In many of his works, Bach made use of a hidden symbolism of numbers. The number “three” had a special meaning for Bach and was the basis for the triple concertos, the concertos for three solo instruments, recorded here. On the one hand, the number three had for Bach a Christian connotation; on the other hand, there were also entirely profane reasons. As an essential element of late-baroque texture, the “three” was reflected in the trio sonata, whose structure was the basis of numerousinstrumental and vocal pieces. Bach probably composed the Concerto for three harpsichords especially for two of his sons (and pupils), taking the third part himself. In the Third Brandenburg Concerto, the idea of three solo instruments is carried even further in that each of the three string groups – violins, violas, and violoncellos – have three independent parts.