The entirety of the opening ritornello, with its active figuration and arpeggiated subject, is given to the harpsichord as a solo when the violin enters some bars later the music briefly takes on a more spacious form - but soon the energetic ritornello creeps back in. The opening movement has no tempo indication but is built of vintage allegro stock. If the Sonata in G minor is the only one of the Bach-attributed violin/harpsichord sonatas to have three rather than four (or, in one case, five) movements. But it is an elegant piece of late-Baroque chamber music, and is not put to any shame by its six worthy and unquestionably authentic brethren (BWV 1014 - 1019). Furthermore, it is not really even a violin sonata - whoever the work's author might be, the intended ensemble seems actually to be flute and harpsichord (or perhaps its smaller-toned cousin the clavichord). Bach (it may in fact have been composed by Johann Sebastian's son C.P.E. The Sonata for violin and keyboard in G minor, BWV 1020 is almost certainly not a work by Bach or, rather, it is almost certainly not a work by J.S.
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