This sonata was discovered late and first published in 1979. The manuscript carries an attribution to one Weisse, presumably Johann Sigismund Weiss, but scholars believe it to be thoroughly Handelian. Partly this is because several of this sonata's themes appear in other Handel works. As do most of Handel's other flute sonatas, this follows the slow-fast-slow-fast church sonata format. The initial Adagio proceeds from a rising, arpeggiated theme also found in Handel's Flute Sonata, HWV 379, and at the beginning of his Violin Sonata in D major. Next comes an Allegro, with a quickly bouncing tune that also pops up in Handel's Recorder Sonata in F, his overture to Il Trionfo del tempo, and the Trio Sonata, HWV 391. The second Adagio seems specific to this sonata; it is pensive, and so short that it comes off as a mere transition to the final Allegro. The latter piece features a quick but rather monotonous theme that evokes a child running up and down three shallow stairs; this is another melody recycled into the Trio Sonata, HWV 391.

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