In this volume Sonata No. 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 No. 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 piece ends with a giga-like movement in 9/8 – a moto perpetuo for the violin supported by a slowly moving bass.
Sonata No. 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.