Probably first performed with the oratorio Theodora on March 16, 1750, this concerto begins with a stern orchestral statement, soon commented on by the organ (Staccato ma non troppo allegro; some editions call it Allegro ma non troppo, e staccato). Despite terse interjections from the orchestra, the organ usually takes a quiet, ruminative approach to the material. A brief organ cadenza leads to the second movement, Andante larghetto e staccato (sometimes performers interpolate a "foreign" slow movement between these two items). This Andante is a set of variations; over an orchestral ground bass somewhat similar to that of Pachelbel's Canon (if it were played in little penknife stabs), the organ offers a series of melodic meanderings that are highly intricate and at one point harmonically wayward. The original version of this concerto ended with the Minuet, a rather somber, minor-mode treatment of the dance that gives the organ a subsidiary role. The organ is entirely absent from the Gavotte that the printers added in 1761; this is drawn from Handel's Sonata for recorder, Op. 1/2.

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