Even though the performance parts of the principal source were written by Bach himself; unfortunately he forgot, or did not consider it necessary, to append his name to the music. Kuijken rolls out some convincing arguments that refute the thesis that the young Carl Philipp Emanuel Bach worked out the trio version from the Violin Sonata BWV 1022. The editionalso examines a variety of new findings on the origin of the work in th e preface, and offers a faultless Urtext with a stylistically masterfully realized continuo part, all reflecting the highest editorial standards
