It seems strange that Bach, a keyboardist par excellence, produced his harpsichord concertos by converting existing (now 'lost') concertos for other solo instruments rather than by starting from scratch, but the evidence is strong enough to have convinced so many musicological courts that it now seems beyond contradiction. These reconstructed concertos have for the most part served as 'fillers' (the three 'basic' violin concertos don't add up to an adequate CD) or in mixed programmes such as that of Standage and Collegium Musicum 90; here they constitute the programme. Call me a Philistine if you like, but I find these reconstructions more satisfying than the works from which they are derived, largely because the balance between soloist(s) and orchestra is more even—the harpsichord is too often difficult to hear clearly in both concert and recording situations.