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The quotation is in abbreviated form. The second chord would, of course, be taken at first as dominant minor ninth on G. The 1st Sonata of the 4th Collection is not striking as music, and certainly not of sufficient importance to justify serious inquiry into the peculiar order of keys for the three movements (G, G minor, and E major).
With regard to the number of movements, all except two of the eighteen sonatas have three; the second and third of the 2nd Collection have only two.
John Christian Bach, or the "London" Bach, as he was called, dedicated his fifth work, consisting of six sonatas "Pour le clavecin ou pianoforte," to Ernst, Duke of Mecklenburg. This cannot have been before 1759, as that was the year in which the composer came to London. He describes himself on the title-page as—"Maître de Musique de S.M. la Reine d'Angleterre." These sonatas, as we learn from the dedication, were written for the "amusement" of the Duke. The first, third, and fourth have each only two movements. They remind us less of E. Bach than of Haydn's early style. There is some very fresh, pleasing writing in them. No. 5 has some excellent practising passages, and perhaps the following—
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may have suggested to Cramer his first study. The middle movement of No. 6 is a vigorous double Fugue; the whole sonata is, indeed, one of the finest of the set.