Bach’s musical ‘borrowing’ takes us on a journey which begins with his extraordinary re-working of a motet by Johann Kuhnau. Following this is the excitingly virtuosic Mass in G major, a work whose every movement borrows from earlier cantatas. The second half begins with one of these cantatas, the striking Wer Dank opfert, der preiset mich, and the programme ends with BWV 23 Du Wahrer Gott und Davids Sohn. This final cantata has the melody of the Lutheran Kyrie woven through it, most prominently in the astonishing final movement, which Bach rated so highly that he later borrowed it for his revised version of the St John Passion.