Bärenreiter#s pioneering new scholarly-critical editions of Brahms# works for one instrument and Piano are edited by a team of musicologists who are also performers. They offer today#s musicians not just a reliable musical text based on all known sources, but also a comprehensive approach to the works, which aims to place them in their historical context and to elucidate the complex of meanings that the composer wished his notation to convey to performers. The Violin and Viola sonata editions come not only with an Urtext part freed from all editorial emendations, but also with an additional part including fingering and bowing based on the practices of Joseph Joachim and his colleagues. These markings especially draw on publications of the sonatas edited by Joachim#s pupils Leopold Auer and Ossip Schnirlin as well as those by Brahms# associate Franz Kneisel. A similar approach has been used for the Violoncello sonatas, drawing on performance markings by Robert Hausmann (for whom Brahms wrote the Sonata in F major), Hugo Becker, with whom Brahms performed it, and Julius Klengel who was also close to his circle.