As a flutist, it’s hard not to be partial to the Fifth Brandenburg. It is the only one in the collection that includes flute, and, what’s more, in a solo role. The concerto is scored for solo flute, violin, and harpsichord (the “concertino” group) accompanied by another violin, viola, cello, and double bass (“ripieno”). The harpsichord has the role of accompanist in certain passages as a member of the basso continuo, and becomes a soloist at other times.

The first movement has an interesting structure in that the main melodies are usually assigned to the two violins in unison, with the flute in opposition. The harpsichord solos are oversized compared to those of the flute and violin, including the monumental three-voice cadenza that forces us to consider whether we are actually looking at a harpsichord concerto, which could be the first in history given its date of composition around 1721.

Bach returns to the pattern used in other concertos in the collection, according to which the “concertino” group is left alone in the central movement, structured as a trio with the harpsichord accompanying the dialogue between flute and violin.

The third movement, opened by the concertino group and with the ripieno imitating the triplet motifs, has the air of a rhythmic Giga that forces us to remember the purpose of this collection: accessible and attractive music for the orchestra of the Margrave of Brandenburg, who, as far as we know, shelved the manuscript, devoting it to gather dust.