ON 12 November 1930 Wood conducted a BBC Symphony Concert at Queen's Hall in which he presented all six Brandenburg Concertos, a feat that represents the zenith of his promotion of Bach:

Wood's success was acknowledged by the public and critics alike, the latter noting that ‘there was hardly anyone at Queen's Hall who did not stay spellbound all the time’, and ‘it is a long time since one has seen the press emerge from a concert hall at the close of a performance in so solid a body’. 1930 saw reinstated full cycles of the Brandenburg Concertos throughout the Proms season, and Wood's premiere recording of Brandenburg Concerto No. 6. However, 1930 also marked the beginning of a closer, but not exclusive, association with the BBCSO and a downturn in the reception of Wood's endeavours on behalf of the composer. The impact of his festival performances of the Passions and Mass in B minor had faded, so any potential legacy in Bach interpretation would lie in orchestral works.

Rosa Newmarch observed that a ‘Bach Cult’ with Wood at its centre had been growing since the mid-1920s,but throughout the 1930s others spoke of a tipping point with the public going ‘slightly mad in its devotion to Bach’. Some doubted the sincerity, the ‘genuineness and permanency’, of the movement, describing ‘cyclic ebullitions of enthusiasm more or less artificial, such as we are now witnessing on the special Bach nights at the “Proms”‘. Others challenged the quality of the repertoire, suggesting that the “works of Bach that fill Queen's Hall do not, in the main, represent him at his best’ and citing the Brandenburg Concertos as ‘examples of superficial Bach’. Expressing his scepticism towards the ‘discrimination’ of the Promenaders in 1939, Gordon Stubbs, of the Manchester University Music Department, noted a number of issues that he felt questioned the judgement of Bach audiences.