The aim of this new edition of the triosonata has been to provide score and parts with arranged figured bass ready for performance. It should be stressed, however, that a figured bass arrangement like the current one is to be seen as one possible among several other ways of realizing the basso continuo. While my arrangement of the the harpsichord part intentionally has been kept very simple a musician wanting to perform the continuo part in accordance with the practice of the baroque era would improvise more or less brilliantly taking the current performance conditions into account.