Bach’s own revisions and recycling of his music during his lifetime are well known, as is the fact that a considerable quantity of his output did not survive to our age. For a composer who so favoured the oboe and oboe d’amore (providing the instruments with some of his finest obbligato parts in the cantatas, oratorios and masses), it is perhaps surprising that none of Bach’s surviving concertos include works for either instrument. But indeed, setting aside the six Brandenburg concertos (dating from between 1711 and 1721), only three concertos survive from this his most fertile period for orchestral compositions. Most of his later concertos (principally the thirteen concertos for one to four harpsichords) are known to be reworkings of earlier works, and therefore from these we can return, in some cases with extreme accuracy, to the earlier form. The two oboe concertos recorded here therefore reverse Bach’s process, reconstructing the original works from their later extant versions.