This is the first Bach project that can accurately be called an arrangement.  There are several elements in Bach’s brief yet jubilant finale from the Fourth Brandenburg Concerto that are problematic for the purposes of direct transcription.  First, the solo violin part is exceptionally virtuosic, with long roulades and distinct bowed arpeggios.  This doesn’t transfer well to a keyboard instrument such as the melodica, and even when Bach himself transcribed the work for keyboard later on, he rewrote these solos (despite, arguably, making them much more difficult!).  I have therefore rewritten the virtuosic solo passage from mm. 101-120 so that it works on the melodica.  The second problem is that of the doubled solo/ripieno first violin parts.  Whenever the solo violin doesn’t have a solo, it doubles the ripieno part at the unison.  This would normally not be a problem, but because I always choose to do these projects with one-on-a-part when possible, it makes the violin part unnecessarily heavy-handed in the texture of the other solo parts.  I have therefore chosen to cut the unisons out of the solo violin part, so that it only plays the solos. It is, however, still a separate part.  Thirdly, Bach has here chosen the rather unique approach of creating 3 separate parts for cello, bass, and continuo which, despite being 90 percent similar, are still varied in select passages.  Instead of tripling up the bass line, I have elected to combine all 3 parts into one to preserve the soloing of parts, a choice which has no ramifications in terms of loss of passages, with the exception of mm. 159-166.  It should be noted, though, that I have retained the doubling of the Flauto d’echo parts, inspired by the nature of the original instruments. The Flauti d’echo were likely a pair of alto recorders in G and F.  I found this pairing to be so distinctive and necessary, that I couldn’t make myself drop one of the parts even though a large portion of the movement is in unison.  However, I don’t feel like this brings them too prominently out of the mix, and it’s nice to give the recorder parts  a chance to stand out for a change.  I do find it slightly ironic that I chose not to play the Flauto parts on the alto recorders for which they were intended being a recorder player myself, but the contrast of the recorders against the gang of reed instruments provided too great. Plus, this way I got to exploit for the first time the extended high range of the soprano melodica!

The original parts are covered like this:

Concertino:
Recorder I: Soprano melodica
Recorder II: Soprano melodica
Violin solo: Alto melodica

Ripieno:
Violins 1,2 and Viola: Alto melodica
Cello, Bass, Continuo: Bass melodica

Higher quality mp3:

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Music by J.S. Bach. More Bach on Melodica [link]

• Brandenburg Concerto 2-1 with 4 melodicas in consort plus recorder (0)
• Multitrack Bach on YouTube: Badinerie from Orchestral Suite #2 (1)
• Brandenburg Concerto no. 1-1 for 12 melodicas, performed by one player (0)
• Brandenburg Concerto 3-3 with 7 melodica tracks, contained within 3 octaves (0)
• Brandenburg Concerto 3-1 with 10 melodica tracks and live video for 9 parts (0)