A work not collected in the old Bach Complete Works, and annotated as an "arrangement of another's work" even in the new complete edition. Although the sole source bears the date 1743, during Bach's lifetime, the copyist remains unknown. However, stylistically, it exhibits characteristics typical of Bach's early works, making its authenticity highly probable.

First Movement

The first movement is a French Overture, divided into three sections: slow-fast-slow. The first section features a mountain-shaped motion, i.e., a repetition of linear, brilliant ascending figures and slow descending dotted rhythms. Conversely, the second section strings together several valley-shaped, lively motives to form the fugal subject. The final slow section is short, at 10 measures, but provides a calm conclusion by removing the ornamentation of the linear ascent from the first section.

The interesting aspect of this movement lies in its key transitions. In the middle fugal section, it begins in G minor and passes through B-flat major (m. 38), F major (m. 46), D minor (m. 57), E-flat major (m. 68), from which it surprisingly proceeds to G-flat major (m. 76), with six flats. The momentum of modulation does not subside, eventually reaching A-flat minor (m. 84), with seven flats. However, these keys are not sustained for long, soon returning to E-flat major (m. 90) and eventually stabilizing by returning to G minor (m. 104). These modulations proceed using the circle of fifths. While the fugal section's motivic development might be somewhat monotonous due to its exclusive use of descending sequential progressions, this very fact allows for an even greater enjoyment of the rich colors and changes in tonality.

Second Movement

The second movement is a stately Aria. All ornaments are written out. The first half proceeds very calmly, but after the repeat sign, it suddenly shifts to the subdominant minor, C minor. When returning to the tonic from here, the chord with a fermata on the first beat of measure 13 and the deceptive cadence in measure 14 further enhance the expressive effect of this Aria.

Third Movement

The third movement is titled "Gavotte en Rondeau." The motives treated in this piece are: a mountain-shaped dance rhythm motive up to the second beat of measure 2, a stepwise descent using the so-called "sigh" motive, and a motive including a quarter note and an eighth rest that appeared in the first couplet. Although a short and simple rondo form, it handles motivic inversion well.

In the following Bourrée, each motive from the Gavotte is used again. The sigh motive only appears after the repeat sign, but overall, the connection between these two pieces is clear.

Minuets

Of the three Minuets, the first two are in invertible counterpoint. That is, what was in the right hand in Minuet I is transferred to the left hand in Minuet II, and what was in the left is moved to the right. Minuet III is free from strict counterpoint, but related motives are treated. Minuets II and III are instructed to Da Capo Minuet I, and following this creates a Minuet in rondo form.

Final Movement

The final movement is a Gigue, which is a fugue. However, the subject is imitated with a difference of only half a measure, creating a dense texture. Furthermore, the 6/8 subject, which combines dotted rhythms and repeated notes, might give a somewhat persistent impression when played on a keyboard instrument, but this would likely be resolved by choosing a moderate tempo. It should be noted that using dotted rhythms in a Gigue is a French style.