The year of composition and circumstances of its creation are unknown. It is written in a style that suggests it postdates the English Suites but slightly predates the French Suites. However, the possibility that it was composed earlier than the English Suites cannot be denied. Based on the contents of the music notebooks copied by his pupils, it is also believed that Bach had a plan to include this piece in the French Suites. However, although movements were added or deleted at one point (BWV 818a), the revised version was never incorporated into the collection.

Allemande

The opening of the Allemande bears a striking resemblance to 'La Couperin' from the 21st Suite, No. 3, in F. Couperin's Pièces de clavecin, Livre IV (1730). If this is indeed a quotation, it implies that Bach was familiar with this piece through some occasion or manuscript long before the publication of Couperin's collection. Bach extensively studied F. Couperin, including his treatise L'art de toucher le clavecin (1716), and also copied an alternative version of 'Les Bergeries (Rondeau)' from Pièces de clavecin, Livre II (1717). Therefore, there is a strong possibility that Bach obtained an unpublished version of the work related to this Allemande. The piece progresses steadily, based on simple stepwise motion, but the key transitions, especially the harmonic progression in the cadences of the first half, are somewhat unusual. Typically, in dance movements, the first half modulates to and concludes in the dominant or relative key, and the second half returns to the tonic from these new keys. However, in this Allemande, although the dominant chord of the dominant key (E minor) is maintained in measures 7-8, it is inexplicably pushed back to A minor in the first half of measure 9. Furthermore, a perfect cadence in A minor occurs on the first beat of measure 10, causing the first half to conclude on the dominant chord of A minor, i.e., a half cadence. The second half proceeds through A minor, D minor, G major, and C major before returning to the tonic. Consequently, the dominant key of E minor is never fully established throughout the entire piece. This might explain why this Allemande lacks a clear brightness and instead carries a somewhat melancholic atmosphere.

Courante

The Courante is in two voices, with each half consisting of eight measures. It possesses an intricate harmonic progression structure: the first half passes through the subdominant F major to the relative key C major; the second half proceeds from C major to its dominant G major, then from its relative E minor, briefly returns to the tonic A minor, and moves to D minor. It must return to the tonic towards the conclusion, and the resolution in measures 14-15 is masterful. Though small in scale, it is rich in colorful harmony.

Sarabande and Double

The Sarabande features arpeggiated descending chords as its main motif, but it is of a simple and relatively light type. The Double, on the other hand, is in two-voice counterpoint. Its structure is unique: including repetitions, it is A(a+b)-A(a+b)-B-A(a+b+b). Incidentally, such a repeated 'b' at the end is called a 'petite reprise'.

Gigue

The Gigue is a three-voice fugue based on a concise subject. The subject in the first half is descending, while in the second half it is ascending; these two forms are combined near the concluding section of the second half. Furthermore, both the first and second halves are each further divided into two by an intermediate perfect cadence. The preceding sections contain more dramatic development: the first half is characterized by a turn figure, and the second half by a dramatic descending scale spanning three and a half octaves. The subsequent sections create a calm flow by utilizing only the presented material.

Later Version BWV 818a

In the later version, BWV 818a, a Prelude and a Minuet were added, the Sarabande was revised, and the Sarabande's Double was deleted.

Prelude

Although Bach did not specify a title for the Prelude, it can be called a 'Prelude' based on its style. Unusually, the tempo marking 'Fort gai' (lively) is inscribed at the beginning. The writing is somewhat rough, and improvisatory clichés are scattered throughout, suggesting that Bach either combined an older work as a prelude to the suite or that it is a later work sketched only in conception.

Minuet

The Minuet, on the other hand, possesses a fully mature style, characteristic of Bach. The opening features sixteenth notes divided into two, but this is soon replaced by a triplet motif, which is a typical technique of the galant style.

Sarabande

The Sarabande was not entirely new but based on material from the earlier version. However, contrapuntal elements are completely lost, and the right hand carries the main motif in the second half as well.

Schulenberg's Suggestion

Schulenberg suggests performing the three Sarabandes—the early version, the later version, and the Double—in succession, given their variation relationship. Indeed, in this suite, which has an extremely small number of inserted dances, such an attempt might result in a compelling performance.