Brandenburg Concerto No. 5 first movement is expanded from 18 to 65 bars. Also, where the earlier version is written for a harpsichord with a four-octave keyboard, the harpsichord part of the final version extends beyond these four octaves. In the "Brandenburg Five" version of the concerto Bach reworked and expanded an additional cello part from the violone part of the earlier version, and the violone, now playing in 16-foot pitch, gets a full-fledged ripieno part. However, taking account of doubled ripieno and continuo material, the concerto is still basically a concerto in six parts. All six of the "Brandenburg Concertos" are sometimes indicated
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