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Of Beethoven’s five cello sonatas, the Grande Sonate op. 69, published in 1809, is not only the centrepiece, but also musically the most significant. The artful coupling of the two instruments is on display from the outset in an almost programmatic manner, when the cello with its tenor timbre first intones a melody that the piano then continues. In this sonata, too, Beethoven dispenses with a slow movement while nevertheless compensating us with an enchanting Adagio cantabile introduction to the finale. The Urtext edition by Jens Dufner is based on his research for the Critical Report of the Beethoven Complete Edition and thus features a musical text at the highest scholarly level. In the preface and Critical Report, he outlines the genesis and source situation of the sonata. Ian Fountain and David Geringas provide the fingerings.

在貝多芬的五部大提琴奏鳴曲中，於 1809 年出版的《A大調大提琴奏鳴曲》作品 69（Op. 69）不僅是核心之作，在音樂造詣上也是最具重要意義的一部。

這部作品從開篇便以近乎「標題音樂」的手法，展現了兩件樂器精妙絕倫的結合：大提琴先以其男高音般的音色吟唱出一段旋律，隨後由鋼琴接力延續。同樣地，貝多芬在這部奏鳴曲中省去了獨立的慢板樂章，但卻以一段迷人的「如歌的安德烈（Adagio cantabile）」作為終曲的引子，以此補足了聽覺上的渴望。

此 Urtext（原典版） 由延斯·杜夫納（Jens Dufner）編輯，基於他為《貝多芬作品全集》校勘報告所做的研究，呈現了具備最高學術水準的樂譜文本。杜夫納在序言與校勘報告中，詳細概述了這部奏鳴曲的創作背景與原始文獻狀況；指法部分則由伊恩·方廷（Ian Fountain）與大衛·格林加斯（David Geringas）提供。