In all three movements numerous articulation slurs were supplemented and clarified. Trills supplemented in the first movement bars 26, 58, 90 (harpsichord), 112, 119. Trills in the last movement bar 91.
BWV 1032: The first movement of this sonata has unfortunately been handed down only in mutilated form since, in order to save paper, the work had been written on the lines left over from other compositions; about just under half of this movement fell victim to the “orderly” cutting up of these pages. Herbert Tachezi reconstructed as faithfully as possible in Bach’s style the missing section, the approximate length of which can be concluded from the number of cut off lines. - The articulation, in particular the semiquavers, was completely supplemented in accordance with other Bach works which have come down to us with precise articulation signs.
In the second movement the articulation merely had to be clarified, because Bach very frequently wrote large articulation slurs where he actually wanted subdivided slurs. This practice can be observed in particular with orchestral pieces with autograph parts: short slurs accurately show the desired articulation- longer slurs more or less indicate: “articulation must be effected with binds here”, perhaps with reference to parallel passages, to other parts played accordingly or to the general customary practice. As, for instance, the first bar:

Trills were supplemented (bars 7, 10, 25, 35, 36).
In the third movement the entire articulation slurs were supplemented. Trills (bars 12, 22, 44, 100, 110,117, 159, 173, 235, 247, 254).
BWV 1034: This sonata was played with the cello to bass duplication. The articulation slurs of the first movement were minimally supplemented. In the second movement all the articulation slurs were supplemented. Trills (bars 28, 32). In the third movement long slurs were clarified, some of them supplemented. In the fourth movement some articulation slurs were supplemented. Bar 42 (seconda volta) 3rd note in the bass a, not a-sharp; bar 50, 3rd note in the bass c’ not c’-sharp. Trills in penultimate bar.
BWV 1035: This sonata was played with the cello to bass duplication. In the first movement a few articulation slurs were supplemented. Minor supplementations also in the seconnd, third and fourth movement.
BWV 1038: The violin was played according to the repitched part. Violin tuning:

The reason for the deeper pitching of the two upper strings is the undoubtedly better relationship to the transverse flute which sounds extremely gentle in the lower position. The articulation in this trio sonata and also in BWV 1039 was carried out analogously to the flute sonatas.