In this paper the movement is analysed in terms of ritornello concerto form. Its ritornello is seen to conform to the standard Vivaldian type and its episodes are related to the trio type seen in Bach's Weimar organ fugues. The movement is then viewed in the context of Bach's other allegro ritornello form movements and a striking structural similarity is demonstrated with the second movement of the Fifth Brandenburg Concerto BWV 1050/2. A comparison with the through-composed arias of Bach's Weimar period suggests that the movement may have been composed toward the end of 1716.
It is tempting to see the BWV 808/1 as a direct consequence of Bach's
transcription for keyboard of twenty-two concerto movements by Antonio
Vivaldi, Alessandro Marcello, Georg Philipp Telemann, Duke Johann Ernst
of Saxe-Weimar, and other anonymous composers (BWV 592-597, 972-987) following
his reception of the concertos of Vivaldi in the period around 1713/14
and by extension, as a link between those transcriptions and Bach's own
early essays for orchestra in the Vivaldian style. Clearly
it is a forerunner of the Italian Concerto BWV 971.