the piccolo trumpet in B, and occasionally on a French horn. The clarino does not play in the second movement, as is common practice in baroque era concerti. This is due to its construction, which allows it to play only in major keys. Because concerti often move to a minor key in the second movement, concerti that include the instrument in their first movement and are from the period before the valved trumpet was commonly used usually exclude the trumpet from the second movement. The first movement of this concerto was chosen as the first musical piece to be played on the Voyager Golden Record, a phonograph record containing a broad sample of Earth's common sounds, languages, and music sent into outer space with the two Voyager probes. The first movement served as a theme for Great Performances in the early-to-mid 1980s, while the third movement served as the theme for William F. Buckley Jr.'s Firing Line; a revival featuring Margaret Hoover also used the first movement. Recent research has revealed that this concerto is based on a lost chamber music version for quintet called "Concerto da camera in Fa Maggiore" (Chamber Concerto in F major), whose catalogue number is BWV 1047R. It is similar to the orchestral version, in that the trumpet, flute, oboe and solo violin parts are the same, but the orchestra part has been arranged for basso continuo (or piano) by Klaus Hofmann. This reconstructed quintet arrangement is also the very first piano reduction of the 2nd Brandenburg Concerto ever published by Bärenreiter Verlag (Product Number BA 5196). Concerto No. 3 in G major, BWV 1048 Title on autograph score: Concerto 3zo à tre Violini, tre Viole, è tre Violoncelli col Basso per il Cembalo. Instrumentation: three violins, three violas, three cellos, and harpsichord (as basso continuo) Duration: about 10 minutes The second movement consists of a single measure with the two chords that make up a 'Phrygian half cadence' and—although there is no direct evidence to support it—it was likely that these chords are meant to surround or follow a cadenza improvised by a harpsichord or violin player. Modern performance approaches range from simply playing the cadence with minimal ornamentation (treating it as a sort of "musical semicolon"), to inserting movements from other works, to cadenzas varying in length from under a minute to over two minutes. Wendy Carlos's three electronic performances (from Switched-On Bach,