If the authenticity of this work as a genuine Bach composition is questioned, the reason is likely due to its unfortunate transmission history. Unfortunately, no autograph manuscript exists, and the sole source is the music book of J. P. Kellner, an organist contemporary with Bach. Although Kellner was a devotee of Bach, there is no definitive proof that all the works he transcribed here were by Bach. However, at least for this work, its musical content strongly suggests it is a genuine Bach composition. And if it is indeed a work by Bach, it is likely an early composition. The suite contains the basic dance movements—Allemande, Courante, and Sarabande—in their usual order, but it is distinctive for having an Echo movement at the end. While Echo movements were not uncommon in late 17th-century suites, Bach typically placed a Gigue as the final movement in his later suite collections.

Prelude

The suite begins with a Prelude. Three voices engage in a gentle dialogue in the middle register, maintaining a clear texture. The sixteenth-note motif heard throughout this Prelude is carried over into the following Allemande.

Allemande

The Allemande consists of an intimate first half, which seems like a variation of the Prelude, and a second half with a rich sound spanning up to three octaves. The initial charm of this piece is likely the Neapolitan sixth (A-flat) in the third beat of measure 8. Such harmonic deviations are characteristic of Johann Sebastian Bach. Furthermore, from here it cadences temporarily in G minor, but then gently comes to rest on a G major triad, either returning to the beginning or transitioning to the second half. Once the second half begins, it becomes clear that this was preparation for a shift to C minor. In the second half, the expanded range of notes increases the richness of the sound. The ascending figure in the right hand alone in the final two measures of the coda is answered by a descending figure in the right hand alone at the beginning of the following Courante.

Courante

The Courante features an almost continuous stream of eighth-note motifs, while strictly adhering to the basic dance rhythm of a half note plus a quarter note. As the piece as a whole is restrained and not flashy, it would be good to maintain a steady tempo while scattering brilliant ornaments throughout.

Sarabande

The Sarabande is a very rare type, beginning in an imitative style with three voices. However, the imitation is not sustained, and the dance rhythm quickly becomes clear. Of the three repetitions of the 8-measure phrase, the first serves as an introduction, while the latter two are further divided into 4-measure + 4-measure sub-phrases, varying the motif. Each element, such as subtle harmonic colors, expanded range, and ornamentation, varies richly.

Echo

The Echo movement, as its name suggests, progresses by repeating like an echo every measure. The indications of f and p do not simply denote volume. On a harpsichord with multiple manuals, one would switch keyboards. On a modern piano, using the una corda pedal to alter the timbre itself might be a good approach. The opening figure is related to the beginning of the Sarabande. The opening motif returns in measure 19. In the original source, there is a dal segno mark here, instructing a repetition from that point; if this is followed, the entire movement could be considered in rondo form. However, the regular alternation of echoes might become somewhat redundant, so the repetition may not be strictly necessary. Finally, a 4-measure coda leads the entire suite to a magnificent conclusion. Furthermore, the Echo movement shares many commonalities with several chorales from Bach's early works (contained in the Neumeister Collection at Yale University, USA), and the view that this suite is authentic has been increasingly strengthened in recent years.