No 5 is solidly Baroque in style. The opening Largo is in the style of a French overture, and leads into an Allegro on a contrapuntal theme similar to one in a violin sonata by Arne’s friend Michael Christian Festing, published in 1736. Much of the keyboard-writing in this movement and in the final Vivace uses the cross-handed technique popularized in England by Domenico Scarlatti’s harpsichord sonatas. In general, this concerto is better suited to the harpsichord than the organ.
from notes by Peter Holman © 1991