In this volume Sonata 4, in D major, has a lively opening movement in a kind of ‘two-part invention’ texture. At one point it takes the violin up to seventh position. Then comes a march-like air, followed by a slow sarabande, a gigue-like movement and a massive final chaconne in cut time (chaconne à deux temps) employing a bass pattern identical with one used in Vivaldi’s Dixit Dominus RV 594, Couperin’s trio sonata L’Espagnole and the first strain of the Aria in Bach’s Goldberg Variations.
Sonata 5, in A minor, opens with a wistful slow movement with much contrapuntal interaction between treble and bass. The quick second movement is in Italian giga style and includes some double-stopping for the violin. The slow movement that follows leads directly into the fourth movement, a French gavotte with a running quaver bass. The sonata ends with a giga-like movement in 9/8 – a moto perpetuo for the violin supported by a slowly moving bass.
Sonata 6, in D minor, is the high point of the set. Its quickish first movement features almost non-stop imitation between violin and bass. The second movement is corrente-like, and the third is a sarabande with some fierce saccadé rhythms. The fourth movement is a French courante with a 6/4 time signature that frequently dips its toes into 3/2 metre. Unexpectedly, the second-time ending of its second section is extended to form a bridge to the final movement, an elaborate and imposing chaconne en rondeau that sets the seal perfectly on the collection.