Brandenburg Concerto No. 5 Another coincidence is that the concerto's middle movement is built on a theme composed by Marchand, as if Bach wanted to show off to his prospective competitor how he could elaborate that theme quite differently from its composer's original treatment. The possibility of a performance of the early version of the fifth "Brandenburg Concerto" in Dresden in 1717 was first tentatively proposed by harpsichordist and musicologist in the early 1990s. Although the hypothesis rests on a complex of circumstantial indications without direct evidence, it has been picked up by Bach scholars. Formally the fifth "Brandenburg Concerto" is a concerto grosso,
Piano concertos by Wolfgang Amadeus Mozart of "fiddling" with all the themes, instead is left with the ritornellic impression: Mozart truly uses "art to conceal art". One further point of great importance is the interaction between piano and orchestra. In the earlier concertos, such as the not totally successful No. 13 in C major, and even more so, perforce, in the concertos for two and three pianos, the interaction between the two is limited, but the later concertos develop the subtle relations between them to a high degree; for example, in No. 16, K. 451. His later concertos are truly described as concertos for "piano and