Sonata in F major op. 24

• Piano score and two solo violin parts (Urtext and historically annotated)
• The first edition to include a list of sources and a Critical Report (Eng)
• Numerous corrections not found in previous editions
• A definitive Commentary on Performance Practice (Ger/Eng)

In May of 1802, the “Allgemeine musikalische Zeitung” praised the violin sonatas op. 23 and 24 as being “... among the best Beethoven has written, which is to say that they are among the best being written at all. The composer’s original, fiery and bold spirit … becomes more and more apparent now ...”

The time during which Beethoven composed his “Spring Sonata”, which was to become increasingly popular during the course of the 19th century, was marked by a frantic surge of compositional creativity. “I live only in my notes, and with one work barely finished, the other is already started; the way I write now I often find myself working on three, four things at the same time.”, he wrote in a letter to Wegeler on 29 June 1801. However during this time, Beethoven also suffered from the rapid deterioration of his hearing, a fact he was still trying to hide and that the enchanting “Spring Sonata” certainly does not divulge.