It is Sonata 4 that is the odd man out. Certain notational features set it apart from the five other works (for example, the use of a cross rather than the letter ‘t’ to denote a trill), and its style shows a mixture of French and Italian elements that suggests a north European composer. One cannot say categorically that it is unauthentic, but suspicions remain.
from notes by Michael Talbot © 1994