During the eighteenth-century, solo instrumental sonatas were written as either continuo or obligatto sonatas. Continuo sonatas were written without a right-hand (r-h) keyboard line, while obligatto sonatas were written with a r-h line. Because obligatto sonatas included three separate counterpoint lines, composers often converted them into trio sonatas, recasting the r-h keyboard line as a second instrumental part. Johann Sebastian Bach did this when he converted his Viola da Gamba Sonata in G Major BWV 1027 into his Trio Sonata in G Major for Two Flutes and Continuo BWV 1039. The trios on this recording are all “recast” obligatto sonatas, and, as such, listeners are presented with a unique vantage point from which to experience their complex beauty.