JAVS Summer 2011

7 Gregory G. Butler, “The Question of Genre in J. S. Bach’s Fourth Brandenburg Concerto,” in The Music of J. S. Bach: Analysis and Interpretation , ed. David Schulenberg, Bach Perspectives 4 (Lincoln, NE: University of Nebraska Press, 1999), 28. 8 Ibid., 16. 9 Michael Marissen, The Social and Religious Designs of J. S. Bach’s Brandenburg Concertos (Princeton, NJ: Princeton University Press, 1995), 36. 10 Ibid, 52. 11 Butler, 9. 12 Marissen, 51. 13 J. S. Bach, Brandenburgische Konzerte , Nicolaus Harnoncourt and Consentus Musicus Wien (Hamburg, Germany: Deutche Grammophon, 2009), DVD. 14 Dorottya Fabian, Bach Performance Practice, 1945–1975: A Comprehensive Review of Sound Recordings and Literature (Aldershot, England: Ashgate, 2003), 65–67. 15 J. S. Bach, Brandenburg Concertos Nos. 5 and 6; Orchestral Suite No. 1 , Neville Marriner and the Academy of St Martin-in-the-Fields, recorded November 1984 and November 1985, EMI 7243 5 85795 2 9, 2004, compact disc. 16 Boyd, Brandenburg Concertos , 92. 17 Philip Pickett, “J. S. Bach: The Brandenburg Concertos: A New Interpretation,” www. recorderhomepage.net/brandenburgs.html (accessed August 24, 2010). 18 Laurence Dreyfus, Bach’s Continuo Group: Players and Practices in His Vocal Works (Cambridge, MA: Harvard University Press, 1987), 68–71. Dreyfus notes that records indicate Bach led from a harpsichord at a concert where an organ was also used and suggests that having two keyboard instruments simultaneously was possibly a convention. 19 Ibid., 150. 20 Ibid., 167. 21 Marissen, 52. 22 Ibid., 54. 23 Franz Zeyringer, “The Problem of Viola Size,” Journal of the Violin Society of America 5, no. 4 (1979): 18–36.

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