Here is a publication that springs from the spirit of Baroque transcription practice at its best. In our case, it also goes hand in hand with a reconstruction made with scholarly precision. As to the choice of the key, editor Klaus Hofmann decided against C minor, which the previous generation had preferred, and turned instead to D minor that Max Schneider had chosen back in 1921. The fruit of Siegfried Petrenz’s labor is an inspired, transparent "Clavier" reduction (EB 8662) that is amazingly faithful to Baroque practice. Musicians will un doubtedly welcome this arrangement, which boldly transgresses the conven tions of piano scores and presents a "new" work, the "Trio Sonata" in D minor BWV 1060.