Concerto per il Flauto traverso in D

Johann Christian Bach was as his father before him only very seldom satisfied with the compositions that he put down on paper. Thus did this concerto too undergo many corrections/revisions by the composer and today consists of three movements of similar length. Although they were initially handed down separately at different locations, the motivic relationship as well as the melodic and figurative references among themselves clearly reveals the common identity of the three movements. Not only the final rondo is characterized by highly virtuoso passages, but both the slow, second movement as well as the introductory movement testify to youngest Bach son’s compositionalgreatness, whose works later generations unjustly let almost fall into desuetude.