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This sonata, while traditionally attributed to J.S. Bach, is sometimes speculated to have been written by his son Carl Philipp Emanuel Bach. Its lively Allegro movement showcases Baroque counterpoint adapted for intimate chamber settings.

This disputed work, often attributed to J.S. Bach, showcases late-Baroque elegance with its three-movement structure. While traditionally performed on violin and harpsichord, modern adaptations like the flute and harp arrangement demonstrate its enduring flexibility.

This three-movement chamber work, though traditionally attributed to J.S. Bach, is now widely believed by scholars to be possibly composed by his son Carl Philipp Emanuel Bach. The piece showcases late-Baroque stylistic features with a flute/harpsichord origin despite its common violin performance tradition.

This lyrical slow movement features a singing violin melody (originally for flute) over intricate keyboard textures. Characteristic of late Baroque/Early Classical transition, its expressive long notes and harmonic richness suggest C.P.E. Bach's emerging empfindsamer Stil. Though catalogued under J.S. Bach, stylistic analysis points to his son's authorship.

Attributed to J.S. Bach (though occasionally disputed), BWV 1020 is a three-movement work originally for flute or violin and harpsichord. Its bright E-flat major tonality and contrapuntal elegance exemplify Baroque chamber music, though modern adaptations like trumpet/piano versions reinterpret its timbral possibilities.