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5 Pièces, Op.19 (Schmitt, Florent): No. 3 (?) - Dialogue
is in fact: Op.17,1

Which means that the fifth piece, "Petites Cloches", is missing. Also, not all of the op. 19 pieces posted have both violin and cello parts. Meanwhile,the op. 17 #2 piece is posted as "Scherzo-pastorale".

Confusing is:
- The score of "Dialogue" (vn,pi) says: op.17,1 (publisher: Hamelle, copyr 1913 USA) (whereas op.17,2 "Scherzo-pastorale" is for fl,pi; also publisher: Hamelle, no date, Jost says 1889-1912)
- The list of works in Ferroud, Pierre-Octave (''Autour de Florent Schmitt'') "Revue d’apres ses [Florent Schmitt] notes" p. 111 says: ''Dialogue'' op.19,3 (1898); dating it 1898 (here op.19 is: No.1 - Chanson a bercer; No.2 - Guitare; No.3 - Dialogues; No.4 - Berceuse pour la chatte; No.5 - Reve au bord de l'eau). In this list is just one op.17: "Scherzo-pastorale" (which is numbered in the score as op.17,2)
- The list of works in P. Jost 2001 (based on Yves Hucher 1960) calls op.19 (1898-1913): No.1 - Chanson a bercer; No.2 - Guitare; No.3 - Berceuse pour la chatte; No.4 - Reve au bord de l'eau; No.5 - Petites Cloches (publisher: Hamelle, Paris; distrib.: Leduc, Paris). The whole list contains no "Dialogue". It also list just one op.17: "Scherzo-pastorale".
- Our scores of op. 19 (publisher: Hamelle, USA 1909 copright) shows: Chanson a bercer op.19,1; Guitare op.19,2; Berceuse pour la chatte op.19,3 (copyright 1920); Reve au bord de l'eau op.19,4 (copyright 1919). So, obvisously this are parts of a 1913 edition.
- So I guess: "Dialogue" was part of a early op.19 collection and was later replaced by "Petites Cloches" (in a different order) and became a duo partner with "Scherzo-pastorale" as op.17.
It`s confusing. Just our score of "Dialogue" says loud and clear: op.17,1.

I've just checked Grove Music -- the op.17 is definitely for flute and piano. Publishers do make mistakes from time to time. Our university librarian once got in some aria with a title that was clearly something of a sensual nature, and the publisher accidentally printed on the cover that it was from a Mass or Stabat Mater, or some title that indicated a religious work. When she pointed it out to them, they wanted it back, and she wanted to cut the cover off, frame it and put it in her office . . .

I wouldn't recommend moving this movement to op.17, at least not just yet. This needs more research. Any experts on Schmitt's music out there?