form with the piano adding various arpeggios and thematic motives. The piano then presents a flowing version of the song while the soloist adds a idiomatic obbligato… then the final section has the soloist presenting the melody while the piano punctuates an underlying accompaniment. The coda section is much like the introduction and the soloist gives one final thematic motive.

This solo with piano begins with the portrayal of a pastoral setting. The arrangement incorporates both “Flow Gently Sweet Afton” and “Luther’s Hymn”.The arrangement is edited with bowing and fingering marks.

This viola solo starts out with piano motive that will be used throughout the piece and is then joined with the solo using the last phrase of the song. The next section uses the tune pretty much in its original form with the piano adding various arpeggios and thematic motives. The piano then presents a flowing version of the song while the soloist adds a idiomatic obbligato… then the final section has the soloist presenting the melody while the piano punctuates an underlying accompaniment. The coda section is much like the introduction and the soloist gives one final thematic motive.

This violin solo starts out with piano motive that will be used throughout the piece and is then joined with the solo using the last phrase of the song. The next section uses the tune pretty much in its original form with the piano adding various arpeggios and thematic motives. The piano then presents a flowing version of the song while the soloist adds a idiomatic obbligato… then the final section has the soloist presenting the melody while the piano punctuates an underlying accompaniment. The coda section is much like the introduction and the soloist gives one final thematic motive.

A violin solo with piano accompaniment. The pieces starts out with piano only and allows the entrance of the solo violin and a rather straight forward rendition of this beloved song. After a brief transition the solo is modified with a constant modified and moving line while being supported by a single voice counterpoint in the left hand of the piano. The chorus is then a bit more staid and the accompaniment more chordal. Another brief piano interlude is stated with melodic material and the piece becomes more fragmented and motivic with a gentle settling to the end.