JAVS Summer 2011

one might venture the possibility that some further variation of viola size was applied to the two solo (alto) violas. With these possible variations of instrument size, the ensemble of Brandenburg Concerto No. 6 would have demonstrated gradations of tonal shading all the way from the first voice to the last. This is more so if there were indeed variations within the violas and violas da gamba as discussed above, but evident nonetheless if these did not exist. This is an observation not without controversy, with Boyd arguing that this calibration of timbre was not essential, that “one could argue that the music would be just as well served by an ensemble which included violins, flutes, and oboes…. It seems quite likely that the availability of the players was more decisive in the choice of instruments.” 26 However, it could also be noted that it was atypical for the violas to take on such a major solo role in itself, and the instrumentation is even more unusual given the ready availability of violinists in the collegium musicum , 27 as well as the juxtaposition of roles evident in relation to the violas da gamba. Marissen has extensively discussed the significance of this role reversal, 28 which points toward at least a symbolic if not acoustical decision-making process beyond the confines of player availability. Boyd did note that the third concerto would have required forces external to Bach’s collegium musicum ; 29 likewise, at least one additional viol player (if Prince Leopold indeed took on one of the viol parts) 30 and one additional viola player (if Bach took on one of the viola parts) would be necessary—not to mention someone to replace Bach at the keyboard. At the end of the day, the question is whether Bach, who “understood to perfection the possibilities of all stringed instruments,” 31 intended the Brandenburg Concertos as an exploration of the specific possibilities of precise combinations and contrasts of timbre, or whether he was as flexible in musical application of these concertos as in his other works. If we accept the importance of timbre, particularly in the sixth concerto, this leads us to consider the most problematic area of the instrumentation in modern-day context: the violas da gamba. Part II: The Quest for Timbre and a Scordatura Substitution Solution With timbre as a defining characteristic of the sixth Brandenburg Concerto, any modern solution to the many situations where viola da gamba players are not available would serve best at seeking an approximation of the original intent, not assume a place as a permanent replacement for the original instrumentation. Nonetheless, the unavailability of viola da gamba players in many cases makes the issue of substitution a substantial one.

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