JAVS Summer 2011

Example 1. J. S. Bach, Brandenburg Concerto No. 6, BWV 1051, movt. I, mm. 16–19.

• The solo first viola, first movement: mm. 40–45, 52–56. While the previous example highlights the role of the violas da gamba, which will be relevant in proposing a substitution, other sections of the concerto support the overall application of the concept of generic mixing. Marissen notes that Bach also scores for the appearance of a solo viola (ex. 2). 12 In two minor-key sections at mm. 40–45 and mm. 52–56, two things occur: Firstly, the sequence does not move from the first to second viola, but rather stays within the top voice. Secondly, the scoring of the second viola places it as one of a five-part accompanying ensemble. In performance, the Freiburg Baroque Orchestra’s decision to build contrast with a distinctly slower tempo in these sections in their video recording of 2000 highlights the uniqueness of the scoring. Additionally, Nicolaus Harnoncourt notes that the use of the interval of a seventh at the start of these solo viola lines (in contrast to the interval of a fourth earlier) indicates a kind of “Romanticism in Baroque music.” This possibly further highlights a change of roles within the instrumentation. 13

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