This is one of C.P.E. Bach's most unpredictable and exciting flute concertos, the first movement in particular bolting from one mood to another in the composer's trademark attention deficit disorder style. This Allegro di molto begins in cheery agitation, zipping all over the staff before being held up by a sequence of dotted eighth notes, with a cantilena phrase briefly emerging before the impulsive opening material regains dominance. By comparison, the flute enters almost timidly and attempts several lyrical phrases that are inevitably interrupted by the orchestra. Only when the flute resigns itself to a more burbling style of playing and proves willing to try some ornate runs does it achieve a peaceful coexistence with the orchestra. This back-and-forth pattern continues at length, with each flute solo becoming more and more infected with the orchestra's mercurial passions. The Largo creeps forward with plaintive, sighing figures that mark the beginning of each tutti and solo passage, and form a small part of the main melody. The flute slips in quietly and takes up the theme, then proceeds to offer three long, delicate variations on it; the variations are separated by tutti reminders of the music's original form. The last solo passage ends with a particularly searching little cadenza by C.P.E. Bach himself. The concerto ends with a Presto that is lively but not frantic, aside from a section given over to rapid-fire sixteenth notes. The solo passages focus on the most chipper elements of the music, often detouring into fast fioritura. This work's keyboard incarnation is the Organ Concerto in G major, (Wq 34, H 444).

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