This work investigates the structural integrity and musical potential of Mikhail Glinka's unfinished Sonata for Viola and Piano in D Minor. The text serves as a critical edition, presenting Glinka's original 1825-1828 manuscript alongside the completions and editorial interventions provided by Vadim Borisovsky. By distinguishing the original composition from the editorial additions through typography, the volume provides a scholarly framework for understanding Glinka's early development and his mastery of counterpoint before his later stylistic shifts.

The work is regarded as a significant contribution to the viola repertoire, offering performers a rare glimpse into Glinka's formative chamber style. The editorial approach is noted for its transparency, allowing musicians to clearly identify the boundary between the composer's intent and the necessary completions required for performance.