harmonica. Under the entry for Harmonica or Armonica, a 35-glass harmonica is described, about which its inventor, the Dublin physician Edward Cullen, writes: There were numerous arrangements for keyboard instruments in the eighteenth century, as described in the next section. One surviving eighteenth century transcription of Op.3, No.3 has been interpreted as an arrangement for glockenspiel. Themes from movements in the concertos were borrowed by other composers for vocal works: the opening themes from the last movement of Op.3, No.11 were borrowed by Bach for the first choral movement in his 1714 cantata Ich hatte viel Bekümmernis, BWV 21; and the opening motif of the first movement of the fifth concerto is quoted by Handel in the aria Tho' the honours in his 1750 oratorio Theodora. The most substantial borrowing occurred in the burletta The Golden Pippin, first performed in 1773 at the Theatre Royal, Covent Garden, with the music of various composers arranged by John Abraham Fisher. The first movement of the fifth concerto was arranged for the final number, a sextet for the principal characters, Jupiter, Juno, Pallas, Venus, Paris and the Dragon. Op. 3, No. 6, RV 356, is an important piece in the Suzuki violin method, where students are first introduced to playing in a higher position. Transcriptions and arrangements for keyboard instruments The many surviving transcriptions of Vivaldi's L'estro armonico reflect the immediate popularity of these works within his lifetime. As points out, Op.3, No.5, RV 519, by far the most popular concerto of the set in the British Isles, was so often performed in public and private that it was simply referred to as "Vivaldi's Fifth". The collection—and especially the fifth concerto—spawned many arrangements for keyboard instruments. The great success of Vivaldi's concertos during his lifetime was matched by his rapid descent into obscurity after his death in 1741. As Vivaldi scholars agree, some of the earliest and most significant transcriptions—those made in Weimar in the 1710s by Johann Sebastian Bach as part of a series of arrangements for keyboard and organ of Italian and Italianate concertos—indirectly played a decisive role in restoring Vivaldi's reputation during the so-called "Vivaldi revival" in the twentieth century. The Ryom-Verzeichnis, explained in detail in the two volumes and , contains a summary of the known surviving publications, handwritten manuscript copies and arrangements of the concertos. Of these six were arranged by Bach: three of those for solo violin