Brandenburg Concerto No. 1 in F, BWV 1046 (critical edition) Cover Image

Brandenburg Concerto No. 1 in F, BWV 1046 (critical edition): Full Orchestra, Solo Strings with Ensemble, Oversized Score

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Brandenburg Concerto No. 1 in F, BWV 1046 (critical edition) Cover Image
Brandenburg Concerto No. 1 in F, BWV 1046 (critical edition): Full Orchestra, Solo Strings with Ensemble, Oversized Score

Brandenburg Concerto No. 1 in F, BWV 1046 (critical edition): Full Orchestra, Solo Strings with Ensemble, Oversized Score

By Johann Sebastian Bach / arr. Heinrich Besseler

Item: 36-A334001OS
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The Brandenburg Concertos are a collection of six instrumental works by Johann Sebastian Bach (1685-1750) written around or before 1721 to be presented to Christian Ludwig, the Margrave of Brandenburg-Schwedt. With the original French title "Six Concerts à plusieurs instruments" (Six Concertos for several instruments), some feature multiple solo instruments in different combinations. These works are considered among the best orchestral compositions of the Baroque period. Brandenburg Concerto No. 1, BWV 1048, might be considered Bach's favorite given that he used it three times in cantatas he composed later, and it also has the largest scoring of the six. The original version of the score did not include the French Violino piccolo solo at all. It was included later when Bach was in Dresden for his projected contest with Marchant. Bach rewrote the third movement as a concerto for the Violin piccolo in the style of jig, then went back and incorporated the Violino piccolo into the other movements. As the Violino piccolo sounds up a third from where it is written, two parts are included: a FINGERING NOTATION copy and a CONCERT NOTATION copy. This edition by Heinrich Besseler includes an extensive preface and editor's notes. The continuo in the harpsichord part has been realized by Eduard Müller. Instrumentation: 0.3.0.1: 2.0.0.0: Hpchd (continuo): Str (2-2-2-1-1): Solo Violin (in set). 11x14 oversized full score.

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Additional Details
Series: Kalmus Oversized Score Library
Publisher: EDWIN F KALMUS
ISBN13: 979-889-810-8311
UPC: 612735612856
SKU: 36-A334001OS
Instrumentation: 0.3.0.1: 2.0.0.0: Hpchd (continuo): Str (2-2-2-1-1): Solo Violin (in set)

More about this title

About the Composer: Johann Sebastian Bach

Johann Sebastian Bach (1685-1750) was a German composer and keyboard virtuoso whose mastery of counterpoint and harmonic innovation shaped the entire Baroque tradition. His vast output spans sacred and secular genres, but his instrumental works remain cornerstones of orchestral repertoire, prized equally by performers seeking technical challenge and audiences drawn to their architectural brilliance.

Why we love this

The Brandenburg Concertos occupy a rare position in the repertoire: they are historically essential yet entirely alive in performance. This first concerto, with its rich interplay between solo and tutti sections and its famous jig-like third movement, gives orchestras a chance to play some of the most rewarding Baroque music ever written while also demonstrating Bach's willingness to experiment with instrumentation and form.

What to expect

Elegant and energetic, with moments of genuine intimacy between solo instruments and sweeping passages where the full ensemble shines. The celebrated third movement has a dance-like buoyancy that lifts the work to its conclusion.

Who it's for

Advanced high school orchestras and college ensembles ready to tackle authentic Baroque scoring with confidence. This score works well for programs that pair concert performance with historical discussion, since the Besseler edition includes scholarly context on Bach's revisions and creative choices.

How to get the most out of it

  • Plan extra rehearsal time for the French violino piccolo part. The fingering notation included here is essential for players unfamiliar with this transposing instrument; clarify which version your soloist will read before the first rehearsal.
  • Shape the continuo realization as a dialogue partner rather than harmonic wallpaper. Eduard Müller's realization gives you plenty of rhythmic and textural detail to work with.
  • Balance the horn and oboes against the strings without letting them dominate the texture. Their role is to color and brighten, not overpower.
  • Take time in rehearsal to clarify where the soloists step forward and where they blend back into the ensemble, especially across the three movements.

How to use it

Feature this concerto on a concert devoted to Baroque instrumental music, or open a classical concert with it to establish sophistication and period awareness before moving to later symphonic works. Its moderate length makes it an ideal companion to another Brandenburg Concerto or a suite from the same era.

Skills your students will build

  • Baroque articulation and bow control
  • Balance between solo and tutti textures
  • Reading transposing instruments (violino piccolo in concert pitch and fingering notation)
  • Harmonic understanding through continuo-focused listening
  • Ensemble precision in rapid counterpoint
  • Period-appropriate vibrato and vibrato control

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