This set includes all 3 sonatas op. 79: - Sonata in F major, op. 79 no. 1 - Sonata in A minor, op. 79 no. 2 - Sonata in C major op. 79 no. 3 About the Kuhlau Violin Sonatas Eight violin sonatas by Friedrich Kuhlau are published by Edition·S, initiated by Christina Åstrand and Per Salo, who made new engravings of the works on occasion of recording them. Among the works now published at Edition·S is what some consider the first Danish violin sonata in the Romantic style, Kuhlau's 'Violin Sonata in F minor, op. 33', a work that glances towards the composer’s idol Beethoven. Christina Åstrand and Per Salo write about the publications: "When we first began to take an interest in Kuhlau’s music, the first challenge was the actual sheet music. Only a few printed editions exist from Kuhlau’s own time, and almost none have been published since. It has thus been a great task to find the relevant materials, other than the original prints, which have been stashed away in various libraries. Kuhlau’s own manuscripts exist only for very few of his works, as a large part of his music collection was lost in a fire that ravaged his house in Lyngby in 1829. We have therefore had to use the few printed editions that appeared in his time." The works published are: Sonata in F minor, op. 33 (1822) Trois Duos Brillants, op. 110 nr. 1-3 (1830) Duo Brillant no. 1 Duo Brillant no. 2 Duo Brillant no. 3 Sonata for Violin and Piano in E-flat major, op. 64 (1825) Sonata for Violin and Piano, op. 79 (1827) Sonata op. 79 no.1 Sonata op. 79 no. 2 Sonata op. 79 no. 3 Åstrand and Salo explains further about the engravings and editorial choices made in the new publications: "There are of course many different approaches to transfering a composer’s handwriting or the first edition’s engraving to modern print. This particular release originated from our desire to produce sheet music which, in the graphic, stylistic design of the notation itself, resembles the music it contains – music from the Danish Golden Age. Finally, it has been important to us that both the piano and violin parts function as practically as possible in relation to the size of the systems, page-turns etc. Publishing music from that time means that one necessarily has to make certain choices when ‘translating’ the old notation into a modern form. With the editorial aspects, we don’t wish to ‘interpret’ the music, i.e. we have not added anything that is not in the original versions. Although the original notation is incomplete in some places and the use of slurs and articulations is inconsistent, we have chosen to reproduce the old notation exactly as it appears."