JOHANNES BRAHMS’S EIN DEUTSCHES REQUIEM/67531/metadc955024/m2/1/high... · Hawley, Michael Aaron....

APPROVED: Richard Sparks, Major Professor and Chair of

the Division of Conducting and Ensembles

Stephen F. Austin, Minor Professor Gregory Hobbs, Committee Member Benjamin Brand, Director of Graduate

Studies in the College of Music John Richmond, Dean of the College of Music Victor Prybutok, Vice Provost of the Toulouse

Graduate School

JOHANNES BRAHMS’S EIN DEUTSCHES REQUIEM: A COMPARISON OF THE REDUCED

ORCHESTRATION TECHNIQUES IN JOACHIM LINCKELMANN’S CHAMBER ENSEMBLE

VERSION TO BRAHMS’S FOUR HAND PIANO VERSION

Michael Aaron Hawley, B.M.E., M.M.

Dissertation Prepared for the Degree of

DOCTOR OF MUSICAL ARTS

UNIVERSITY OF NORTH TEXAS

December 2016

Hawley, Michael Aaron. Johannes Brahms’s Ein deutsches Requiem: A Comparison of the

Reduced Orchestration Techniques in Joachim Linckelmann’s Chamber Ensemble Version to

Brahms’s Four-Hand Piano Version. Doctor of Musical Arts (Performance), December 2016, 265

pp., 29 musical examples, bibliography, 30 titles.

Recognizing the challenges small groups have to program a major work, in 2010, Joachim

Linckelmann created a chamber ensemble arrangement of Johannes Brahms’s Ein deutsches

Requiem. In 1869, J.M. Reiter-Biedermann published Brahms’s four-hand piano arrangement of

Ein deutsches Requiem. Brahms’s arrangement serves as an excellent comparison to the

chamber ensemble version by Linckelmann, since it can be assumed that Brahms chose to

highlight and focus on the parts he deemed the most important. This study was a comparative

analysis of the two arrangements and was completed in three stages. The first stage

documented every significant change in Joachim Linckelmann’s recent chamber arrangement.

The second stage classified each change as either a reduction, reorganization, or elimination. The

final stage of the analysis was to compare the choices made by Linckelmann to those made by

Brahms. The results show that Linckelmann’s choices for reduction, reorganization, and

elimination closely align with those of Brahms. The only differences between the arrangements

can be attributed to Linckelmann’s focus on retaining the original orchestral timbre and Brahms’s

focus on providing the original vocal parts.

ii

Copyright 2016

By

Michael Aaron Hawley

iii

ACKNOWLEDGEMENTS

I would like to express my appreciation, first, to my committee members and mentors at

the University of North Texas, including Richard Sparks, Stephen Austin, and Greg Hobbs. Thank

you for your constant guidance and encouragement through the writing process. I began this

journey many years ago, and I would not have completed it without your support. A very special

thank you to Jerry McCoy for believing in me so many years ago. I consider it an honor to have

been your conducting student, to sing under your direction, and to have you as a mentor. Thank

you, as well, to the other professors at UNT that have helped shape me into the musician that I

am today, including Alan McClung, Henry Gibbons, and Lyle Nordstrom.

For their patience through this long journey, I would like to thank my friends and

colleagues. To my associates, Lisa Melton, Brian Jones, Trenton Davis, Suvanna Lyon, Kenneth

Sieloff, and Ginger Storey, thank you for giving a little extra when my attention was focused on

this degree. Thank you to Frank Eychaner for encouraging me to complete my degree and guiding

me through the writing process. I would also like to thank my mentors, Stan McGill, Randy Talley,

and Shawn Bell. Thank you for believing in me and giving me opportunities to prove myself.

Thank you, as well, to Joachim Linckelmann for being so gracious to answer interview

questions.

Finally, I would like to thank my family. To my mom and dad, thank you for always loving

and supporting me through all my ambitious endeavors. To my beautiful wife, thank you for

being patient, taking care of our children as I focused on Brahms, and supporting me with gentle

words of encouragement. To my children, Shiloh and Alice, thank you for all of your hugs.

iv

TABLE OF CONTENTS

Page

ACKNOWLEDGEMENTS ................................................................................................................... iii

LIST OF MUSICAL EXAMPLES ........................................................................................................... v

CHAPTER 1: INTRODUCTION ........................................................................................................... 1

CHAPTER 2: HISTORICAL PERSPECTIVE ........................................................................................... 4

CHAPTER 3: COMPARATIVE ANALYSIS - HARP ................................................................................ 7

CHAPTER 4: COMPARATIVE ANALYSIS - STRINGS ......................................................................... 14

CHAPTER 5: COMPARATIVE ANALYSIS - WOODWINDS ................................................................ 20

CHAPTER 6: COMPARATIVE ANALYSIS - BRASS ............................................................................ 27

CHAPTER 7: CONCLUSION ............................................................................................................. 32

APPENDIX A: TRANSCRIPT OF INTERVIEW WITH JOACHIM LINCKELMANN ................................. 35

APPENDIX B: LIST OF REORGANIZATION BY INSTRUMENT .......................................................... 48

APPENDIX C: SCORE MARKING GUIDE .......................................................................................... 50

APPENDIX D: LIST OF CHANGES BY INSTRUMENT ........................................................................ 53

BIBLIOGRAPHY ............................................................................................................................ 264

v

LIST OF MUSICAL EXAMPLES

Example 1 Johannes Brahms, Ein deutsches Requiem, for 2 solo voices, choir and orchestra, Mvt. 1, mm. 152-158 ...................................................................................................................... 8

Example 2 Johannes Brahms, Ein deutsches Requiem, arranged for chamber ensemble, Mvt. 1, mm. 154-158 ................................................................................................................................... 9

Example 3 Johannes Brahms, Ein deutsches Requiem, for 2 pianos, Mvt. 1, mm. 154-158 ...... 10

Example 4 Johannes Brahms, Ein deutsches Requiem, for 2 solo voices, choir and orchestra, Mvt. 1, mm. 52-61 ........................................................................................................................ 11

Example 5 Johannes Brahms, Ein deutsches Requiem, arranged for chamber ensemble, Mvt. 1, mm. 51-58 ..................................................................................................................................... 11

Example 6 Johannes Brahms, Ein deutsches Requiem, for 2 pianos, Mvt. 1, mm. 51-58 ........... 12



Example 9 Johannes Brahms, Ein deutsches Requiem, for 2 pianos, Mvt. 3, mm. 11-14 ........... 17

Example 10 Johannes Brahms, Ein deutsches Requiem, for 2 pianos, Mvt. 4, mm. 51-57 ......... 17




Example 14 Johannes Brahms, Ein deutsches Requiem, for 2 solo voices, choir and orchestra, Mvt. 2, mm. 219-225 .................................................................................................................... 21

Example 15 Johannes Brahms, Ein deutsches Requiem, arranged for chamber ensemble, Mvt. 2, mm. 219-224 ................................................................................................................................. 22

Example 16 Johannes Brahms, Ein deutsches Requiem, for 2 pianos, Mvt. 2, mm. 219-224 ..... 22


vi





Example 22 Johannes Brahms, Ein deutsches Requiem, for 2 pianos, Mvt. 7, mm. 117-123..... 26







Example 29 Johannes Brahms, Ein deutsches Requiem, for 2 pianos, Mvt. 2, mm. 191-193 ..... 31

1

CHAPTER 1

INTRODUCTION

Choral conductors make an impact on the musical development of their audiences and

performers through their choice of repertoire. To foster a society that understands and

appreciates the value of major choral works performed with orchestras, conductors have

regularly included these works in their concert repertoire. However, major works create unique

demands on performing groups with limited resources. One solution is to choose an

arrangement of the work that requires fewer musicians. However, two concerns when making

the decision to use an orchestration other than the original are whether the experience will be

comparable for both the performer and the audience and whether the musical integrity of the

composer’s intentions will be preserved in the arrangement.

Johannes Brahms’s Ein deutsches Requiem stands as the largest and most significant of

Brahms’s compositions for chorus and orchestra. The work garnered him international

recognition during his lifetime and continues to be regularly programmed. Modern performances

of this work have included large choral forces. For example, in his 1991 Carnegie Hall Workshop,

Robert Shaw had a chorus of 145, and Helmuth Rilling used a 250-voice chorus in his 1998

Carnegie Hall performance. While choruses of this size are appropriate for a work of this

magnitude, many smaller ensembles have continued to perform the work and found creative

ways to overcome the necessity for a large orchestra. Recognizing the challenges small groups

have to program a major work, Joachim Linckelmann created a chamber ensemble arrangement

2

of Ein deutsches Requiem with the intent of making the work accessible to small ensembles.1

In 1869, J.M. Reiter-Biedermann published Brahms’s four-hand piano arrangement of Ein

deutsches Requiem.2 The intent of the arrangement was to allow people to hear or perform the

work at home, similar to the way a recording does today.3 In creating this version, Brahms faced

his own choices in reduction, reorganization, and elimination. This study documents every

significant change in Joachim Linckelmann’s recent chamber arrangement of Brahms’s Ein

deutsches Requiem and shows that Linckelmann’s choices for reorganization, reduction, and

elimination closely align with those of Brahms. This study was a comparative analysis that was

completed in three stages.

The first stage documented every change in the chamber ensemble arrangement

(Appendix A). This was accomplished by tracking each instrument along with the corresponding

pitch and rhythmic content in both the original orchestration and the chamber ensemble

arrangement. Each instrument from the original orchestration was given a unique color code

(Appendix B). Then, the rhythmic and melodic content of each instrument was isolated in the

chamber arrangement and identified with its corresponding color. In the second stage, each

change was placed in one of three categories: 1) reduction achieved by retaining most but not all

original pitch and rhythmic content, 2) reorganization accomplished by substituting instruments

other than the original, or 3) elimination caused by the removal of original content. The final

stage of the analysis was to compare the choices of reduction, reorganization, and elimination

1 Joachim Linckelmann, Foreword to "Ein deutsches Requiem, op. 45, Johannes Brahms, arrangement for Chamber

Ensemble, trans. John Coombs (Leinfelden-Echterdingen: Carus-Verlag, October 2010), iii. 2 Leonard Van Camp, A Practical Guide for Performing, Teaching, and Singing the Brahms Requiem (Van Nuys, CA:

Alfred, 2002), 9. 3 Van Camp, A Practical Guide, 59.

3

made by Linckelmann to those made by Brahms. Brahms’s arrangement serves as an excellent

comparison to the chamber ensemble version by Linckelmann, since it can be assumed that

Brahms chose to highlight and focus on the parts he deemed the most important.

4

CHAPTER 2

HISTORICAL PERSPECTIVE

Johannes Brahms composed Ein deutsches Requiem at a time when his reputation and

status as a composer were still questioned. Brahms had prior success with his early piano works,

but he had also had negative reception to the first performances of his first major work with

orchestra, the Piano Concerto No. 1 in D minor.4 Even the first performance of the first three

movements of the Ein deutsches Requiem caused controversy when the timpanist misread

Brahms’s markings for the third movement. Nevertheless, the composition of Ein deutsches

Requiem became a turning point in Brahms’s career. The premier of the complete work (minus

the fifth movement), which occurred on Good Friday, April 10, 1868 in Bremen, generated

enormous excitement in Germany. St. Peter’s Cathedral was full with 2,500 listeners for this first

highly successful performance.5 With performances in England in 1871 and America in 1877,

Brahms’s reputation grew internationally. Ein deutsches Requiem was followed by numerous

successful compositions, and after the debut of Brahms’s First Symphony, conductor Hans von

Bülow proclaimed that Brahms was the completion of the three great B’s of music, with Bach and

Beethoven being the first two.6 Brahms was so loved for his contribution to music that upon his

death the city of Vienna gave him one of the grandest funerals ever seen in the county to

celebrate his life and music.7

4 Michael Musgrave, Brahms: A German Requiem (Cambridge: Cambridge University Press, 1996), 63. 5 Klaus Blum, Hundert Jahre Ein deutsches Requiem von Johannes Brahms (Tuzing: Hans Schneider, 1971), 45. 6 Jan Swafford, Johannes Brahms: A Biography (New York: Alfred Knopf, 1997), ix. 7 Swafford, Johannes Brahms, ix.

5

On July 10, 1871, at the house of Lady Thompson, Brahms’s four-hand piano arrangement

was used in the first private performance of Ein deutsches Requiem in England.8 Lady Thompson,

who was an accomplished pianist and teacher at the Royal Academy, and Cipriani Potter played

the piece.9 The chorus consisted of approximately thirty singers, and the work was conducted

by Julius Stockhausen.10 Stockhausen was the baritone soloist in the first Bremen performance,

and he sang the solos for this performance as well.11 The Brahms four-hand arrangement was

reprinted by Carus in 1989 and in 1999. The version printed in 1999 was used as the primary

source for comparison in this study.

Joachim Linckelmann created the chamber version of Brahms’s Ein deutsches Requiem,

which was published in 2010 by Carus, with the expressed purpose of making an arrangement

suitable for choirs ranging from about 25-50 singers.12 In the foreword to the arrangement, he

states that Brahms “conceived the original accompaniment to his Requiem for massive

instrumental forces intended to match a choir of more than 200 singers.”13 He continues by

explaining that most performances today use fewer singers, which results in an imbalance of

sound. Linckelmann believes that the “arrangement of the accompaniment for a chamber

ensemble removes this difficulty, enabling the choir to sing a piano passage to full effect, but it

8 Michael Musgrave, ed. Brahms 2: Biographical, Documentary and Analysical Studies (Cambridge: Cambridge

University Press, 1985), 6. 9 Ibid., 6. 10 Van Camp, A Practical Guide, 9. 11 Ibid., 9. 12 Linckelmann, Foreword to "Ein deutsches Requiem,” iii. 13 Ibid., iii.

6

retains orchestral sound, making it unnecessary for the choir to turn to Brahms’s piano duet

arrangement for the accompaniment.”14

The instrumentation of Linckelmann’s chamber version differs substantially from the

original score. In the chamber arrangement, a woodwind quintet including flute, oboe, clarinet,

horn and bassoon, plays the original material for nineteen instruments. The harp, trumpets,

trombones, tuba, and three horns are omitted from the instrumentation. In addition, the ad

libitum instruments, which include the contrabassoon and organ, are eliminated. These two

instruments do not provide any original melodic or rhythmic material that is not already provided

by another instrument. The original orchestration includes a standard strings section with divisi

for violin 2, viola, and cello. In the chamber ensemble, this has been reduced to a string quintet

including violins 1 & 2, viola, cello, and bass. The timpani and vocal parts are the two elements

that remain unchanged in Linckelmann’s arrangement.

14 Linckelmann, Foreword to "Ein deutsches Requiem,” iii.

7

CHAPTER 3

COMPARATIVE ANALYSIS - HARP

Neither Brahms nor Linckelmann include a harp part in their arrangement. Since both

composers must choose what to do with the original harp material, this instrument provides a

good starting place for a comparative analysis. This analysis focuses on three orchestration

techniques.

The first reduced orchestration technique is reorganization, which is the practice of

substituting one or more instruments to play the original pitch and rhythmic content of another

instrument. Linckelmann uses this technique throughout his arrangement and typically chooses

a replacement instrument from the same family or an instrument with a similar timbre. Brahms’s

four-hand reduction requires every part to be reorganized. Since this technique is used

extensively throughout both arrangements, it becomes significant only when it is used in a

manner that deviates from the standard practice of the composer. For instance, Brahms and

Linckelmann reorganize and reduce many passages of the original harp material, but there are

only two instances where the original harp material is reorganized but not reduced. The first

instance occurs at the conclusion of movement one (example 1). The second instance is the

return of the same material at the end of the final movement. Linckelmann chooses to split the

content of the original harp part between the bass, cello, and viola for mm. 154-155, and

between the clarinet and flute for the remainder of the movement (example 2). Brahms places

the complete original harp material in the Piano I part (example 3). In both arrangements, the

composers have chosen to use vast resources to provide the original harp material without

alteration. Brahms’s choice results in the harp material being a distinct and highlighted layer in

8

the four-hand piano arrangement. This indicates that the composer placed great significance on

this specific portion of the original harp material. Linckelmann’s standard procedure for original

harp material is to reduce the material to either one or two instruments and remove octave

doublings.

Example 1 Johannes Brahms, Ein deutsches Requiem, for 2 solo voices, choir and orchestra, Mvt. 1, mm. 152-158

9

Example 2 Johannes Brahms, Ein deutsches Requiem, arranged for chamber ensemble, Mvt. 1, mm. 154-158

10

Example 3 Johannes Brahms, Ein deutsches Requiem, for 2 pianos, Mvt. 1, mm. 154-158

By retaining the exact original pitches and using five instruments to play the content, Linckelmann

is also placing great significance on this portion of the original harp material. The choices

demonstrated in this example illustrate that Linckelmann’s treatment of this passage is very

similar to that of Brahms.

The second reduced orchestration technique is reduction due to either the elimination of

doublings or individual pitches. Reduction is the most common treatment of the original harp

material for both Brahms and Linckelmann. An example of reduction is found in measures 54-60

of movement one (example 4). The original harp material for this passage includes an

arpeggiated series of chords in a triplet pattern. Each of these chords either spans the distance

of more than an octave or includes a doubling at the lower octave in the bass register. In his

arrangement, Linckelmann places the original harp material in the clarinet part. Measures 54-55

require only the first pitch to be displaced by an octave. However, as the original harp part begins

to double at the octave starting in m. 56, Linckelmann chooses to reduce the original material

and eliminate the doubling (example 5). Brahms’s treatment of the same passage is also clearly

11

a reduction. Beginning in m. 54 (example 6), Brahms places the original harp material in the left

hand of the Piano II part. He maintains the original rhythm and outlines the same chord;

however, he eliminates the upper octave and adds additional pitches from the chord.



Similar to the reduction in Linckelmann arrangement, starting in measure 55, Brahms chooses to

reduce the original material and eliminate the doubling. Additional instances where

Linckelmann’s use of reduction is similar to that of Brahms are found in measures 48 & 50, 87-

93, 150-151 of movement one, measures 106-119 of movement two, and measures 158-159 of

movement seven.

Clarinet

12


The third reduced orchestration technique is elimination. When portions of the original material

are in the background and instrumentation of the new arrangement is necessary for foreground

material, both Brahms and Linckelmann elect to eliminate portions of the original material.

Elimination occurs for the original harp content exclusively in the second movement at mm. 17-

21, 37-41, 54-65, 141-145, 161-165, and 178-189, yet does not change the chord structure. The

only deviation by Lincklemann from Brahms’s treatment of the harp part occurs at mm. 3-13, 23-

33, 127-137, and 147-157. In these measures, Linckelmann eliminates the original harp material,

whereas Brahms is able to integrate it into the Piano II part. There is limited significance to this

13

choice because the portions previously discussed that were eliminated by Brahms are almost

identical in nature. Furthermore, the original harp material is clearly in the background providing

only reiterations of a chord that is present in other voices.

14

CHAPTER 4

COMPARATIVE ANALYSIS – STRINGS

Linckelmann describes his arrangement as two standard ensembles.15 The first ensemble,

a string quartet plus a double bass, maintains a large portion of the original string orchestration.

Only the first and second movements require special treatment due to divisi in the original score.

Brahms’s original score includes no violin parts and three cello parts for the first movement and

a divisi on the violin 2 part and three viola parts for the second movement. The remainder of the

work has changes very similar to those found in the harp part.

Despite the great similarities in the string parts of the original score with those in the

Linckelmann’s chamber version, reorganization is the technique Linckelmann uses most

frequently. The reorganization of string parts is typically caused by the necessity of an instrument

to play the original material of a woodwind or brass instrument. When reorganizing, Linckelmann

most commonly uses the string instrument immediately higher or lower than the original (see

Appendix B). These reorganizations are minimally significant and a direct comparison with the

reorganization in Brahms’s reduction is not necessary. One relevant instance of reorganization,

in both arrangements, occurs in mm. 22-33 of the second movement. The original score includes

three viola parts, which Linckelmann reorganizes for Violin 1, Violin 2, and Viola. This

reorganization affects the original string color, so Linckelmann compensates by alternating every

two measures the instrument assigned to each original part. In the original score, the three viola

parts double a large percentage of the pitch material of the woodwinds but not with enough

consistency to state that one instrument is paired with another. When reorganizing these

15 Linckelmann, Foreword to "Ein deutsches Requiem,” iii.

15

measures, Brahms focuses on the woodwind parts, which results in portions of the original viola

material being eliminated and a pitch range that is higher than it would be with a simple

reorganization of the viola material.

Linckelmann and Brahms do not use reduction frequently in their arrangement of the

string parts. One brief usage by both composers occurs in mm. 30-31 of the first movement. In

the original score, the viola 1&2 parts double one octave lower the flute 1&2 parts, respectively.

In the chamber arrangement, violin 1 plays the original viola 2 material and the flute 2 doubling

is removed. In the four-hand reduction, Brahms chooses to reduce both doublings to the lower

octave. Another significant usage of reduction, by Linckelmann, occurs in mm. 3-16 of the third

movement. In the original score, these measures are written for five lower string instruments –

viola 1, viola 2, cello 1, cello 2, and bass. In the chamber arrangement, the top four string parts

are integrated into the violin 1, viola, and cello parts. Linckelmann minimizes a change in string

timbre by including only one violin part, which results in only three parts at any one time. The

result is that the doubled pitches are removed. Brahms does not have the same limitation on his

writing, so the doubled pitches are included.

The final example of reduction of string material highlights one of the main differences

between the Linckelmann and Brahms arrangements. In the original score, the Cello and Bass

parts routinely play the same material in octaves. In three movements, Linckelmann chooses to

reduce the doubling between the Cello and Bass to only the Cello part. This treatment occurs in

the second movement at mm. 41-42, in the fifth movement at mm. 1-3, mm. 6-18, mm. 28-32,

and in the seventh movement at mm. 215-223. Linckelmann justifies this choice by stating that

16

Viola

Cello

it “gives you the possibility to create more shades of intimacy.”16 In each of these instances, the

Brahms reductions contain simple octave doublings on the given pitches.

Linckelmann and Brahms occasionally choose to eliminate original string material when it

occurs in a background layer. For instance, in mm. 12-13 of the third movement, Linckelmann

and Brahms remove the original cello 2 material, which consists of two whole notes on the pitch

of A1 in the original score (example 7). In both arrangements, all voices are needed to play layers

in the foreground, so this material is eliminated.



16 Joachim Linckelmann, email correspondence, June 22, 2016.

17


Similarly, in m. 140 of the first movement, Brahms eliminates the original cello 1 and viola 1

material, which sustains the pitch of G, so that the piano may play the original vocal material. A

final example of elimination can be found in both arrangements in the cello 1 part from m. 13

(beat 2) – m. 14 (beat 1) in the first movement.

The most significant treatment of the original string material occurs when Brahms and

Linckelmann choose to create new material similar but not identical to the original score. In mm.

53-55 of the fourth movement (example 10), Brahms combines the original violin 1&2 and viola

1&2 into a single layer played by the right hand of the second piano.


18

The original violin and viola played different rhythms with interspersed rests (example 11). When

combined, the new material is a string of eighth notes with two quarter notes. The original violin

and viola material is separated by an octave, but the new material is all in the original violin range.

In the chamber arrangement, Linckelmann follows a very similar process in mm. 54-62 of the

second movement.


He combines the original material of violin 1, violin 2, and viola with the original material of the

harp. In the original score (example 12), the strings plays a distinctive quarter, dotted-eighth,

quarter pattern. In the chamber arrangement (sample 13), the combining of parts results is a

new rhythmic pattern consisting of eighth and sixteenth notes. To accentuate the original

melodic content of the strings, Linckelmann includes tenuto markings. In addition, the cello plays

the original viola 3 material so that the distinctive original rhythm is not abandoned.

19



20

CHAPTER 5

COMPARATIVE ANALYSIS - WOODWINDS

The second ensemble in Linckelmann chamber arrangement is a woodwind quintet. He

explains that this instrumentation allows you a "maximum of different sounds and sound

combinations,” with a “minimum of players.”17 This choice of instrumentation, however,

requires Linckelmann to reduce an eight-part woodwind section and ten-part brass section to

only five instruments. Linckelmann accomplishes this task by relying heavily on reorganization

of instrumentation and reduction in large divisi sections.

The techniques that Linckelmann uses when reorganizing the woodwind section can be

categorized according to instrument registration. The piccolo and flute, which are the highest

instruments, are the least reorganized woodwinds in Linckelmann’s arrangement. In the original

score, the piccolo and the flute are separate parts, but Linckelmann combines them effectively

into one part by having the oboe and clarinet play portions of the original piccolo material.

Linckelmann sparingly uses the combined piccolo/flute to play the original material of the

medium register instruments, which are the oboe and clarinet, and to play small portions of the

original brass material. In contrast, the oboe and clarinet are the most reorganized woodwind

parts. Linckelmann utilizes these instruments for reorganization of both the high and low register

woodwinds (see Appendix B), as well as, much of the original brass material. The bassoon is the

only the low register woodwind, and Linckelmann primarily reorganizes it to play original medium

to low brass material.

17 Joachim Linckelmann, email correspondence, April 4, 2016.

21

The reorganization of the woodwind section in the chamber arrangement is made

possible only through the use of reduction. Though the flute, oboe, clarinet, and bassoon all are

written in divisi in the original score, Brahms rarely writes more than a three or four-part texture

for the woodwinds. He includes the complete woodwind section by doubling instruments at the

octave. Measures 219-225 of movement 2 illustrate some of them most common pairings

(example 14). In the original score, Brahms pairs the flute 1 with oboe 1, flute 2 with oboe 2, and

clarinet 1 with bassoon 1.


In other portions of the work, Brahms also pairs flute 1 with clarinet 1, and flute 2 with clarinet

2. Throughout his chamber arrangement, Linckelmann very consistently reduces this

instrumentation to the flute playing the original flute 1 material and the oboe playing the original

oboe 2 material (example 15). By choosing to score the highest and lowest pitches of the original

doublings, Linckelmann retains the original orchestral timbre with the flute as the highest

22

sounding instrument. In a similar manner, Brahms uses reduction in many of these situations. In

his arrangement, Brahms reduces this instrumentation to the second piano playing the original

flute 1 & 2 (example 16).



One of the significant differences between the arrangements is that Linckelmann

consistently chooses to uses the higher octave flute 1 material and Brahms regularly abandons

this higher octave and uses the lower register material. In movement five, mm. 18-23, the

original score pairs flute 1 with clarinet 1 (example 17). Following his standard procedure,

Linckelmann reduces this passage to only flute at the higher octave. The flute 2 material is

reorganized for oboe, and the clarinet plays the original clarinet 2 material (example 18).

Flute

Oboe

Clarinet

23



Brahms, on the contrary, chooses to reduce this passage to only clarinet at the lower octave. He

also retains the original clarinet 2 material and eliminates the original flute 2 material (example

19). This discrepancy in the use of reduction between the two arrangements may be attributed

to the necessity for Brahms to supply the vocal material. In Linckelmann’s arrangement, the vocal

parts are an independent layer and are adequately supported by the flute. In Brahms’s

arrangement, the choice to use the lower register not only provides the pitch material of the flute

1 and clarinet 1 but also serves to provide the original vocal material at the correct octave.

Flute

Oboe

Clarinet

24


Linckelmann rarely uses elimination when arranging the original woodwind material.

When used, it is typically for only a couple beats or a few measures. In addition, the original pitch

content of the eliminated instruments is likely to be provided by another instrument in a different

rhythm pattern or in a different register.


For example, Linckelmann eliminates the original oboe 2 material for mm. 117-121 of movement

seven. In the original score (example 20), the oboe 1 and oboe 2 play melodic lines that are not

doubled by other woodwind parts. In his arrangement, Linckelmann chooses to retain the oboe

1 material which complements and supports the soprano voice, and he eliminates the original

25

oboe 2 material which only occasionally mirrors the alto voice. All pitch material from the oboe

2 is still provided by other instruments, which is illustrated by the red boxes in example 21.


In a similar manner, Brahms eliminates the original oboe 2 material for these measures in his

arrangement (example 22). Since he provides all of the original pitch material for the alto voice,

26

there are small portions of the oboe 2 material that remain. However, even this material is often

presented in a different rhythmic pattern.


27

CHAPTER 6

COMPARATIVE ANALYSIS - BRASS

Both arrangements contain less melodic and rhythmic content from the original brass

instruments than any other section. Linckelmann’s chamber version contains only one brass

instrument – the horn. Linckelmann, however, adamantly rejects the notion that his chamber

version eliminates the brass section,18 and he reduces large passages of the original brass

material in his arrangement to maintain a brass timbre. In contrast, Brahms eliminates the

original brass content on a frequent basis in his four-hand reduction.

Since the horn is the only brass instrument in the chamber version, Linckelmann uses

reorganization extensively. Most of the original low brass content, including the 2nd, 3rd, and 4th

horns and the 1st, 2nd, and 3rd trombones, is reorganized for either horn to maintain the brass

timbre or for bassoon. When the horn is utilized, Linckelmann typically reorganizes the original

1st horn material for other instruments to avoid elimination. Every instrument, with the

exception of the string bass, plays original horn material at some point (see Appendix B). The

original Tuba material, if not doubled by the string bass, is reorganized for either cello or bassoon.

To provide contrast in timbre, Linckelmann occasionally reorganizes the original trumpet content

for either oboe or clarinet.

Linckelmann uses reduction more commonly in his chamber arrangement than Brahms in

his arrangement. In the original score, the brass material is normally played by two or more

instruments or doubled by instruments in the woodwind or string sections. Many of these

pairings are an octave apart, as measures 82-87 of movement six demonstrate (example 23). In

18 Linckelmann, email correspondence, April 4, 2016.

28

this passage, Linckelmann reduces horn 1 & 2 and trumpet 1 & 2, which play the same pitch in

octaves, to only the horn (example 24).



In the original score, this section consists of two layers: 1) woodwinds and brass which double

the vocal parts, and 2) strings. Brahms does not reduce this passage, rather he assigns one layer

to each piano part (example 25).


Horn in F

29

When the texture becomes dense, Brahms frequently chooses to eliminate complete

layers rather than reduce them. A relevant example occurs in the second movement at mm. 179-

185 (example 26).


30

In the chamber arrangement, Linckelmann reduces the original horn and trumpet parts to a single

pitch and adds the original Trombone material to create a new part played by the horn. In his

four-hand reduction, Brahms focuses on the string and woodwind layers and eliminates the

original brass layer. This elimination only removes the original rhythmic pattern played by the

brass and does not alter the original pitch content, since it is doubled by the strings in the original

score.

Linckelmann uses elimination in a manner similar to Brahms when the demands of the

original instrumentation exceed his ability to reorganize or reduce. In the third movement, mm.

191-193, (example 27) the original score has a dense texture with three significant layers.


Linckelmann uses reduction to create a new horn part that includes elements from the

trombones, horn 2, and trumpet 1 (example 28). The original horn 1 material is eliminated in the

process.


Horn

in F

31

Brahms focuses on the foreground layers in his arrangement and eliminates all of the original

brass content except for one note from the original horn 2 material (example 29).


Both composers use elimination when the original content is adequately presented by

other instrumentation. In movement six of the original score, the tuba sustains the pitch of D3

for measures 231-234 through a series of breves. Simultaneously, the cello alternates between

D2 and D3 on quarter notes. Since the original pitch material is presented by the cello and the

original tuba rhythm does not add a unique element to the passage, both composers choose to

eliminate the original tuba material.

32

CHAPTER 7

CONCLUSION

Linckelmann’s choices for reorganization, reduction, and elimination closely align with

those of Brahms. The primary differences between the arrangements can be attributed to

Brahms’s focus on providing the original vocal parts and Linckelmann’s focus on retaining the

original orchestral timbre.

The process of creating an arrangement begins with reorganizing existing material, so

both Brahms and Linckelmann use this technique extensively. In their arrangements, the original

harp material takes precedence in the first and seventh movements. At the end of these

movements, Linckelmann utilizes several string and woodwind instruments to play the original

material. In a similar fashion, Brahms devotes an entire piano part to just the original harp

material at the end of these movements. In both of the arrangement, the original string material

is presented in a manner similar to the original score with minimal instances of reduction or

elimination. To achieve this effect, Linckelmann must reorganize three cello parts for the first

movement and two violin 2 parts and three viola parts for the second movement. He keeps a

majority of the reorganization within the string quartet, using woodwinds and the horn on limited

occasions. Likewise, Brahms reorganizes large segments of the original string material and rarely

reduces or eliminates portions. Due to the great number of woodwind and brass instruments

included in the original score, these sections require vast amounts of reorganization. Even with

this reorganization, Brahms and Linckelmann must rely on the other two techniques to arrange

properly this original material.

33

One unique aspect of Brahms’s arrangement requires him to reorganize and reduce more

of the original score than Linckelmann. Brahms’s four-hand reduction is a complete work for two

pianos. The arrangement was not created as an accompaniment score.19 Therefore, Brahms

must also incorporate the original vocal material into his arrangement. Linckelmann does not

have this challenge, since the vocal parts are presented without alternation from their original

state. In the original score, the vocal lines are commonly doubled by instruments. This allows

Brahms, in his arrangement, to reduce the two layers into one and limit the use of elimination.

Brahms and Linckelmann use the technique of reduction with much of the original harp

material and on occasions with the original string material. However, the full implementation of

this technique is best demonstrated in both arrangements by the treatment of the original

woodwind and brass material. In the original score, a majority of the woodwind and brass

material is played in octaves or multiple octaves. The flute is commonly paired with either

piccolo, oboes or clarinets. Trumpet parts are almost exclusively played an octave apart, and

they are often paired with the horns who also regularly play an octave apart. The common

occurrence of doubling in the original score allows Brahms and Linckelmann to reduce the

original material, but there is a significant difference in their treatment of reduction. Brahms

prefers to present the original vocal material without significant alteration. When instruments

play in octaves and double the vocal parts, Brahms typically keeps a reduction of this material in

the same register as the original vocal material. Linckelmann, having independent vocal parts,

normally chooses to reduce octave doublings that also double the vocal parts to the higher

19 Van Camp, A Practical Guide, 59.

34

octave. This procedure is most common when the original doubling includes the flute. A choice

to reduce the original material to the lower octave would change the overall orchestral timbre.

Brahms chooses to eliminate some portions of the original material for all instruments.

With the exception of the vocal parts and timpani, Linckelmann’s arrangement contains as many

eliminated sections as Brahms’s arrangement. For both composers, the eliminated material can

generally be described as background material or material presented by another instrument with

a different rhythmic pattern. It is rare in both arrangements, to find original pitch material that

is completely eliminated from the new score. A large portion of the original brass material

provides sustained chords with limited rhythmic interest. This material can be described as

background material and functions to complete an orchestral timbre and strengthen the overall

dynamic level. Since all orchestral timbre is removed in the four-hand reduction, Brahms tends

to eliminate this material on a more frequent basis than Linckelmann. In an effort to maintain

an orchestral timbre close to the original, Linckelmann typically favors reorganizing this material

for the horn.

For conductors, this study demonstrates that Linckelmann’s chamber version retains the

original musical integrity of the composer’s intentions. Whether a choir sings Ein deutsches

Requiem accompanied by an orchestra, a chamber ensemble, or two pianos, the experience

should be comparable for both the performer and the audience.

35

APPENDIX A

TRANSCRIPT OF INTERVIEW WITH JOACHIM LINCKELMANN

36

Q - You clearly state in the foreword of the work that the intention of the arrangement is to

make Brahms's Requiem more accessible. There are numerous major works that could

benefit from this process. How / why did you choose Brahms's Requiem?

A - There are roughly three major considerations for the choice of the respective work to be

arranged:

1. It should be beautiful music (this of course depends on personal taste)

2. It should be a well-known piece which has been performed already many times

3. The music and the orchestration of the original has to be "arrangeable [sic]" for the

chamber orchestra setting; e.g. it would not make much sense to arrange the Berlioz

Requiem for wind quintet and strings.

Usually 1) and 2) correlate pretty well, but not necessarily. In case of the Brahms Requiem

1) and 2) are perfectly matched, and 3) pretty well, with maybe the lack of the Harp as a

major challenge.

To the Brahms Requiem I have also a strong personal relationship, it was the first major

orchestra plus choir performance I participated (playing the cello at this time) when I was

12 years old. A choir conductor, a friend of mine, asked me whether I could imagine to do

such an arrangement, since he wanted perform the Brahms Requiem with his 40 singers

choir, opting first for the two piano version by Brahms himself. That was actually the main

trigger to start this series of Oratorio arrangements.

Q- As you arranged the work, what was your primary concern or focus?

A - The primary concern of course is the fear of not sounding like an orchestra, though I have to

37

admit that this concern disappeared very quickly. The main focus then is to produce a sound

as near as possible to the original orchestration.

Q - Prior to or during the arranging process, did you set parameters or rules for yourself?

A - This is actually the same as above: to try to "copy" the original instrumentation as close as

possible.

Q - How did you select the instrumentation?

A - The majority of my arrangements are for the classical instrumentation of a wind quintet

(you will find these arrangement at Bärenreiter, Schott, Sikorski and Edition Pocket

Orchestra; in case you need I can provide you with a list). Being a flute player and playing

wind quintet right from the beginning of my music studies I was interested to enlarge the

wind quintet repertoire with pieces I especially liked. This is also why I chose the wind

quintet as the wind/brass section of the chamber orchestra. You have five different

instruments, i.e. you get with a minimum of players a maximum of different sounds and

sound combinations. In some reviews about the Brahms arrangement I read that the Brass

sections had been removed, but this is simply not true, since a) the Horn is there and b) the

Horn is the most flexible of all brass instruments and can substitute very well several brass

instruments. The wind quintet is also a "fixed" group, that is there are many wind quintets

around which are playing together for a long time. This can help to find for a performance

an experienced group of musicians.

Q - And just for fun - Did any part of the arranging process cause you a lot more difficulty than

38

you could have predicted before you started?

A - There were certainly passages which caused me some headaches (like the use of the

Bassoon at the very beginning, or some Harp substitutions), but also I had the experience

that the whole thing went better than I first expected.

Harp

Q - The Harp plays such a significant role and requires considerable rearranging, did you ever

consider just including a Harp part?

A - Part of the idea of this arrangement (though certainly not the only one) is to reduce the

costs of a performance. A harp player can be more expensive as a string or wind player. It

would have been possible to include it, using ossia staves in the strings and winds for

performances with or without harp. I know also at least one choir conductor who simply

used the original harp part. Although some of the harp music is quite prominent, altogether

there is only very little music which is that important, namely a couple of measures in Nr 1

and 7. To answer your question: I decided from the very beginning not using a Harp.

Q - You mentioned in response to a prior question that you struggled with the Harp part. Would

you elaborate?

A - To replace a Horn by a Clarinet or a Trumpet by an Oboe is rather easy; to replace Harp

music is much more difficult due to the totally different sound production. A "pizz." in the

strings is the closest in attack, but doesn’t have nearly the same length of decay. A wind

instrument in contrast doesn’t have a decay at all.

Q - In movement 2, measures 3-73, you seem to go back and forth between attempting to

39

include elements of the original harp material in the Violin 1, Violin 2, and Clarinet, and

Bassoon and eliminating the original harp material completely. Can you explain your

orchestration techniques in regards to the harp in a dense texture?

A - I think the most important role of the harp in these passages is the rhythmical structure (in

contrast to say the end of Nr. 1, where the pitches are as important). Example for my

orchestration technique: in measures 3-10 the rhythm part of the harp is covered by the

Horn (also in the original); since in bar 22 the Horn starts to play the Trombone it can’t play

anymore those notes, hence the Bassoon helps here.

Strings

Q - In movement 1, the primary role of the Cello 3 part in the original score (OS) is to either

double the bass one octave higher or to play the same pitch as the bass. For a large portion

of the movement, you chose to eliminate the cello 3 doubling. Did you consider just

eliminating it all together?

A - The arrangement was set up with the idea that you can play it with single string players;

most of the performances will be played with bigger string sections though, e.g. 4.3.3.2.1. If

I had made the arrangement with the demand of such a group I possibly would have chosen

a different arrangement in Nr. 1; e.g. the Bassoon would not play the Cello 2 part at the

beginning, instead you would have 2 Cellos playing divisi. There was no specific

consideration to eliminate the Cello 3 doubling altogether. Since there are Violins in the

arrangement who can play the Viola part, this frees the Viola to play the upper Vc line,

40

which frees the Vc to double the Bass where possible. To have a full bass sound helps to

create an orchestral sound.

Q - In movement 1, measures 47-51 (and 80-83), you elected to use the original higher Cello 3

pitch material and eliminate the lower Bass octave. Why did you make that decision?

A - This is to have the narrow voicing of the string chords at this moment. Possibly this produces

a more compact and homogeneous sound. Also a change in using which of the octave (Vc

or Cb) is being used produces a bigger variety of sounds within one piece.

Q - In movement 2, measures 22-33, you integrate the original material for the 3 Violas into the

Violin I, Violin II, and Viola. However, the original Viola parts do not stay consistently with

the same instrument. The change to a different instrument occurs on the third beats of m.

24, 26, and 28. Why the change?

A - The change of voices on beat 3 of measure 24 is possibly to give the rhythmically prominent

part to the Viola in order to produce more of a Viola sound. 26 is logically then again the top

voice, having also the dotted rhythm. The change in bar 28 is obvious, those notes would be

too low for the Violins.

Q - In movement 2, measures 54-62 (and 178-186) are some of the most different string part

writing for the entire work. In my notes from my analysis of the Violin 1 part, I summarize

the change: “In this passage, Linckelmann combines a variety of original pitch and rhythmic

material to create a new layer. The Violin 1 provides portions of the Viola 3, Harp, and Horn

original material.” Can you explain in more detail your intent for these measures for the

string parts?

A - I think this is mainly to integrate the harp music, especially the rhythmic pattern of the

41

harp. The voice switches between Violin I and II on the respective second eighth note

supports the emulation of an additional instrument.

Q - In movement 3, measures 173-208, I believe the instructions are telling the Bass to play the

lower pitch. Can you further explain what these instructions mean?

A - It depends which kind of instrument you have. A standard Double Bass with four strings and

the standard tuning couldn’t play the low d; a five string Bass can play it. The instruction

says that if you have a five string bass you should play the lower d. In the OS in bar 159

there is an instruction that "some DB player should change the tuning of the E string down

to D". This is hard to achieve if you have only one player ;-)

Q - In movement 4, measure 3, in OS, the Bass a single Bb quarter note. In CS, this pitch has

been eliminated. Is this a mistake?

A - This is certainly a mistake and has already been corrected. So future copies of the score and

the parts will have this correct.

Q - In movement 5, measures 1-2, 16-18, 28-32, and 39-43, in OS, the Bass doubles the Cello at

the octave. In CS, the Bass part is eliminated removing the doubling. Why did you make this

decision?

A - This is to create a more intimate and chamber music like sound as an accompaniment with

the Soprano solo.

Q - In movement 6, measure 174, the original score has the Cello and Bass on the same

pitch. In CS, you have dropped the Bass down one octave. Why did you choose to drop the

Bass down an octave for this one measure?

A - Maybe hoping that the Bass player would have a five string instrument; Brahms certainly

42

would have chosen the same octave if the low d had been available. Whether this qualifies

as a mistake I don’t dare to say. The music "should" be at this octave.

Q - In movement 6, measures 215-223, you have chosen not to double the Cello with the Bass

an octave lower. Why did you choose to do this?

A - In order to have more increasing potential. You get a better dramaturgy if you keep

something in reserve, especially if you have a long fugue.

Woodwind

Q - In movement 2, m. 2-6, you create a new Oboe part from the original Oboe 1 & 2

parts. What guides you in choosing which pitch from the original Oboe part to include?

A - The harmonies. I need to get all (or most) notes from the respective chord. That’s why the

Oboe switches here between Oboe I and II. E.g. in bar 3 on the 2nd beat, if the Oboe

wouldn’t go to the Bb it would simply double Piccolo and Clarinet instead of playing an

additional pitch for the chord. On beat 3 it goes back to the C, since the A natural is already

in the Violin II, etc. This is a rather typical procedure; you just have to make sure that the

movement up and down doesn’t sound too intrusive, which is here not the case, since it is

well squeezed between Piccolo and Clarinet, and the interval amplitude is not too big.

Q - In movement 3, m. 37-40, you write the Bassoon 2 original material for Bassoon but one

octave higher. This is not your standard practice. Why did you choose to do so here?

A - I consider this the better voicing for this chord. You find these very pitches in Horn 3. The

lower octave you have already in Vc in Cb. I.e. choosing the Bassoon 2 notes would omit an

octave layer. Wouldn’t sound as good.

43

Q - In movement 6, m. 182-183, the Flute plays the original Clarinet 1 material, but one octave

lower. Why did you decide to write it an octave lower than the original?

A - Both m. 182-183 and 188-189 are set entirely an octave lower, i.e. the upper voice is in the

Oboe, that’s why also the Flute (as Clarinet 2) plays an octave lower. I put these passages

an octave lower (giving the Oboe the top voice) in order to achieve a stronger contrast to

the following chords with the high Flute notes.

Q - In movement 6, m. 269-274, the Flute 1 doubles the Oboe 1 one octave higher in the original

score. In your chamber score, you have reduced this to only the Oboe, but the Flute is not

playing any other material. Why not leave the original Flute doubling?

A - Again, to get more increasing and contrasting potential over these very long fugue

passages. If you let play all the instruments all the time, it will sound boring. You have to

consider that there are five wind players which play for 19 instruments. If then in the OS is a

passage with only two or three instruments you don’t have to have necessarily the same

number of players in the arrangement. So the omission of the Flute emulates the sparse

instrumentation of the OS.

Q - In movement 7, m. 31-34, you choose to eliminate both the Bassoon 1 material. While the

original material is played by other instruments, normally you only eliminate original

material when an instrument must play another part. The Bassoon does not play for these

measures. Why the elimination here?

A - To thin out the instrumentation and to upvalue the entrance of the Bassoon in m. 36.

Besides, the Bassoon player will appreciate the rest.

44

Brass

Q - The Horn takes on a new role in this arrangement. It covers a variety of original material

from a wide range of instruments. Were you ever concerned that the Horn part may

become too difficult? (Stamina issues are my main concern)

A - The Horn is such an flexible instrument with a huge range. If you have one brass

instrument, it certainly has to be a Horn. An additional brass instrument (a trumpet or a

trombone) would produce in my view a heavy misbalance with the rest of the ensemble. Or

you could use it only for few passages, "wasting" a lot of money in extra players which

might be better spent on better soloists. If there was a problem with the Horn part, it

would be a stamina issue, you are absolutely right. In fact the opposite happens: a Horn

player usually is happy with this kind of challenge and more music to play!

Q - Throughout the first movement, any time there was a doubling between Horn 1 & 2 an

octave apart, you chose to eliminate the lower octave. What is guiding your decision as to

which octave to place the Horn part?

A - Looking at the beginning of Nr 1 the answer is easy: the lower octave is already covered by

the DB (sounding still an octave lower), and you could not omit the upper voice. Absolutely

impossible here.

Q - However, starting in the second movement, you start to eliminate the higher octave just as

frequently. What is guiding your decision as to which octave to place the Horn part?

A - In Nr. 2, the Horn starts to play in bar 3 the upper voice; in OS the Horns 1 and 2 are in "low

B flat", i.e. they sound a major ninth lower than written. (Same applies to Horns 3 and 4,

they sound an octave lower than written).

45

Q - The original Horn 1 & 2 material seems to take precedence over all other original brass

material. It may seem this way just because a large percentage of brass material is doubled

throughout multiple instruments. Did you prioritize which original brass material was

included? If so, how?

A - I guess you have (very generally) to distinguish between "filling material" and mandatory

melodical material. E.g. you can omit a Trumpet at the beginning of Nr 2 (being covered and

Oboe and Horn), but of course you cannot omit a Trombone choral in Nr 7 (bars 40 et seq.).

Q - In movement 7, m. 163-165, the original horn material is eliminated (doubled in other

parts), and the horn is not given a part. Why not allow them to play their original material?

A - This is again a question of "dramaturgy". In the final chord there are the Trombones as an

extra sound. If I had the Horn playing the preceding bars there would be no change in sound

for the final chord. And this change in sound with the extra brass sound I considered more

important than adding the original Horn notes to a passage which is anyway to be played

very softly.

Misc. Questions

Q - Am I correct that the voice parts remain 100% unchanged?

A - Yes, this is correct (except for possible errors …).

Q - Did you ever consider adding either the Contrabassoon or Organ parts?

A - No, never. The Bassoon player always needs to play on the standard instrument, covering

for several other instruments, while you have a Double Bass for the lower octave notes. The

Organ I don’t like at all; beside that a typical Organ in a church is usually to flat in the

46

general tuning compared to modern instruments, the main reason for me to omit the Organ

is the fact that it has well-tempered tuning, while with a choir and the other instruments

you can produce pure intonation, which is what you actually want. So in my ears the Organ

would destroy the sound of a well-tuned chord with pure intonation. But of course you are

free to use the original Organ part for a performance if you prefer that.

Q - Do you have general guidelines for reorganization? Or standard instruments that should

play the original material of another instrument?

A - I don’t have a "fixed" system or guidelines to follow strictly. Reorganization works in

general like this: if possible, use the original instrument. To replace an instrument of the OS

which is not present in the arrangement, use a sound which is the closest possible. E.g. to

replace a brass instrument, try to use the Horn. The Oboe can be good for a Trumpet etc.

Don’t put each instrument always in it’s main register. E.g. a line of two Oboes is played by

the Oboe in the upper voice and the Flute in the lower voice, although the Flute can play

higher. The upper instrument of a passage should be the original or closest to the original

sound. When you look e.g. to Nr 7, m. 40 et seq.: there is this Trombone choral in the OS; in

the arrangement this translates to playing the Horn (as the only Brass instrument) the top

voice, "although" the Flute would be the higher instrument. But giving the Flute the top

voice here would produce a sound much farther from the original (and also creating a

dynamic misbalance).

Q - Do you have general guidelines for using reduction?

A - To find a good balance of trying to go as close as possible to the original and avoiding to let

47

play all instruments all the time, which a) will sound boring and b) will exhaust the players

(and the audience). At the same time you have to look for very typical sound combinations

in the OS, whether sometimes it is more important to keep e.f. Flute and Clarinet playing in

unison although it would not be "necessary". This depends very much of the kind of music,

on a composer’s typical sound etc.

Q - Do you have general guidelines for using elimination?

A - There is certainly an intersection to reduction. Once you want or you have to reduce that

far that you have to leave out pitches, you will follow some general principles like

eliminating the fifth in a triad, or the fifth or the third in a seventh chord, depending on the

context.

Q - Do you favor one technique over another?

A - I cant’ say this, they go hand in hand. I don’t have a set of rules laying next to my working

place.

––––––

I very much hope these answer can help you for your paper.

Best wishes,

Joachim Linckelmann

48

APPENDIX B

LIST OF REORGANIZATION BY INSTRUMENT

49

Linckelmann Instrumentation Typically Reorganized to Play Original May Also Play Original

Piccolo/Flute Clarinet 1,2 / Oboe 1,2 / Horn Harp, Trombone

Oboe Piccolo / Flute 1, 2 / Clarinet 1, 2 / Horn 1 / Trumpet 1,2 Trombone

Clarinet Piccolo / Flute 2 / Bassoon 1, 2 / Horn 1,2,3,4 / Trumpet 1,2 / Trombone 1 Harp, Violin 2, Viola

Bassoon Horn 1,2 / Trombone 1,2,3 / Tuba Horn Horn 2,3,4 / Trombone 1,2 / Bassoon 1 Cello Voices N/A N/A Timpani N/A N/A Violin I Viola 1,2 / Flute Clarinet, Cello, Harp, Horn Violin II Viola 1,2 / Cello 1,2 Viola I Cello 1,2 / Violin 2 (2) / Viola 2,3 Horn, Harp Cello Cello 2,3 / Viola 1,2,3 / Tuba Horn, Bassoon, Harp Bass Cello 1,2,3 / Bassoon 1,2 Tuba

50

APPENDIX C

SCORE MARKING GUIDE

51

Each instrument in the original score was marked with one of the following colors. The

corresponding pitch and rhythmic material was identified in the chamber version and assigned

the same color.

1. Piccolo – Yellow

2. Flute 1 – Burgundy

3. Flute 2 – Green

4. Oboe 1 – Purple

5. Oboe 2 – Magenta

6. Clarinet 1 – Yellow Green

7. Clarinet 2 – Gold

8. Bassoon 1 – Light Gray

9. Bassoon 2 – Yellow Orange

10. Horn 1 – Yellow Green

11. Horn 2 – Peach

12. Horn 3 – Earth

13. Horn 4 – Scarlet Red

14. Trombone 1 – Brown

15. Trombone 2 – Orange Red

16. Trombone 3 – Light Brown

17. Tuba – Forest Green

18. Timpani – Mahogany

52

19. Harp – Baby Blue

20. Violin 1 – Light Orange

21. Violin 2 – Gray

22. Violin 2 (2) – Sky Blue

23. Viola 1 – Jade Green

24. Viola 2 – Pink

25. Viola 3 - Turquoise

26. Cello 1 – Golden Yellow

27. Cello 2 – Sky Blue

28. Cello 3 – Turquoise

29. Bass - Orange

53

APPENDIX D

LIST OF CHANGES BY INSTRUMENT

54

Each change from the original score is indicated in this chart. The following abbreviations have been used: OS = Original Score / BR = Brahms’s Reduction / CS = Chamber Score. Relevance is assigned by author on a subjective basis. Most instances of reorganization are labeled “Insignificant.” Most instances of reduction and elimination are labeled “Minimally Significant.” The phrase “no significant difference” when used in the Brahms’s reduction notes, indicates that the material appears as it does in the original score (but reorganized for piano).

Piccolo

Measures Chamber Ensemble Notes Classification / Relevance Brahms Reduction Notes

Mvt. 1 TACET Mvt. 2 m. 15-21 / m. 139-145

In OS, the original Piccolo material doubled the Oboe one octave higher. In CS, this has been reduced to the lower octave (Oboe).

Reduction Insignificant No significant difference - keeps upper octave

m. 54-58 / m. 178-182

In CS, the original Piccolo material is played by the Flute.

Reorganize Insignificant

Mvt. 3 TACET Mvt. 4 TACET Mvt. 5 TACET Mvt. 6 m. 32-34 In OS, the original Piccolo material

doubled the Clarinet. In CS, this has been reduced only the Clarinet.

Reduction Insignificant Pitch material is present in a slightly different rhythm.

m. 42-45 In CS, the original Piccolo material is played by the Flute.


m. 58-59 (beat 3)

In OS, the original Piccolo material doubled the Flute one octave higher. In CS, this has been reduced to the Flute at the lower octave.

Reduction Minimally Significant

Similar Reduction in BR

m. 59 (beat 4) - m. 61 (beat 1)

In CS, the Piccolo original material is played/doubled by the Flute.

Reorganize Insignificant Difference - Linckelmann plays the higher octave of the Flute 1/Piccolo. Brahms plays the lower octave of the Flute 2. - INSIGNIFICANT

m. 75-78 In OS, the Piccolo doubles the Oboe one octave higher. In CS, this is reduced to the Oboe at the lower octave. The final pitch of G5 is played by the Flute in the correct octave. This reduction changes the top sounding pitch.


No significant difference- keeps Piccolo as the top sounding instrument/pitch

m. 82-108 In CS, the Piccolo original material is played/doubled by the Flute.


55

m. 116-136 In CS, the Piccolo original material is played by the Flute. M. 120 is played at the lower octave.


m. 137-150 (beat 1)

In OS, the Piccolo doubled the Flute one octave higher. In CS, this has been reduced to the Flute at the lower octave.

Reduction Insignificant

m. 151-160 In OS, the Piccolo original material closely mirrors the both of the Horn parts. In CS, the original Piccolo material is eliminated/reduced to the original Horn part which is partially played by the Clarinet.

Reduction / Reorganization

/ Elimination

Minimally Significant

A majority of the original Piccolo material is retained at the correct octave. There is not one particular part the plays the original material, and the rhythms have changed slightly.

m. 168-170 In CS, the Piccolo original material is played by the Oboe one octave lower.


m. 178-186 In CS, the Piccolo original material is played by the Flute.


m. 190-193 In CS, the Piccolo original material is played two octaves lower by the Oboe. The final note of m. 191 is omitted. Then, m. 192-193 is played at original pitch by the Flute.

Reorganize Insignificant DIFFERENCE - In BR, the original Piccolo material is eliminated. The pitch material is retained but with a different rhythm and at a different octave.



Mvt. 7 TACET

Flute 1


Mvt. 1 m. 53-55 (beat 2)

In CS, the original Oboe 2 material is played by the Flute.

Reorganize Insignificant No significant difference.

m. 119-124 In OS, the Flute 1 doubles the Oboe 1. In CS, this has been reduced to only the Oboe.

Reduction Insignificant No significant difference.

m. 119-124 In OS, the Flute 2 doubles the Oboe 2. In CS, this has been reduced to only the Flute.


m. 151-153 In the CS, the Flute plays the original Harp material


m. 157 In the CS, the Flute plays only the first beat of the original Flute 1 material. Then, it plays the original Harp material for beats 2-4 of m. 157.

Elimination Minimally Significant

No significant difference.

Mvt. 2

56

m. 2-6 (beat 2)

In OS, the Violin 2 part doubles the Flute part and the Viola 1 part one octave higher. In CS, this has been reduced to only the Violin 2.



m. 6 (beat 3) - m. 9 (beat 1)

In CS, the original Flute 1 material is played/doubled by the Violin I and Oboe.


m. 22-24 (beat 2)

In CS, the original Flute 1 material is played by the Violin 1 one octave lower.


m. 24 (beat 3)

In CS, the original Flute 1 material is played/doubled by the Viola one octave lower.


m. 25 (beat 1)

In CS, the original Flute 1 material is eliminated. This pitch material is not provided by another instrument.



m. 25 (beat 2) - 26 (beat 2)

In CS, the original Flute 1 material is played by the Violin 1.


m. 26 (beat 3) - 29 (beat 1)

In CS, the original Flute 1 material is played/doubled by the Oboe.


m. 35-41 In CS, the original Flute 1 material is played by the Violin 1.

Reorganize Insignificant Elimination - In BR, the original Flute 1 material is eliminated. The original pitch material is occasionally present in other instruments but not at the same octave.

m. 52 (beat 3) -54 (beat 2)

In CS, the original Flute 1 material is eliminated. The Oboe plays the same pitch content but with added content on the second beat.


Similar Elimination in BR - Brahms's treatment of this content is identical to Linckelmann

m. 54 (beat 3) - 55

In CS, the original Flute 1 material is played/doubled by the Clarinet 1.


m. 56-58 (beat 2)

In CS, the original Flute 1 material is eliminated. The pitch material is provided by a variety of other instruments.


Similar Elimination in BR - Several of the original pitches remain, but most provided at a different register.

m. 58 (beat 3) -60 (beat 2)

In CS, the original Flute 1 material is doubled/played by the Oboe 1.



Reorganize Minimally Significant


m. 60 (beat 3) - 61 (beat 1)

In CS, the Flute plays the original Clarinet 1 material.


m. 65-66 In CS, the original Flute 1 material is played by the Clarinet.


57

m. 67-73 In OS, the Piccolo doubles the Flute 1 one octave higher. In CS, this has been reduced to only the Piccolo at the higher octave.


m. 126-130 (beat 2)

In CS, the original Flute 1 material is doubled/played by the Violin 2.


m. 130 (beat 3) - 133 (beat 1)

In CS, the original Flute 1 material is played by the Oboe.


m. 146-148 (beat 2)

In CS, the original Flute 1 material is played by the Violin 1 one octave lower.


m. 148 (beat 3)



m. 149 (beat 1)

In CS, the original Flute 1 material is eliminated. This pitch material is not provided by another instrument.



m. 149 (beat 2) - 150 (beat 2)

In CS, the original Flute 1 material is played by the Violin 1.


m. 150 (beat 3) - 153 (beat 1)



m. 159-165 In CS, the original Flute 1 material is played by the Violin 1.


m. 174 (beat 3) - 176 (beat 2)

In CS, the Flute plays the original Clarinet 1 material. This material is similar to the original Flute 1 material, but contains one additional pitch on the second beat. The original second beat from the Flute 1 is eliminated.

Reorganize /

Elimination



m. 176 (beat 3) -178 (beat 2)

In CS, the original Flute 1 material is eliminated. The Oboe plays the same pitch content but with added content on the second beat.


Similar Elimination in BR - Brahms's treatment of this content is identical to Linckelmann




m. 178 (beat 3) - 179

In CS, the original Flute 1 material is played/doubled by the Clarinet 1.


m. 180-182 (beat 2)

In CS, the original Flute 1 material is eliminated. The pitch material is provided by a variety of other instruments.


Similar Elimination in BR - Several of the original pitches remain, but most provided at a different register.

m. 182 (beat 3) -184 (beat 2)

In CS, the original Flute 1 material is doubled/played by the Oboe 1.


m. 184 (beat 3) - 185 (beat 1)



58



m. 191-197 In OS, the Piccolo doubles the Flute 1 one octave higher. In CS, this has been reduced to only the Piccolo at the higher octave.


m. 212-213 In CS, the Flute plays the original Clarinet 2 material.


m. 214-218 In CS, the Flute plays the original Clarinet material (1 &2)


m. 236-237 In CS, the Flute plays the original Oboe 2 material.




m. 259-260 In CS, the Flute plays the original Trombone 1 material.


m. 320-322 In CS, the Flute plays the original Violin 2 (2nd part)


Mvt. 3 m. 77 (beat 4) - 84

In CS, the original Horn 1 material is played by the Flute.


m. 86 (beats 3-4)

In CS, the Flute plays the original Clarinet 1 material one octave higher.


m. 86 (beats 3-4)

In CS, the original Flute 1 material is played/doubled by the Clarinet one octave lower.


m. 93-94 In CS, the original Flute 1 material is played/doubled by the Oboe.




m. 108 In CS, the Flute doubles the Oboe 1 material one octave higher.

New Material


Same new doubling in BR!

m. 113 (beats 2-3)



m. 130-131 In CS, the original Flute material is doubled/played by the Oboe.


m. 130-131 (beat 3)

In CS, the original Clarinet 2 material is played by the Flute.


m. 131 (beat 4)

In CS, the original Clarinet 1 material is played by the Flute for this one beat.


m. 138-139 In OS, the Flute 1 doubles the Oboe 1 one octave higher. In CS, this has been reduced to the Oboe at the lower octave.



m. 142 (beat 1)

In CS, the Flute plays the original Flute 2 material. The original Flute 1 material is doubled/played by the Oboe.


m. 165-169 In CS, the original Horn 1 material is played by the Flute.


59

m. 170 In CS, the original Oboe 1 material is played by the Flute




m. 185-187 (beat 2)



m. 196 (beat 2) - 197 (beat 1)



m. 199 (beat 3&4)



m. 201 (beat 4)-202

In OS, on the second half of the fourth beat the Flute 1,2 and Oboe 1,2 divide. In CS, the Flute plays the original Flute 1 and Oboe 1 at the upper octave. The Oboe plays the original Flute 2 and Oboe 2 also at the upper octave.

Reorganize /

Reduction


DIFFERENCE - Brahms plays the upper portion of the divisi at the lower octave (Oboe) and eliminates the Flute 2 / Oboe 2 pattern. The pitches are still present but with a different rhythm.

Mvt. 4 m. 7-11 In CS, the Flute plays the original

Clarinet 2 material. Reorganize Insignificant

m. 17-21 In CS, the Flute plays the original Clarinet 2 material. The final pitch in m. 21, is doubled/played by the Horn.


m. 47-48 In OS, the Flute 1 doubles the Oboe 1 one octave higher. In CS, this has been reduced to the Flute at the higher octave.

Reduction /

Reorganize


DIFFERENCE - Brahms provides these pitches but a full octave/two octaves lower as part of the voice layer. Essentially, the Flute and Oboe parts are eliminated.

m. 59-62 (beat 1)

In OS, the Flute 1 and Clarinet 1 double each other at the octave. In CS, this is reduced to only the Flute playing at the higher octave.

Reduction /

Reorganize


Similar Reduction in BR - Brahms chooses to reduce to the original Clarinet register.





m. 102-104 In CS, the Flute plays the original Clarinet 2 material. The fourth beat of m. 103 has been changed.


m. 160-162 (beat 2)

In OS, the Flute 1 doubles the Oboe 1 one octave higher. In CS, this doubling is removed and only the Oboe plays the material.



m. 173 (beat 2) - 174 (beat 1)



m. 174 (beat 2) – 175

In CS, the Flute plays the original Horn 1 material. This is also a doubling of the Oboe 1 material one octave lower.


60

Mvt. 5 m. 5 In CS, the Flute 1 original material

(whole note C5) is eliminated. The Flute plays the original Flute 2 material. The pitch of C5 is replayed by the Oboe, but not held.



m. 6-7 In CS, the original Clarinet 1 material is incorporated partially into the Clarinet and Flute parts. The pitch content is present but the rhythms are not sustained.

Elimination /

Reduction


Elimination - Brahms eliminates the original Clarinet 2 material in m. 6 and portions of the original Flute 1 material in m. 7 in order to provide the Clarinet part.

m. 9 - 10 (beat 1)

In CS, the original Clarinet 2 part is played by the Flute.


m. 14-16 In OS, the Bassoon 1, Clarinet 1, and Flute 1 play the same pitch material in octaves. In CS, this has been reduced to only the Flute 1 at the higher octave.


Similar Reduction in BR - Brahms reduces this material to the bottom two octaves as opposed to the top octave as in CS.

m. 27-28 In OS, the Bassoon 1&2, Clarinet 1&2, and Flute 1&2 play the same pitch material in octaves. In CS, this has been reduced to the Flute, Clarinet, Bassoon.


No significant difference

m. 37 In OS, the Bassoon 1 doubles the Flute 1 one octave lower. In CS, the lower octave is removed and the Oboe plays the original pitch material of the Flute 1.

Reduction /

Reorganize



m. 37 In CS, the Flute plays the original Clarinet material.


m. 38-39 In CS, the Flute plays the original Clarinet 1 material and the Oboe plays the original Clarinet 2 material. On the second of beat 2 in m. 39, they switch.


m. 49-50 In CS, the original Flute 1 material is played one octave lower by the Bassoon. The Flute plays the original Flute 2 material for m. 49 and the original Clarinet 1 material for m. 50.


m. 60-62 In OS, the Bassoon 1, Clarinet 1, and Flute 1 play the same pitch material in octaves. In CS, this has been reduced to only the Flute and Clarinet in octaves.





Similar Reduction in BR - In CS, Linckelmann chooses to reduce to the upper two octaves. In BR, Brahms chooses to reduce to the bottom two octaves.

Mvt. 6 m. 20-22 (beat 1)



61

m. 22 In CS, the Flute plays the original Oboe 2 material. The final note (downbeat of m. 23) is doubled/played by the Bassoon one octave lower.


m. 116-118 In OS, the Flute 1, Oboe 2, and Clarinet 2 all play the same pitch material in three octaves. In CS, this has been reduced to only the Clarinet in the middle octave.

Reduction Significant No significant difference.

m. 116-118 In CS, the Flute plays the original Piccolo material.


m. 120-121 In OS, several instruments have the pitch of C (Flute 1, Oboe 2, and Horn 1 &2) over multiple octaves. In CS, this pitch material is played by the Cello.

Reorganize /

Reduction





m. 122-123 In OS, the Flute 1, Oboe 2, and Clarinet 1, Horn 4, and Trombone 2 all play the same pitch material in three octaves. In CS, this has been reduced to only the Clarinet in the middle octave.


m. 124 & 125 (beat 3)

In CS, the Flute plays the original Piccolo pitch material on the third beat. The original Flute pitch material is provided in other instruments.


m. 147 In OS, the Flute/Piccolo have the rhythm of half note followed by quarter note. In CS, this has been changed to three quarter notes, and the middle pitch plays the original Horn 1&2 and Trombone 3 pitch.


m. 178-180 In OS, the Flute 1 doubles the Clarinet 1 one octave higher. In CS, this has been reduced to only the Clarinet at the lower octave.

Reduction Insignificant In BR, the same pitch material is present but another octave lower than the original Clarinet 1.

m. 182 In OS, the Flute 1 doubles the Oboe 1 one octave higher. In CS, this has been reduced to only the Oboe at the lower octave.


m. 182-183 In CS, the Flute plays the original Clarinet 1 one octave lower. WHY is this pitched lower? The original Flute material for m. 183 doubles the Clarinet 1 material. However, this is now two octaves lower than original.





m. 184-186 In OS, the Flute 1, Oboe 2, Clarinet 1, and Bassoon 1 all play the same pitch material in three octaves. In CS, this has been reduced to only the Clarinet in the middle octave.



62

m. 188-189 In OS, the Flute 1, Oboe 1, and Clarinet 1 all play the same pitch material in two octaves. In CS, this has been reduced to only the Oboe at the lower octave.





m. 194-195 In OS, the Flute 1, Bassoon 1, Trombone 3, and Tuba all play the same pitch material over four octaves. In CS, this has been reduced to only the Bassoon at the lowest octave.





m. 203 In CS, the original Flute material is doubled/played by the Clarinet two octaves lower.


m. 204-208 In OS, the Flute 1, Clarinet 1, Bassoon 1, Trumpet 1, and Horn 4 all play the same pitch material over three octaves. In CS, this has been reduced to only the Oboe in the middle octave.



m. 246 (beat 2) -247



m. 269-274 In OS, the Oboe 1 doubles the Flute 1 one octave lower. In CS, this has been reduced to only the Oboe at the lower octave.



m. 291-292 (beat 2)

In CS, the Flute plays the original Clarinet 2 and Bassoon 2.


m. 305-306 In OS, the Flute 1&2 and Oboe 1&2 all play the same pitch. In CS, the Oboe plays this material.


m. 316 In OS, the Clarinet 1, Horn 1, and Horn 4 all play the same pitch material. This material is played by the Flute.


m. 317 In OS, the Bassoon 1 and the Horn 3 play the same pitch material. This material is played by the Flute.


m. 318-319 In OS, the Clarinet 2 and Bassoon 2 play the same pitch material. This material is played by the Flute.





Bassoon 1 material. Reorganize Insignificant





63



m. 66-67 In CS, the Flute plays the original Horn 3 material.




m. 81-83 In CS, the Flute plays the original Trombone 1 material. The final pitch (downbeat of 84) is played by the Clarinet 1 one octave higher.


m. 84-85 (beat 3)

In CS, the Flute plays the Clarinet 2 material.


m. 113 In CS, the Flute plays the Clarinet 1 material.


m. 131 In CS, the Flute plays the Clarinet 1 pitch material. The rhythm is slightly different because the Flute plays its original material on the first beat.


m. 143 (beats 1-3)

In CS, the Flute plays the Clarinet 2 pitch material. The rhythm is slightly different because the Flute plays its original material on the fourth beat.


m. 159 (beat 4) - 160

In the CS, the Flute plays the original Harp material


m. 165 In the CS, the Flute plays only the first beat of the original Flute 1 material. Then, it plays the original Harp material for beats 2-4 of m. 157.



Flute 2


Mvt. 1 m. 30-31 In OS, the Viola 2 part doubles the

Flute 2 part one octave lower. In CS, the Violin 1 plays the original Viola 2 part and the Flute doubling is removed.

Reorganize / Reduction

Insignificant

m. 32-33 In OS, the Flute 2 doubles the Viola 1. In CS, this has been reduced to only the Viola.


m. 34-37 In CS, the original Flute 2 part is eliminated. All original pitch material and rhythm has been provided by other instruments in a variety of registers.



m. 39-42 / 129-132

In CS, the original Flute 2 is played by the Clarinet. Beats 1-2 of m. 40 have been eliminated, and the remainder is played one octave lower.

Reorganize Insignificant Similar portions of the original material have been eliminated in BR.

64

m. 45-47 In CS, the original Flute 2 is played by the Horn one octave lower.


m. 57-60 / 90-93

In CS, the original Flute 2 part is eliminated. All original pitch material and rhythm has been provided by other instruments in a variety of registers.


Similar Elimination in BR

m. 65 (beat 3) - 66

In CS, the Violin 2 plays the original Flute 2 material.


m. 80-83 In CS, the Flute 2 original material is played by the Clarinet


m. 86-88 In CS, the original Flute 2 material is played/doubled by the Oboe one octave lower.


m. 106 -109 (beat 2)

In CS, Linckelmann composes new material for the Clarinet and Oboe. This material is comprised of portion of the original Oboe 1, 2, and Flute 2 material. Pitches not provided in new parts are covered by the Horn part.



m. 106-107 In CS, the original Flute 2 part is eliminated. All original pitch material and rhythm has been provided by other instruments.


No significant difference. Portions of the rhythm are slightly different.

m. 108-109 (beat 2)



m. 115 (beats 2-3)



m. 115 (beat 4) - 117







m. 136-142 In CS, the original Flute 2 material is played/doubled by the Clarinet one octave lower.


m. 148-150 (beat 2)



m. 150 (beat 3) - 151



m. 155-156 & 158



m. 157 In CS, the original Flute 2 material is played/doubled by the Horn two octaves lower.


65

Mvt. 2 m. 2-9 / 126-133

In CS, the Flute 2 original material is eliminated. A majority of the original material is present in other instruments but with a different rhythm.



m. 13-21 / 137-145

In CS, the original Flute 2 material is played/doubled by the Clarinet. The original material is eliminated for beats 2-3 of m. 19/143 and beat 1 of m. 20/144.


m. 22-26 (beat 2) / 146-150




m. 26 (beat 3) - 28 (beat 1) / 150-152

In CS, the original Flute 2 material is played/doubled by the Clarinet.


m. 28 (beat 2) - 29 (beat 1) / 152-153



m. 33-34 / 157-158



m. 35-41 / 159-165



m. 42-52 (beat 2) / 166-176



m. 48 (beat 3) - 49 (beat 2)

In CS, the Clarinet plays the original Flute 2 material.


m. 54 (beat 3) - 58 (beat 2) / 178-182



Similar Elimination in BR - Over half of the original material is eliminated. Portions remain.

m. 65 (beat 3) - 66 / 189-190



m. 82 (beat 3) - 90

In CS, the original Flute 2 material is played by the Clarinet.


m. 198-200 In CS, the original Flute 2 material is played by the Clarinet one octave lower.




66

m. 204 In CS, the original Flute 2 material is played/doubled by the Oboe.


m. 205-206 In CS, the Oboe plays the original Flute 2 material at the higher octave. This is also a doubling for the Bassoon 1 part two octaves higher.


m. 219-225 (beat 1)

In OS, the Flute 2 doubles the Oboe 2 one octave higher. In CS, this has been reduced to the Oboe at the lower octave.


Similar Reduction - In BR, Brahms reduces this to the higher octave.

m. 225 (beat 3) - 226



m. 227-231 In CS, the Flute 2 original material is eliminated. A majority of the original material is present in other instruments but with a different rhythm.


In BR, this material is played by the left hand of Piano 2 two octaves lower than original.

m. 253 In CS, the original Flute 2 material is played/doubled by the Clarinet.




m. 271 In CS, the original Flute 2 material is played/doubled by the Clarinet.


m. 272-275 In CS, the Flute 2 original material is eliminated. The original pitch material is played by the Clarinet an octave lower but with a different rhythm.

Elimination Insignificant

m. 276-283 In CS, the original Flute 2 material is played/doubled by the Clarinet.





m. 291-295 In OS, the Flute 2 doubles the Oboe 2. In CS, this material is played by the Oboe.





m. 299-303 In CS, the Flute 2 original material is eliminated. All original material is present in other instruments but with a different rhythm.





m. 337 In CS, the original Flute 2 material is played/doubled by the Horn one octave lower.


67

Mvt. 3 m. 33-39 In OS, the original Flute 1 doubles

the Flute 2 one octave higher. In CS, this has been reduced to only the Flute 1 at the higher octave.



m. 40 In CS, the original Flute 2 material is eliminated. All original pitch material is present in other instruments but in a different rhythm.



m. 41-47 In OS, the original Flute 1 doubles the Flute 2 one octave higher. In CS, this has been reduced to only the Flute 1 at the higher octave.



m. 62 In OS, the original Flute 1 doubles the Flute 2 one octave higher. In CS, this has been reduced to only the Flute 1 at the higher octave.


Difference - In BR, this material has been reduced to the lower octave.

m. 85 (beat 3) - 86 (beat 2)



m. 86 (beats 3-4)





m. 111-116 (beat 1)

In OS, the original Flute 2, Oboe 2, and Bassoon 2 play the same pitch material in three octaves. In CS, this has been reduced to only the Bassoon at the lowest octave.


In BR, this has been reduced to the top two octaves.

m. 121-122 / 125-126

In OS, the Horn 1 doubles the Flute 2 one octave lower. In CS, this has been reduced to only the higher octave (Flute 2). This material is played by the Oboe.

Reduction / Reorganize

Insignificant

m. 128-129 In OS, the original Flute 2, Oboe 2, and Bassoon 2 play the same pitch material in three octaves. In CS, this has been reduced two the two lower octaves and doubled by the Clarinet (an additional doubling).


In BR, this has been reduced to the top and bottom octaves.

m. 130-131 In CS, the original Flute 2 material is doubled/played by the Oboe.


m. 140-141 In OS, the Flute 2 doubles the Bassoon 2 one octave higher. In CS, this has been reduced to the Bassoon at the lower octave.



m. 142 (beat 1)

In CS, the Flute plays the original Flute 2 material. The original Flute 1 material is doubled/played by the Oboe.


68

m. 143-146 In CS, the original Flute 2 material is doubled/played by the Horn one octave lower.


m. 147 In CS, the original Flute 2 material is eliminated. All original pitch material is present in other instruments but in a different rhythm.


In BR, the original pitch material is retained but played in a different rhythm.

m. 156 (beat 3)-163




m. 171-173 In CS, the original Flute 2 material is eliminated. All original pitch material is present in other instruments but in a different rhythm.



m. 201 (beat 4)-202





m. 203 (beat 3) - 204



Elimination - The original pitch material is presented but in a different rhythm.

m. 205 In CS, the original Flute 2 material has been eliminated. All original pitch material is presented by other instruments but with a different rhythm.



m. 206 In OS, the Flute 2 doubles the Oboe 2 one octave higher. In CS, this has been reduced to the Oboe at the lower octave.



m. 207-208 In OS, the Flute 2 doubles the Oboe 2 one octave higher. In CS, this has been reduced to the higher octave (Flute), and it is played by the Oboe.



Reduction - In BR, this material is reduced to the Oboe register rather than the Flute.

Mvt. 4 m. 13-16 In OS, the Flute 2 and the Oboe 2

double each other at the octave. In CS, the Clarinet plays this material at the lower (Oboe 2) octave.




m. 21-23 In CS, the Oboe plays the original Flute 2 material.


m. 47-48 In OS, the Flute 2 and the Oboe 2 double each other at the octave. In CS, the Oboe plays this material but at the upper octave (original Flute 2).




69

m. 54-56 In OS, the Flute 2 and the Oboe 2 double each other at the octave. In CS, the Oboe plays this material at the lower (Oboe 2) octave.




m. 58 In CS, the Oboe plays the original Flute 2 material one octave lower.


m. 59-62 (beat 1)

In OS, the Flute 2 and Clarinet 2 double each other at the octave. In CS, this is reduced to only the Clarinet playing at the lower octave.




m. 80-84 In OS, the Flute 2 and the Oboe 2 double each other at the octave. In CS, the Oboe plays this material at the lower (Oboe 2) octave. The final note (downbeat of m. 84) is played by the Violin.




m. 98 (beat 4) - 101

In OS, the Flute 2 and the Oboe 2 double each other at the octave. In CS, the Oboe plays this material at the lower (Oboe 2) octave.



Reduction - In BR, this material is reduced to the Flute register rather than the Oboe.

m. 106-107 In CS, the original Flute 2 material is played by the Oboe one octave lower.


m. 116-119 In OS, the Clarinet doubles the Flute 2 part one octave lower with a slightly different rhythm at the end of the melodic pattern. The Flute 2 also doubles the Flute 1 one octave lower, making a total of three octave doubling. In CS, the Clarinet remains, and Flute 2 doubling is removed. Therefore, the pitch material is still present but in two octaves and not three.


Reduction - In BR, this material has been reduced to only the lowest octave.




Elimination - In BR, all original pitch material is present but not as a complete melodic concept. The material changes registers and rhythms regularly.

m. 153-156 In CS, the original Flute 2 material is played by the Oboe.


m. 165 (beat 2) - 173

In OS, the Flute 2 and the Clarinet 2 double each other at the octave. In CS, this doubling is reduced to only the Clarinet at the lower octave.




m. 174 In CS, the original Flute 2 material is eliminated. No other part plays this pitch material.

Elimination Significant In BR, this material is played one octave lower.



70

Mvt. 5 m. 4 In CS, the original Flute 2 material is

eliminated. No other part plays this pitch material.

Elimination Significant No significant difference.

m. 6-8 In OS, the Oboe material complements/doubles the original Flute 1 material one octave lower. In CS, this doubling is eliminated and the Oboe plays the original Flute 2 part at pitch.



In BR, the original material is presented almost identically but it begins one beat later.

m. 11-12 (beat 1)

In OS, the Clarinet 2 doubles the Flute 2 in octaves. In CS, this is reduced to only the lower octave in the Clarinet.




m. 14-16 In OS, the Bassoon 2, Clarinet 2, and Flute 2 play the same pitch material in octaves. In CS, this has been reduced to only the Bassoon at the lower octave.


Reduction - In BR, this has been reduced to the bottom two octaves.



m. 23 In CS, the Oboe plays the original Flute 2 material.





m. 28 In CS, the Clarinet plays the original Clarinet 2 material which doubles the Flute 2 at the lower octave. The original Flute 2 material is reduced to only the Clarinet 2 part.


m. 30-31 In CS, the Clarinet plays the original Flute 2 material.


m. 32-35 (beat 1)

In CS, the original Flute 2 material is played by the Clarinet. This part also serves as a doubling for the original Clarinet 2 part, so there are two minor alterations (second half of the fourth beat m. 32 & downbeat of m. 35)


m. 37 In CS, the original Flute 2 material is eliminated. However, the Viola 1 material is the exact same pitches with a shortened rhythm.


71

m. 45-48 In CS, the original Flute 2 material is played by the Clarinet. The material in m. 45-46 (beat 1) is presented at a lower octave. The remainder is at pitch.


m. 49-50 In CS, the original Flute 1 material is played one octave lower by the Bassoon. The Flute plays the original Flute 2 material for m. 49 and the original Clarinet 1 material for m. 50.


m. 50 In CS, the original Flute 2 material is eliminated. No other part plays this pitch material.


In BR, this material is played one octave lower.



m. 52 In CS, the Clarinet plays the original Flute 2 material.




Reduction - In BR, this has been reduced to the highest and the lowest octaves.

m. 64-66 (beat 3)

In CS, the first pitch of the original Flute 2 material on beat 4 of m. 64 is doubled by the Bassoon two octaves lower. For m. 65-66, the original Flute 2 material is doubled by the Oboe one octave lower.


m. 66 (beat 4) - m. 68







Reduction - In BR, this has been reduced to only the top octave.

m. 81-82 In OS, the Oboe 1 and Flute 2 play the same pitch in octaves. In CS, the original Oboe is eliminated and the Oboe plays the original Flute 2 pitch.


Insignificant

Mvt. 6 m. 2-3 In CS, the Flute 2 doubles the Oboe

one octave higher. In CS, this has been reduced to the lower octave and is played by the Oboe.



m. 23 In CS, the original Flute 2 material is doubled/played by the Bassoon two octaves lower.


72

m. 24-25 (beat 1)



m. 25 (beat 2) - 26 (beat 1)



m. 32-34 In CS, the Flute 2 doubles the Oboe one octave higher. In CS, this has been reduced to the lower octave and is played by the Oboe.



m. 42-43 (beat 2)



m. 58-60 (beat 1)



m. 60 (beat 2)-61 (beat 3)



m. 78 (beat 3) - 79 (beat 1)

In CS, the Oboe plays the original Flute 2 material.


m. 82-84 / 87 (beat 2) - 90





m. 93-104 (beat 2)

In OS, the Flute 2 doubles the Oboe 2 one octave higher. In CS, Linckelmann uses a combination of primarily the upper octave, but also a few pitches a the lower octave. All material is played by the Oboe.



m. 104 (beat 3) - 108

In OS, the original Oboe 2 material doubles the Flute 2 one octave lower. In CS, this has been reduced to the Oboe at the lower octave.


Similar Reduction in BR - Brahms demonstrates a technique that Linckelmann employs regularly. He alternates between the higher and lower octaves.

m. 116-117 In OS, the original Cello 1 material for this measure is doubled by Bass. In CS, the Cello 1 omits this pitch and plays the original Flute 2 material two octaves lower.


m. 118 In CS, the original Flute 2 material is played/doubled by the Viola two octaves lower.


m. 120-121 In CS, the original Flute 2 material is played/doubled by the Cello two octaves lower.






73

m. 127-130 / 133 (beat 2) - 136 (beat 2)



m. 139 (beats 2-3)

In CS, the original Flute 2 material is eliminated. All pitch material is present in other woodwinds with the same rhythm.


m. 140-145 In this passage, Linckelmann combines a variety of pitch and rhythmic material to create a new layer. The Oboe provides portions of the Oboe 1,2 and Flute 2 original material.

Reorganize Significant No significant difference

m. 146-150 In OS, the original Oboe 2 material doubles the Flute 2 one octave lower. In CS, this has been reduced to the Oboe at the higher octave.



m. 150 (beat 3) - 154 (beat 1)

In CS, the original Flute 2 material is played by the Oboe. There is a random rest on the second beat of m. 151. Possible mistake?


m. 155-157 (beat 2)



m. 157 (beat 3) - 158 (beat 1)

In CS, the original Flute 2 material is played/doubled by the Bassoon 2 octaves lower.


m. 158-160 (beat 1)

In CS, the original Flute 2 material is eliminated. A portion of the material is not played by any other woodwind.


Material is present but at a lower octave.

m. 160 (beat 2) - 166 (beat 1)



m. 168 - 171



m. 171 (beat 2) - 176 (beat 1) & 177 (beat 1)









m. 188-189 In CS, the original Flute 2 material is eliminated. All pitch material is present but not in the same rhythm.



74



m. 201-203 In OS, the Oboe 2 doubles the Flute 2 one octave lower. In CS, this has been reduced to the higher octave (Flute 2) and played by the Oboe.




m. 204-208 In OS, the Flute 2, Oboe 2, Horn 1,2, Trumpet 2, and Trombone 3 all play the pitch of C in three octaves. In CS, this has been reduced to the lowest octave and is played by the Horn.



In BR, this has been reduced to two octaves (highest and lowest).

m. 232 (beats 1-2)



m. 233 (beat 4)

In CS, the original Flute 2 material is played/doubled by the Oboe one octave lower.




m. 249 (beat 4) - 259

In CS, the original Flute 2 material is played by the Clarinet one octave lower.


m. 260-262 (beat 1)

In CS, the original Flute 2 material is eliminated. All pitch material is presented in other woodwinds with the same rhythm.


m. 264-266 (beat 1)

In CS, the original Flute 2 material is doubled/played by the Clarinet one octave lower.


m. 271-274 In OS, the Oboe 1 doubles the Flute one octave lower. In CS, this has been reduced to only the Oboe at the lower octave. WHY? The flute is not playing another part.



m. 276-281 In CS, the original Flute 2 material is eliminated. A majority of the original pitch material is presented in other woodwinds with the same rhythm.

Elimination Significant DIFFERENCE - In OS, the woodwinds and violins echoed each other. In BR, the entire woodwind pattern has been eliminated.

m. 282-286 (beat 2)

In CS, the original Flute 2 material is doubled/played by the Oboe one octave lower.


m. 289-290 In CS, the original Flute 2 material is doubled/played by the Clarinet one octave lower.


m. 292 (beat 3) - 298 (beat 3)

In CS, the original Flute 2 material is doubled/played by the Clarinet one octave lower.


m. 298 (beat 4) - 303 (beat 3)



75

m. 303 (beat 4) -304

In CS, the original Flute 2 material is eliminated. All pitch material is presented in other woodwinds with the same rhythm.




m. 309-313 (beat 3)



m. 314 (beats 3-4)

In CS, the original Flute 2 material is played/doubled by the Horn two octaves lower.




m. 320-324 (beat 3)



m. 324 (beat 4) - 329 (beat 3)



m. 329 (beat 4) - 330



m. 336 (beat 3) - 337 (beat 2)



m. 337 (beat 3) - 339



m. 340 In CS, the original Flute 2 material is played/doubled by the Horn two octaves lower.


m. 344-349 In CS, the original Oboe 2 & Flute 2 material is presented in the Clarinet part but with a mixture of octaves.



Mvt. 7 m. 5-6 In OS, the Flute 2 doubles the

Clarinet 2 one octave higher. In CS, this has been reduced to only the Clarinet at the lower octave.


Elimination - This material is eliminated in BR.

m. 10-11 (beat 3)

In CS, the original Flute 2 and Clarinet 2 material (one octave lower) is played by the Clarinet at the higher octave.


m. 11 (beat 4) - 12 (beat 1)

In CS, the original Flute 2 and Clarinet 2 material (one octave lower) is played by the Bassoon at the higher octave.


76

m. 13 (beat 4) - 14 (beat 1)





m. 22-26 (beat 1)

In OS, the Flute 2 doubles the Oboe 2 one octave higher. In CS, this has been reduced to only the Oboe at the lower octave.





m. 38 In CS, the second beat of the original Flute 2 material is doubled in the Horn. The fourth beat is doubled/played by the Oboe.


m. 50-51 In CS, the original Flute 2 is played/doubled by the Oboe one octave lower.




m. 106-107 In CS, the original Flute 2 is played/doubled by the Clarinet one octave lower.








m. 132-134 In CS, the original Flute 2 material is eliminated. Portions of the original pitch material are present in other instruments but not consistently.



m. 135 In CS, the original Flute 2 material for the first two beats is doubled by the Oboe one octave lower. The final two beats are played by the Flute.


m. 141 In CS, the original Flute 2 material for the second beat is doubled by the Clarinet.


m. 147-149 In CS, the original Flute 2 material is eliminated. Portions of the original pitch material are present in other instruments but not consistently.



77

m. 150 In CS, the original Flute 2 material for the first two beats is doubled by the Oboe one octave lower. The final two beats are played by the Flute.


m. 156-159 In CS, the original Flute 2 is played/doubled by the Oboe. M. 156 is at pitch. M. 157-159 is one octave lower. The first beat of m. 158 includes an additional pitch.




m. 165-166 In OS, the Oboe 2 doubles the Flute 2 one octave lower. In CS, this is reduced to only the Oboe but at the higher octave.


Oboe 1


Mvt. 1 m. 86 (beat 4) - 88

In OS, the Flute one doubles the Oboe 1 one octave higher. In CS, this has been reduced to only the Flute at the higher octave.

Reduction Insignificant Reduction - In BR, this material is reduced to the Oboe register rather than the Flute.

m. 106 -109 (beat 2)






m. 150 (beat 3) - 151

In OS, the Flute one doubles the Oboe 1 one octave higher. In CS, this has been reduced to only the Flute at the higher octave.


Mvt. 2 m. 2-6 (beat 3) / m. 126 - 130 (beat 3)

In CS, Linckelmann composes new material for the Oboe. This material is comprised of portion of the original Oboe 1& 2. Pitches not provided in new parts Eliminated from the Oboe part, but are covered by other instruments.

Reorganize / Elimination


All pitch material remains the same, but the rhythm has been changed to match the other woodwinds.

78

m. 6 (beat 3) -9 / m.130 (beat 3) - 133

In OS, the original Flute 1 material is played by the Oboe.


m. 6 (beat 3) -9 / m.130 - 133

In OS, the original Oboe 1 material is Eliminated. All pitch material is played by other instruments.



m. 22-24 (beat 2) / 146-148 (beat 2)

In OS, the Piccolo doubles the Oboe one octave higher. In CS, this has been reduced to only the Piccolo at the higher octave.

Reduction Insignificant Most of the original material has been doubled in BR, but a few portions have been reduced.

m. 29 (beat 4) -31 / 152 (beat 4) - 155

In OS, the Oboe doubles the Violin. In CS, this has been reduced to just the Violin.


m. 57 (beat 4)-58 (beat 2) / 181 (beat 4) - 182 (beat 2)

In CS, Linckelmann combines portions of the original Oboe 1 & 2 to create a new melodic and rhythmic pattern.




Reduction Insignificant Reduction - In BR, this material is reduced to the Oboe rather than the Flute.


Reduction Insignificant Elimination - In m. 204, Brahms Eliminates the held dotted half note. Reduction - In m. 205-206, Brahms reduces this material to the Oboe register rather than the Flute.

m. 205-206 In CS, the Oboe plays the original Flute 2 material. This is also a doubling for the Bassoon 1 part two octaves higher.



Reduction Insignificant Similar Reduction in BR

m. 252 (beats 1-3)

In CS, the original Oboe 1 material is eliminated. The original pitch content is provided in other instruments at a different register and with a different rhythm.


m. 252 (beat 4) - 253

In CS, the original Oboe 1 material is played/doubled by the Clarinet.



Reduction Insignificant Elimination - In BR, the original Oboe 1 and Flue 1 material has been eliminated for m. 272-273. All pitch content is presented in other instruments. M. 274-286 - same as OS

79

m. 271 (beat 4) - 273

In OS, the Trumpet 1 & 2 play in octaves. In CS, this is reduced to the upper octave (Trumpet 1), and the material is played by the Oboe.


m. 279-280 & 283

In OS, the Horn 1 is doubled by the Horn 2 one octave lower. In CS, this has been reduced to only the higher octave (Horn 1). This material is played by the Oboe.



DIFFERENCE - Brahms chooses to eliminate this material. The pitch is provided but with a different rhythm.

m. 281-282 In OS, the Horn 3 is doubled by the Horn 4 one octave lower. In CS, this has been reduced to only the higher octave (Horn 3). This material is played by the Oboe.




m. 288 (beat 2) - 290

In OS, the Flute 1 doubles the Oboe 1 one octave higher. In CS, this has been reduced to the Flute at the higher octave.


m. 291-295 In OS, the Flute 1 doubles the Oboe 1. In CS, this material is played by the Flute.






m. 328-329 / 331-332

In CS, the original Oboe 1 material has been eliminated. All original pitch material is presented in other voices.



m.333 (beat 3) - 336


Reduction Insignificant Reduction - In BR, this material is reduced to the Oboe register rather than the Flute.

Mvt. 3 m. 44-47 In CS, the original Oboe 2 part has

been eliminated. All original pitch material is played with the same rhythm. However, the register is typically not the same.



m. 54-55 In OS, the Horn 3 doubles the Trombone 1 one octave higher. In CS, this has been reduced to the lower octave (Trombone 1) and is played by the Oboe.


m. 54-55 In CS, the original Oboe 1 & 2 pitch for m. 54 is played/doubled by the Horn 2 octaves lower. The original material for m. 55 is doubled/played by the Flute.


80

m. 63-64 In OS, the Trumpet 1,2 and Horn 1,2 play the same pitch material in three octaves. In CS, the Oboe plays the top octave (Trumpet 1).




m. 121-122 / 125-126



Insignificant No significant difference.



m. 129 In CS, the Oboe plays the original Clarinet 2 material.


m. 132-133 In CS, the Oboe plays the original Clarinet 1 material.


m. 142 & 144

In CS, the Oboe plays the original Trumpet 1 material.


m. 148-149 In CS, the original Horn 1 material is played by the Oboe.


m. 156 (beat 3)-163



No significant difference. The pitch drops to the original Oboe register in BR at m. 158.

m. 170 In CS, the original Oboe 1 material is played by the Flute


m. 171 (beats 1-2)

In CS, the original Oboe 1 material is doubled/played by the Clarinet.


m. 172 (beat 3)

In CS, the original Oboe 1 material is played/doubled by the Bassoon one octave lower.


m. 170-171 (beat 2)



m. 178 (beat 2)

In CS, the Oboe plays the original Horn 3 material for this one beat.


m. 182 (beat 2)

In CS, the Oboe 1 material is doubled/played by the Flute.


m. 183 (beat 2-3)

In CS, the original Horn 1 material is played by the Oboe. The original Oboe material is played/doubled by the Flute.


m. 184 (beat 4) - 185 (beat 1)

In CS, the original Horn 1 material is played by the Oboe. The original Oboe material is played/doubled by the Flute.




m. 193 In CS, the Oboe plays the original Trumpet 1 material. The pitch material is the same as the original Oboe part but with a different rhythm.


81

m. 197 (beat 4) - 198 (beat 1)

In CS, the original Bassoon 1 material is played by the Oboe.


m. 198 (beat 2) - 199 (beat 1)

In CS, the original Horn 1 material is played by the Oboe.


m. 198-199 In CS, the original Oboe 1 material is doubled/played by the Flute.


m. 201 (beat 4)-202








m. 205 In CS, a portion of the Clarinet 2 material is played by the Oboe. The original Oboe 2 material (which is being played by the Oboe) is integrated into the Clarinet material.






Mvt. 4 m. 21-23 In CS, the Oboe plays the original Flute

2 material. Reorganize Insignificant






This material is presented an octave lower than the original.









82

m. 58 In CS, the Oboe plays the original Flute 2 material one octave lower.








m. 98 (beat 3) -101




m. 105 (beats 2 &3)

In CS, the original Clarinet 2 material is played by the Oboe.




m. 120-122 In CS, the original Oboe 1 material is Eliminated. The pitch content is still provided by a variety of string instruments in a variety of registers. It is also supplied by the Soprano voice.

Elimination Significant Same as OS - One of the few eliminations that is substantially different. The original Oboe 1 material doubles the Soprano voice part. Therefore, Brahms has it figure predominantly in his arrangement.









m. 173 (beat 2) - 174 (beat 1)

In CS, the Oboe plays the original Horn 1 material.


m. 176-179 In CS, the Oboe plays the original Flute 2 material. The original Oboe material is played one octave higher by the Flute and one octave lower by the Bassoon.


Mvt. 5 m. 6-8 In OS, the Oboe material

complements/doubles the original Flute 1 material one octave lower. In CS, this doubling is Eliminated and the Oboe plays the original Flute 2 part at pitch.



Similar Reduction in BR - Brahms places the original Flute material in the Oboe register.

83





m. 37 In OS, the Bassoon 1 doubles the Flute 1 one octave lower. In CS, the Oboe plays the original Flute 1 part and the Bassoon 1 part is eliminated.

Reduction / Elimination / Reorganize









m. 65-66 In CS, the Oboe plays the original Oboe 2 material. The original Oboe 1 material is doubled by the Flute one octave higher. This doubling is eliminated in CS.


Insignificant

m. 69 In CS, the Oboe plays the original Oboe 2 material. The original Oboe 1 material is doubled by the Flute one octave higher. This doubling is eliminated in CS.


Insignificant

m. 81-82 In OS, the Oboe 1 and Flute 2 play the same pitch in octaves. In CS, the original Oboe is Eliminated and the Oboe plays the original Flute 2 pitch.


Insignificant

Mvt. 6 m. 2-3 In OS, the Flute 1 doubles the Oboe 1

one octave higher. In CS, this has been reduced to the Flute at the higher octave.



m. 25 (beat 2) - 26 (beat 1)






m. 68--72 In OS, the original Oboe 1 & 2 material doubles the Flute one octave lower. In CS, this has been reduced to the Flute at the higher octave.



m. 68-74 In CS, the Oboe plays the original Trombone 1 material.


84

m. 78 (beat 1)

In CS, the Oboe plays the original material one octave higher. This is a doubling of the original Flute 1 material.


m. 78 (beat 3) - 79 (beat 1)



m. 78 (beat 3) - 79 (beat 1)

In OS, the original Oboe 1 & 2 material doubles the Flute one octave lower. In CS, this has been reduced to the Flute at the higher octave.



m. 79 (beat 3) - 80 (beat 1)



m. 79 (beat 3) - 80 (beat 1)

In CS, the original Oboe 1 material is played/doubled by the Flute.


m. 88-89 / 134-135

In OS, the Horn 1 & 2 and Trumpet 1 & 2 play the same pitch material. In CS, this has been reduced to the upper octave (Horn 1 and Trumpet 1). This material is played by the Oboe.



m. 90 (beats 1-2) / 136




m. 91-95 (beat 1)



m. 91-93 (beat 1)

In OS, the Oboe 1, Clarinet 2, and Bassoon 2 all play the same pitches in two octaves. In OS, this has been reduced to the Clarinet but at the Bassoon 2 lower octave.




m. 93 (beat 2) - 95

In CS, the original Oboe 1 material is played/doubled by the Horn one octave lower.





m. 93-104 (beat 2)




m. 104 (beat 3) - 108




85




m. 120 In CS, the original Oboe 1 material is played/doubled by the Flute.





m. 122-123 In CS, the Oboe plays the original Trumpet 1 & Trombone 1 material.










146-150 In OS, the Flute 1 doubles the Oboe 1 one octave higher. In CS, this has been reduced to the Flute at the higher octave.



m. 150 (beat 3) - 153 (beat 2)

In CS, the original Oboe 1 material is doubled/played by the Flute.


m. 153 (beat 3) - 154 (beat 1)

In CS, the original Oboe 1 material is played/doubled by the Bassoon 1 two octaves lower.


m. 153 (beat 3) - 154 (beat 1)

In CS, the Oboe plays the original Clarinet 1 material.


m. 154 (beat 3) - 155 (beat 2)



m. 157 (beat 3) - 158 (beat 1)




m. 158 (beat 3) - 160 (beat 1)

In CS, the original Oboe 1 material has been eliminated. All original pitch material is presented in other voices. Eliminated to play brass!



86

m. 158 (beat 3) - 160 (beat 1)

In OS, the Horn 1,2,3,4 and Trumpet 1,2 all play the pitch of E in three octaves. In CS, the highest octave (Horn 1,2 & Trumpet 1) is played by the Oboe.

Reorganize Insignificant Elimination - For the most part the original brass material is eliminated. M. 158 (beat 3) - 159 (beat 2) the pitch material is present one octave higher.

m. 168-170 In CS, the Piccolo original material is played by the Oboe one octave lower.


m. 171 (beat 2) - 175

In OS, the original Oboe 2 material doubles the Flute 2 one octave lower. In CS, this has been reduced to the Oboe at the higher octave.


Partial Elimination. The held pitches are eliminated, the moving quarter notes are retained with a doubling.

m. 168 (beat 3) - 169 (beat 2)



m. 169 (beat 3) - 175









m. 184-186 In OS, the Piccolo, Oboe 1, Clarinet 2, and Bassoon 2 all play the same pitch material in three octaves. In CS, this has been reduced to only the Flute at the highest octave.








m. 190-193 In CS, the Piccolo original material is played two octaves lower by the Oboe. The final note of m. 191 is omitted. Then, m. 192-193 is played at original pitch by the Flute.

Reorganize Insignificant DIFFERENCE - In BR, the original Piccolo material is eliminated. The pitch material is retained but with a different rhythm and at a different octave.

m. 190-193 In OS, the Horn 1,2 and Trumpet 1,2 all play the pitch of C in octaves. In CS, this has been reduced to the highest octave and played by the Oboe.



Similar pitch material is presented, but not as a distinct layer.

m. 194-208 In OS, the Piccolo doubles the Oboe 1 one octave higher. In CS, this has been reduced to the higher octave (Piccolo) and played by the Flute.




87



In BR, this has been reduced to two octaves.

m. 224 In OS, the Horn 1,2 and Trumpet 1,2 all play the pitch of C in octaves. In CS, the Oboe plays the high pitch (Horn 1, Trumpet 1)

Reorganize Insignificant In BR, this material has been eliminated.

m. 226 In OS, the Trumpet 1 doubles the Trumpet 2 one octave higher. In CS, this has been reduced to the higher octave and played by the Oboe.




m. 228 In OS, the Horn 1,2 and Trumpet 1,2 all play the same pitches. In CS, the Oboe plays the high pitches (Horn 1, Trumpet 1)


m. 233 (beat 4)

In CS, the original Oboe 1 material is played/doubled by the Flute one octave higher.


m. 249-262 (beat 2)




m. 250-257 In CS, the Oboe plays the original Trumpet 1 material.


m. 259-260 In CS, the Oboe plays the original Horn 1,2 and Trumpet 1,2 material.


m. 261-262 In CS, the Oboe plays the original Horn 1 and Trumpet 1 material.


m. 262 (beat 3) - 267

In OS, the Flute material doubles/complements the Oboe 1 part. In CS, the original Oboe 1 part has been eliminated. The Flute remains providing a majority of the original material. Eliminated pitches are provided by other woodwind parts. Elimination to play brass!


In BR, the original Flute material is presented but one octave lower. This is actually the voice parts.




Reduction Significant DIFFERENCE - In OS, the woodwinds and violins echoed each other. In BR, the entire woodwind pattern has been eliminated.



m. 282-286 (beat 3)




88




m. 299-301 / 325-327

In CS, the original Oboe 1 & 2 material is played/doubled by the Horn one octave lower.


m. 302-304 / 328-330




m. 303-304 / 329-330





m. 307-314 (beat 2)




m. 334-336 (beat 2)

In CS, the Flute plays the original Oboe 1 material.


m. 336 (beat 3) - 340











Mvt. 7 m. 10-11 (beat 3)

In CS, the original Flute 1 and Oboe 1 material is played by the Flute.


m. 11 (beat 4) - 12 (beat 1)

In CS, the original Oboe 1 material is played/doubled one octave lower by the Bassoon.


m. 13-14 In CS, the Oboe plays the original Horn 1 material.


m. 13 (beat 1-3)



m. 13 (beat 4) - 14 (beat 1)



m. 18-19 In CS, the original Oboe 1 material is played/doubled by the Clarinet.


m. 22-25 In CS, the original Oboe 1 material is played/doubled by the Flute on octave higher.


89



m. 37 In CS, the original Oboe 1 material is eliminated. The original pitch material is incorporated into the Flute part.


m. 50-51 In CS, the original Oboe 1 material is eliminated. The original pitch material is still present in the Bass three octaves lower.


m. 50-51 In CS, the Oboe plays the original Oboe 2 material which doubles the Flute 2 part one octave lower.


m. 87 (beat 3) - 89

In CS, the Oboe plays the original Oboe 2 material which doubles the Flute 2 part one octave lower.


m. 87 (beat 3) - 89



m. 127-129 In CS, the original Oboe 1 material is doubled/played by the Clarinet.


m. 131 In CS, the original Oboe 1 material is doubled/played by the Flute one octave higher.


m. 131-132 In CS, the original Trombone 1 material is played by the Oboe.


m. 133 (beat 4) - m. 135 (beat 2)

In CS, the original Oboe 1 material is Eliminated. The pitch material remains present in other parts but not in the same melodic order.



m. 136 In CS, the original Oboe 1 material for beats 3&4 is changed to incorporate the Oboe 2 pitch.

Change Insignificant

m. 140 In CS, the original Oboe 1 material is played/doubled by the Violin.


m. 141 In CS, the original Oboe 1 material is played/doubled by the Flute one octave higher and by the Viola at pitch.




m. 148 (beat 4) - m. 150

In CS, the original Oboe 1 material is eliminated. The pitch material remains present in other parts but not in the same melodic order.


Similar Elimination in BR - Elements of the original remain.

m. 155-158 (beat 2)

In CS, the original Oboe 1 material is Eliminated. The pitch material remains present in other parts but not in the same melodic order.


A majority of the original material is presented in the same register in the same order. In m. 156-157, a portion of the original material is eliminated.

90

m. 158 (beat 3) - 159

In CS, the original Oboe 1 material is played/doubled by the Horn one octave lower.


m. 163-164 In CS, the original Oboe 1 material is played/doubled by the Flute one octave higher.


m. 165-166 In CS, the original Oboe 1 material is played/doubled by the Bassoon.


Oboe 2


Mvt. 1 m. 39 / 129 In CS, the original Oboe 2 material is

played/doubled by the Flute one octave higher.


m. 40-42 / 130-132

In CS, the original Oboe 2 material is played by the Clarinet.


m. 45-47 In OS, the Bassoon 1 doubles the Oboe 2 one octave lower. In CS, this has been reduced to only the upper octave, and the material is played by the Clarinet.




m. 53-55 (beat 2)

In CS, the original Oboe 2 material is played by the Flute.


m. 55 (beat 3) - 60 / 89-93

In CS, the original Oboe 2 material has been eliminated. Most of the original pitch material is played by other instruments but with a different rhythm. Small portions are not provided.

eliminated Minimally Significant

Similar Elimination - A majority of the original pitch material is retained but in a different rhythm.

m. 106 -109 (beat 2)




m. 109 (beat 3) - 111



m. 115-117 In CS, the original Oboe 2 material is played by the Clarinet.






91



m. 146-150 (beat 2)



m. 155-157 In CS, the original Oboe 2 material is played/doubled by the Horn. (One octave lower for m. 157)


m. 158 In CS, the original Oboe 2 material is played/doubled by the Bassoon one octave lower.


Mvt. 2 m. 2-6 (beat 3) / m. 126 - 130 (beat 3)

In CS, Linckelmann composes new material for the Oboe. This material is comprised of portion of the original Oboe 1& 2. Pitches not provided in new parts eliminated from the Oboe part, but are covered by other instruments.




m. 7-9 / 131-133

In CS, the original Oboe 2 material is eliminated. The original pitch material is present in other instruments but with a different rhythm.


In BR, all original pitch material is present. However, it is not presented as one continuous musical concept.

m. 17-20 (beat 1) / 141-144




m. 24 (beat 3) - 26 (beat 2) / 148-150



m. 26 (beat 3) - 28 (beat 2)




m. 35-36 / 159-160



m. 37-41 / 161-165




m. 52-55 / 176-179

In CS, the original Oboe 2 material is played by the Clarinet. The second beat of m. 53 & 54 is different.


m. 57 (beat 4)-58 (beat 2) / 181-182

In CS, Linckelmann combines portions of the original Oboe 1 & 2 to create a new melodic and rhythmic pattern.



92

m. 58 (beat 3) - 60 (beat 2) / 182-184



m. 60 (beat 3) - 61 (beat 1) / 184-185



m. 82 (beat 3) - 90





m. 205-206 In CS, the Oboe plays the original Flute 2 material at the higher octave. This is also a doubling for the Bassoon 1 part two octaves higher.


m. 219-225 (beat 1)



Similar Reduction - In BR, Brahms reduces this to the higher octave.



m. 269 In CS, the Flute plays/doubles the original Oboe 2 one octave higher.


m. 270-271 In CS, the original Oboe 2 material is played/doubled by the Clarinet.


m. 272-275 In CS, the Oboe 2 original material is eliminated. The original pitch material is played by the Clarinet but with a different rhythm.


m 276-283 In CS, the original Oboe 2 material is played/doubled by the Clarinet.






m. 327 & 330




m. 337 In CS, the original Oboe 2 material is played/doubled by the Clarinet one octave lower.


Mvt. 3 m. 33-43 & 47

In CS, the original Oboe 2 part has been eliminated. All original pitch material is played by a variety woodwind instruments with the same rhythm. However, the register is typically not the same.


No significant difference. M. 39-40 pitch present but with a different rhythm.

93



m. 85-86 In CS, the original Oboe 2 material is eliminated. The original pitch material is provided by the Bassoon two octaves lower with a different rhythm.





m. 105-108 In CS, the original Oboe 2 part has been eliminated. All original pitch material is played by either the Horn or Clarinet with as similar rhythm.


No significant difference for m. 105-106. M. 107-108 are eliminated.

m. 114-116 In CS, the original Oboe 2 material is played/doubled by the Bassoon one octave lower.


m. 111-116 (beat 1)







m. 156 (beat 3)-163




m. 170 (beat 3) - 171 (beat 2)

In CS, the original Oboe 2 material is eliminated. The original pitch material is provided other instruments but not with the same rhythm.

Elimination Insignificant Similar Elimination in BR - not significant

m. 198-199 In CS, the original Oboe 2 material is doubled/played by the Flute. In OS, from the m. 198 (beat 4) - 199, the Oboe 2 played one octave lower than the Flute. This has been reduced to the upper octave played by the Flute


Insignificant No significant difference

m. 201 (beat 4)-202





94











This material is presented an octave lower than the original.




m. 62-63 In CS, the Clarinet plays the original Oboe 2 material.









m. 116-119 In CS, the original Oboe 2 material is eliminated. The pitch content is still provided by a variety of string instruments, but these vary by register and instrument almost every single note.

Elimination Significant All pitch material is present, but not always at the same register.




m. 165-173 (beat 1)

In OS, the Oboe 2 doubles the Clarinet 2. In CS, this is reduced to only the Clarinet.


m. 174 (beat 2) - 175



95

m. 176-179 In CS, the original Oboe 2 material is played by the Oboe but one octave higher. This octave change is due to the fact that the Oboe is also covering the Flute 2 original material.



Mvt. 5 m. 65-66 In CS, the Oboe plays the original

Oboe 2 material. The original Oboe 1 material is doubled by the Flute one octave higher. This doubling is eliminated in CS.


Insignificant

m. 69 In CS, the Oboe plays the original Oboe 2 material. The original Oboe 1 material is doubled by the Flute one octave higher. This doubling is eliminated in CS.


Insignificant



m. 81-82 In OS, the Oboe 2 doubles the Bassoon one octave higher. In CS, this doubling is removed. Only the Bassoon plays.


Mvt. 6 m. 22 In CS, the Flute plays the original

Oboe 2 material. The final note (downbeat of m. 23) is doubled/played by the Bassoon one octave lower.


m. 68--72 In OS, the original Oboe 1 & 2 material doubles the Flute one octave lower. In CS, this has been reduced to the Flute at the higher octave.



m. 78 (beat 3) - 79 (beat 1)



m. 79 (beat 3) - 80 (beat 1)



m. 82-84 (beat 2) / 128-130

In OS, the original Oboe 2 material doubles the Flute one octave lower. In CS, this has been reduced to the Flute at the higher octave.



m. 85-87 (beat 1) / 131-133

In OS, the original Oboe 2 material doubled the Bassoon 1 material one octave higher. In CS, this material is played by the Clarinet at the original Bassoon register.




m. 87 (beat 2-3) / 133

In CS, the original Oboe 2 material is doubled/played by the Flute one octave higher.


96

m. 88-89 & 90 (beat 3) / 134-135



m. 91-92 In CS, the original Oboe 2 material is played/doubled by the Flute one octave higher.


m. 93-104 (beat 2)




m. 104 (beat 3) - 108




















m. 150 (beat 3) - 153 (beat 2)

In CS, the original Oboe 2 material is played by the Oboe. There is a random rest on the second beat of m. 151. Possible mistake?


m. 153 (beat 3) - 154 (beat 1)

In CS, the original Oboe 2 material is played/doubled by the Clarinet one octave lower.


97

m. 155 (beat 3) - 157 (beat 2)

In OS, the Flute 1 doubles the Oboe 2 one octave higher. In CS, this has been reduced to only the Flute at the higher octave.


In BR, large portions of the original material are eliminated for m. 155-156. No change on m. 157.

m. 158-168 In OS, the Flute 1 doubles the Oboe 2 one octave higher. In CS, this has been reduced to only the Flute at the higher octave.



m. 168 (beat 3) - 171 (beat 1)

In CS, the original Oboe 2 material is eliminated. All of the original pitch material is retained but not always with the same rhythm.


Similar Elimination - retained pitches match

m. 171 (beat 2) - 175

In OS, the original Oboe 2 material doubles the Flute 2 one octave lower. In CS, this has been reduced to the Oboe at the higher octave.


Partial Elimination. The held pitches are eliminated, the moving quarter notes are retained with a doubling.

m. 176-177 In CS, the original Oboe 2 material is played by the Clarinet, but not with the exact same octave placement.




m. 182 In CS, the original Oboe 2 material is doubled/played by the Clarinet.


m. 183 In CS, the original Oboe 2 material is doubled/played by the Flute one octave lower.





m. 188-189 In CS, the original Oboe 2 material is eliminated. No other instrument provides this pitch material. Significant because Oboe 2 originally doubled the Alto Voice.

Elimination Significant No significant difference

m. 190-191 In OS, the original Oboe 2 material doubles the Flute 1 one octave lower. In CS, this has been reduced to the Flute at the higher octave.



m. 192-193 In OS, the Flute 1, Oboe 2, Clarinet 1, Trombone 1, Tuba, and Bassoon 1 all play the same pitch material in four octaves. In CS, this has been reduced to only the Bassoon playing the lowest octave (Tuba).



In BR, this has been reduced to two octaves (middle and highest).

m. 201-203 In OS, the Oboe 2 doubles the Flute 2 one octave lower. In CS, this has been reduced to the higher octave (Flute 2) and played by the Oboe.




98





m. 232 (beats 1-2)

In OS, the Oboe 2 doubles the Oboe 1 one octave lower. In CS, this has been reduced to only the upper octave.


m. 234 In CS, the Oboe 2 material is played/doubled by the Flute one octave higher.


m. 249 (beat 4) - 259



m. 260-267 In CS, the original Oboe 2 material is eliminated. Large portions of the material can be found in the Clarinet part.


Most of the original material remains. M. 266 was eliminated.

m. 276-281 In CS, the original Oboe 2 material is eliminated. Much of the original pitch material can be found in the Clarinet part or other woodwinds.


DIFFERENCE - In OS, the woodwinds and violins echoed each other. In BR, the entire woodwind pattern has been eliminated.

m. 299-301 / 325-327

In CS, the original Oboe 1 & 2 material is played/doubled by the Horn one octave lower.


m. 301 (beat 4) - 303 (beat 3) / 327-329

In CS, the original Oboe 2 material is played/doubled by Clarinet.


m. 303 (beat 4) - 304 / 329-330

In CS, the original Oboe 2 material is eliminated. All pitch material is provided by other woodwind instruments with the same rhythm.


m. 305-306 / 331-332

In OS, the Flute 1&2 and Oboe 1&2 all play the same pitch. In CS, the Oboe plays this material.


m. 307-308 In CS, the original Oboe 2 material is eliminated. All pitch material is provided by other woodwind instruments with the same rhythm.


m. 314 (beat 3) - 316

In CS, the original Oboe 2 material is eliminated. All pitch material is provided by other woodwind instruments with the same rhythm.


m. 337 (beat 3) - 339

In CS, the original Oboe 2 material is played/doubled by Clarinet.


m. 340 In CS, the original Oboe 2 material is played/doubled by the Horn.





99

Mvt. 7 m. 10-12 In CS, the Clarinet plays the original

Oboe 2 material. Reorganize Insignificant

m. 13 (beats 1 &2)

In CS, the Clarinet plays the original Oboe 2 material.


m. 13 (beat 3) - 14

In CS, the original Oboe 2 material is played/doubled by the Flute one octave lower.


m. 26 (beats 1 &2)

In CS, the original Oboe 2 material is eliminated. The pitch content is still provided by the Violin 2 but with a different rhythm.


m. 26 (beat 3) -28





m. 39 In CS, the original Oboe 2 is doubled/played by the Clarinet one octave lower.


m. 49 In CS, the original Oboe 2 material is eliminated. The pitch content is present in other parts but with a different rhythm.


Similar to OS. In OS, the Oboe 2 plays a C#5 for 4 beats. In BR, this has been reduced to 2 beats.

m. 102 In CS, the original Oboe 2 is doubled/played by the Horn.


m. 111-112 In CS, the original Oboe 2 is doubled/played by the Clarinet.


m. 117-123 In CS, the original Oboe 2 material is eliminated. The pitch content is present in other parts but with a different rhythm.


Similar Elimination in BR - some elements of OS remain, but not enough to state that the original material is present.

m. 130-131 In CS, the original Oboe 2 material is eliminated. The pitch content is present in the Clarinet but with a different rhythm.


m. 132-137 In CS, the original Oboe 2 material is eliminated. The pitch content is present in other voices but not consistently.



m. 140 (beat 3) - 141

In CS, the original Oboe 2 material is doubled/played by the Flute one octave higher. The second beat of m. 141, the Oboe 2 material is doubled by the Clarinet.


m. 147-152 In CS, the original Oboe 2 material is eliminated. The pitch content is present in other instruments but not consistently.


A majority of the original material is retained, but some of the rhythms have changed. The original material from m. 149 has been eliminated.

m. 156 In CS, the original Oboe 2 material is played/doubled in the Flute one octave higher.


100

m. 165-166 In OS, the Oboe 2 doubles the Flute 2 one octave lower. In CS, this is reduced to only the Oboe but at the higher octave.


Clarinet 1


Mvt. 1 m. 7-10 In CS, the original Horn 1 material is

played by the Clarinet. Reorganize Insignificant

m. 30-33 In OS, the original Bassoon 1 doubles the Cello 1. In CS, this is played by the Clarinet.


m. 34 In CS, the original Trombone 1 material is played by the Clarinet.


m. 35-37 In CS, the original Trombone 2 material is played by the Clarinet.


m. 39 / 129 In CS, the original Flute 2 material is played by the Clarinet.


m. 40-42 / 130-132







m. 48 & 50 In CS, original harp material is played by Violin I and Clarinet. Slight variation - Original material spans two octaves. In CS, harp material is played within one octave.


m. 54-60 In CS, original harp material is played by Clarinet. Slight variation - Original material spans two octaves and is often doubled at the octave. In CS, harp material is played within one octave and never doubled.


m. 71-74 (beat 1)

In CS, the original Horn 1 material is played by the Clarinet.


m. 74 (beat 2) - 77

Possible Mistake - Unknown Material - See Horn 2 for details

N/A N/A



101

m. 87-93 In CS, original harp material is played by Clarinet. Slight variation - Original material spans two octaves and is often doubled at the octave. In CS, harp material is played within one octave and never doubled.


m. 106 -109 (beat 2)




m. 109 (beat 3) - 111





m. 119-120 In CS, the Clarinet plays the original Bassoon 1 material.


m. 121-122 In CS, the original Horn 1 material is played by the Clarinet.








m. 144-145 In CS, the original Bassoon 1 material is played/doubled by the Oboe for beats 1&2 of m. 144, then by the Clarinet.


m. 146-150 (beat 2)



m. 150 (beat 3)-157

In the CS, original harp material is played by Clarinet and Flute.


Mvt. 2 m. 2-4 (beat 2) / 126-128

In OS, the Clarinet 1 doubles the Clarinet 2 one octave higher. In CS, this has been reduced to only the lower octave.



m. 4 (beat 3) - m. 5 (beat 1) / 128-129

In CS, the original Clarinet 1 material is played/doubled by the Flute.


m. 6 (beat 3) - 7 / 130-131

In CS, the original Clarinet 1 material is doubled/played by the Oboe one octave higher.


m. 9-10 / 133-134

In CS, the original Viola 1 material is played / doubled by the Clarinet starting on beat 2 of m. 9.


102

m. 9-10 / 133-134

In CS, the original Clarinet 1 material is played/doubled by a combination of the Violin 1 & 2.


m. 13-21 / 137-145



m. 14 & 16 / 138 & 140

In CS, the original Clarinet 1 material has been eliminated. All pitch material is played by other instruments but not with the same rhythm.



m. 16-21 / 140-145

In CS, the original Clarinet 1 material is doubled/played by the Flute one octave higher.


m. 21 (beat 3) - 22 (beat 1) / 145-146

In CS, the original Horn 1 & 2 material is played by the Clarinet (one octave higher for the Horn 2).


22 (beat 3) - 25 (beat 2) / 146-149




m. 27 (beat 2) - 30 (beat 2)



m. 27-28 - Similar Elimination / m. 29-30 - No significant difference

m. 28 (beat 3) - m. 30 (beat 2) / 152 (beat 3) - 154 (beat 2)

In CS, the original Bassoon 1 material is played by the Clarinet.


m. 33-34 / 157-158



m. 35-36 / 159-160



m. 34-36 (beat 2) / 158-160




m. 42-48 (beat 2) / 166-172

In CS, the original Clarinet material is played/doubled by the Flute. M. 43-44 contains a few different pitches.


m. 44 / 168 In CS, the original Horn 1 & 2 material is played by the Clarinet.

Reorganize Insignificant DIFFERENCE - Brahms chooses to eliminate this material. The pitch is provided but with a different rhythm.

m. 48 (beat 3) - 49 (beat 2) / 172-173



103

m. 50 (beat 3) - 52 (beat 2) / 174-176



m. 52 (beat 3) - 61 / 176-185

In CS, Linckelmann composes new material for the Clarinet and Oboe. This material is comprised of portion of the original Oboe 1 &2, Clarinet 1 & 2, and Flute 2 material.


Brahms reduction is more similar to the OS. In both arrangements, a majority of the original material is provided.

m. 61 (beat 3) - 62 (beat 1) / 185-186

In CS, the original Clarinet 1 material is played/doubled by the Oboe.


m. 65-66 / 189-190

In CS, the original Flute 1 material is played by the Clarinet.


m. 66 / 190 In CS, the original Clarinet 1 material has been eliminated. All pitch material is played by other instruments but not with the same rhythm.


In BR, this pitch material is present but not with the same rhythm.

m. 82 (beat 3) - 90

In CS, the original Flute 2 & Oboe 2 material is played by the Clarinet.




m. 198-200 In CS, the original Flute 2 material is played by the Clarinet one octave lower.




m. 203-204 (beat 1)




m. 203-204 (beat 1)

In CS, the original Trombone 1 material is played by the Clarinet.


m. 205 In OS, the Clarinet 1, Bassoon 2, Horn 1,2,3,4, Trumpet 1,2 all play the pitch of F. In CS, this has been reduced to the Clarinet at the top octave and Bassoon at the lower octave.


m. 213 (beat 4) -222



m. 213 (beat 4) -218



m. 213 (beat 4) -222



104

m. 220 & 222-224



Similar Elimination in BR - Portions of original material are presented.

m. 227-231 In CS, the original Clarinet 1 material has been eliminated. All pitch material is played by other instruments but not with the same rhythm.



m. 241-242 In OS, the Clarinet 1 doubles the Clarinet one octave higher. In CS, this has been reduced to the higher octave.



m. 245 In CS, the original Clarinet 1 & 2 material is doubled/played by the Flute one octave higher.


m. 245-250 (beat 1)

In CS, the Horn 3 & 4 material is played by the Clarinet. Octave doublings have been reduced to the top octave.





m. 271 - 285 (beat 2)



m. 285 (beat 3) - 290

In CS, the original Clarinet 1 material is doubled/played by the Oboe.


m. 285-286 In CS, the original Trumpet 1 material is played by the Clarinet.


m. 287 (beat 4) - 288



m. 291-297 In CS, the original Clarinet 1 material is doubled/played by the Flute one octave higher.




m. 296-297 In OS, the Horn 1 is doubled by the Horn 2 one octave lower. In CS, this has been reduced to only the upper octave (Horn 1). This material is played by the Clarinet.


m. 298 In CS, the original Clarinet 1 material has been eliminated. All pitch material is played by other instruments but not with the same rhythm.



m. 299-303 In CS, Linckelmann creates a new Clarinet part that includes portions of the original Clarinet 1 & 2 and Flute 2.



105



In BR, much of the original material is either eliminated or in a different register. Portions have not been eliminated.

m. 318 (beat 3) - 319

In CS, the original Violin 2 (2) material is played by the Clarinet.


m. 326-327 In CS, the original Clarinet 1 material is played/doubled by the Viola.


m. 326-327 In CS, the original Bassoon 1 material is played by the Clarinet.


m. 329 (beat 3) - 333 (beat 1)

In CS, the Clarinet plays the original Trombone 2 material.


m. 328-329, 331-333

In CS, the original Clarinet 1 material is doubled/played by the Oboe.


m. 330 In CS, the original Clarinet 1 material is played/doubled by the Flute one octave higher.


m. 333-337 In CS, the original Clarinet 1 material is played by the Clarinet but one octave lower.


Mvt. 3 m. 17-20 In OS, the Trumpet 1 & 2 played in

octaves. In CS, this has been reduced to only the upper octave (Trumpet 1). This material is played by the Clarinet.


m. 23-32 In OS, the Horn 1 & 2 and Trumpet 1 & 2 play the same pitch material over three octaves. In CS, this has been reduced to the higher two octaves and is played by the Clarinet and Horn.


m. 39-40 In CS, the original Clarinet 1 material is played/doubled by the Horn one octave lower.


m. 39-40 In CS, the original Trombone 2 material is played/doubled by the Clarinet one octave higher.


m. 41-47 In CS, the original Clarinet 1 material is eliminated. All original pitch material is provided by woodwind instrument with the same rhythm, but not in the same octave.

Elimination / Reorganize

Insignificant

m. 77-78 (beat 3)



m. 77 (beat 2) - 79 (beat 1)

In CS, the original Trumpet 1 material is played by the Clarinet.


m. 81-84 In CS, the original Clarinet 1 material is played/doubled by the Flute.


106

m. 81 (beat 3) -83

In CS, the original Bassoon1 material is played by the Clarinet.


m. 85-86 In CS, the original Clarinet 1 material is eliminated. All original pitch material is provided by woodwind instrument with the same rhythm, but not in the same octave.



No significant difference. The rhythm is slightly altered due to the rhythm of the strings.

m. 87-90 In CS, the Clarinet plays the original Horn 3 material.


m. 93-96 In CS, the original Clarinet 1 material is played/doubled by the Oboe.


m. 93-97 (beat 1) & 98 (beat 1)

In CS, the original Trumpet 1 & 2 material is played by the Clarinet (one octave higher for Trumpet 2).




m. 112 (beat 3)

In CS, the original Clarinet 1 material is played/doubled by the Bassoon one octave lower.


m. 116-118 (beat 1)



m. 121-122 In CS, the original Horn 3 material is played/doubled by the Clarinet.


m. 126 (beat 3)

In CS, the original Clarinet 1 material is played/doubled by the Horn.


m. 126 In CS, the Clarinet plays the original Trombone 2 material.


m. 127 In CS, the original Horn 1 material is played by the Clarinet.




m. 131 (beat 4)

In CS, the original Clarinet 1 material is played by the Flute for this one beat.




m. 140 (beat 1)



m. 142 & 144-145

In CS, the Clarinet plays the original Trumpet 2 material.




m. 149 In CS, the Clarinet plays one half note of the original Horn 3 material and one half note of the original Horn 4 material.

Reorganize Insignificant Elimination in BR

m. 150 (beats 2-3) & 152 (beats 2-3)




m. 151 & 153

In CS, the original Clarinet 1 & 2 material is played/doubled by the Flute one octave higher.


107

m. 151 & 153

In CS, the Clarinet plays the original Horn 3 & 4 material but with a different rhythm.


m. 154-156 (beat 2)

In CS, the original Horn 1 material is played by the Clarinet. This is the original Clarinet 1 & 2 material but an octave lower.


m. 157-163 In OS, the Clarinet 1 doubled the Clarinet 2 one octave higher. In CS, this has been reduced to the upper octave.

Reduction Insignificant Similar Reduction in BR. At m. 159, Brahms moves the reduction to the lower octave.



m. 170 In CS, the original Trumpet 2 material is played by the Clarinet.


m. 170 (beat 3)

In CS, the original Clarinet 1 material is played/doubled by the Flute.


m. 171 (beat 3) - 172



m. 191 (beats 2-3)

In CS, the Clarinet plays content very similar to the original Trumpet 1. The rhythm has been changed very slightly.


m. 199 (beat 3&4)



m. 200-201 (beat 2)




m. 207 (beats 2-3)

In CS, the Clarinet rhythm changes on these two beats to match the rhythm and pitch of the Horn 3,4 and Trumpet 1,2


m. 207 (beat 4)

In CS, the Clarinet 1 material is played/doubled by the Flute one octave higher.







m. 59-62 (beat 1)




Similar Reduction in BR - Brahms chooses to reduce to the original Clarinet register.

m. 59-62 (beat 1)





m. 62 (beat 2) -63

In CS, the Clarinet plays the original Oboe 2 material.


108



m. 87 (beat 2) -89





m. 87 - 89 In CS, the Clarinet plays the original Horn 2 material.




m. 132 In CS, the Clarinet 1 original material is played/doubled by the Oboe.


m. 149-153 In CS, the Clarinet 1 original material is played by the Bassoon.


m. 165-172 (beat 1)

In CS, the Oboe plays/doubles the original Clarinet 1 material.


m. 173 (beat 2) - 174 (beat 1)

In CS, the Oboe doubles the original Clarinet 1 material one octave lower.


m. 174 (beat 2) - 175



m. 175 In CS, the Oboe plays/doubles the original Clarinet 1 material one octave higher.


Mvt. 5 m. 4-5 In CS, the original Clarinet 1 material

is played by the Bassoon one octave lower.


m. 6-7 In CS, the original Clarinet 1 material is incorporated partially into the Clarinet and Flute parts. The pitch content is present but the rhythms are not sustained.

Elimination / Reduction


Elimination - Brahms eliminates the original Clarinet 2 material in m. 6 and portions of the original Flute 1 material in m. 7 in order to provide the Clarinet part.

m. 11-12 (beat 1)

In OS, the original Flute 1 material doubles the Clarinet 1 material one octave higher. In CS, this has been reduced to only the Flute 1.




m. 12 (beat 3) - 14 (beat 1)

In OS, the original Violin 1 material doubles the Clarinet 1 material. In CS, this has been reduced to only the Violin 1.


Insignificant






109

m. 18-23 In OS, the original Flute 1 material doubles the Clarinet 1 material one octave higher. In CS, this has been reduced to only the Flute 1.


Similar Reduction - Brahms chooses to reduce the material to the origiona Clarinet 1 register.




m. 30-31 In CS, the Clarinet plays the original Flute 2 material.


m. 32-35 In CS, the original Clarinet material has been integrated into both the Flute (one octave higher) and Clarinet parts. The rhythm has been modified from half to quarter notes in m. 33.


Reduction - In BR, this material has been reduced to only the Flute material.

m. 35-38 In CS, the original Viola 1 material is played by the Clarinet.




m. 45 (beat 2) - 46 (beat 1)



Similar Reduction - In BR, this material is reduced to the lower Clarinet level.

m. 49 In CS, the original Clarinet 1 material is played by the Horn.


m. 50 In CS, the original Flute 1 material is played one octave lower by the Bassoon. The Flute plays the original Flute 2 material for m. 49 and the original Clarinet 1 material for m. 50.


m. 52 In CS, the original Clarinet 1 material is played by the Horn one octave lower.





m. 66 (beat 4) - m. 68




110








m. 81-82 In CS, the Oboe plays the original Clarinet material one octave higher.



is doubled/played by the Flute one octave higher.


m. 32-34 In OS, the original Clarinet 1 doubles the Clarinet 2 one octave higher. In CS, this has been reduced to the higher octave.


In BR, this pitch material is present at both octaves, but not with the same rhythm as OS.

m. 58-59 In CS, the original Clarinet 1 material is doubled/played by the Flute.


m. 68-70 (beat 2)



m. 70 (beat 3) - 72 (beat 2)



m. 72 (beat 3) - 77

In CS, the original Trombone 2 material is played/doubled by the Clarinet.


m. 78 (beat 3) - 80 (beat 1)



m. 76-77 In CS, the original Clarinet 1 material is played/doubled by the Flute one octave higher.


m. 78 (beat 3) - 79 (beat 1)



m. 79 (beat 3) - 80 (beat 1)



m. 82-87 / 128-133

In CS, the original Clarinet 1 material is played/doubled by the Flute one octave higher.


m. 88-89 / 134-135

In CS, the original Clarinet 1 material is played/doubled by the Horn one octave lower.


m. 90-94 (beat 1) / 136-140



m. 94 (beats 2) - 95 (beat 1) / 140-141



111

m. 96 (beats 2-3) / 142



m. 97 (beats 2) - 98 (beat 1) / 143-144



m. 99 (beat 2) - 104 (beat 1) / 145-150



m. 85-87 (beat 1) / 131-133

In CS, the original Bassoon 1 material is played by Clarinet.


m. 95 (beat 2) - 96 / 98 (beat 2) - 99 (beat 1)

In Cs, the original Bassoon 1 material is played/doubled by the Clarinet.


m. 93 (beat 2) -94 (beat 1) / 96 (beat 2) - 97 (beat 1)



m. 99-101 / 145-147

In CS, Linckelmann creates a new Clarinet part that includes portions of the original Trombone 2 & 3 material.


m. 101 (beat 2) - 104 (beat 1) / 147-150




Reduction Significant

m. 141 (beat 2) - 142 / 144 (beat 2) - 145 (beat 1)








m. 156-157 (beat 2)



m. 157 (beat 3) - 158 (beat 1)



112

m. 158 (beat 3) - 159 (beat 2)



m. 159 (beat 3) - 161 (beat 1)

In CS, the original Clarinet 1 material is played by the Clarinet but one octave lower.


m. 151-161 In CS, the original Horn 1 & 2 material is played/doubled by the Clarinet one octave lower. When the Horn 1 & 2 pitch splits into octaves, this has been reduced to lower octave.


m. 182-183 In CS, the Flute plays the original Clarinet 1 one octave lower. The original Flute material for m. 183 doubles the Clarinet 1 material. However, this is now two octaves lower than original.








m. 188-191 In CS, the original Bassoon 1 material is played/doubled by the Clarinet. The third beat of m. 189 and 191 has changed.








m. 192-193 In CS, the original Clarinet 1 material is doubled/played by the Bassoon two octaves lower.


113

m. 194-195 In CS, the Clarinet plays the original Horn 3,4 and Clarinet 2 material.


m. 194-200 In CS, the original Clarinet 1 material is doubled/played by the Oboe.


m. 196-200 In CS, the Clarinet plays the original Horn 3 & 4 material.




m. 202 In CS, the original Clarinet 1 material is played/doubled by the Horn.








m. 246 (beat 2) -247



m. 249 (beat 4) - 259



m. 249 (beat 4) - 259

In CS, Linckelmann creates a new Clarinet part. This is comprised of material from the original Clarinet 1 & 2, Oboe 2, and Horn 3 & 4.


m. 260-267 In CS, Linckelmann creates a new Clarinet part. This is comprised of material from the original Clarinet 1 & 2, Oboe 2, Bassoon 1, and Horn 1 & 2.


m. 276-281 In CS, the original Clarinet 1 material is either played by the Clarinet or doubled by the Flute one octave higher.






m. 312 (beat 4) - 313 (beat 1)

In CS, the original Horn 1 & 2 material is played/doubled by the Clarinet.


114

m. 314-316 (beat 1)







m. 333-340 In CS, the original Clarinet 1 material is not consistently played by one instrument, so it is considered eliminated. However, all original content is provided with the same rhythm by a woodwind instrument but not always at the same register.



m. 342 (beats 1-2)

In CS, the original Clarinet 1 material is played/doubled by the Bassoon two octaves lower.


m. 342 (beat 2) - 344 (beat 3)

In CS, the original Clarinet 1 material is eliminated. All original pitch material is present in other parts but not with the same rhythm.



m. 344 (beat 4) - 345 (beat 2)





m. 347 In CS, the original Horn 1 & 2 material is played/doubled by the Clarinet.




m. 349 In CS, the original Clarinet 1 material is played/doubled by the Oboe.



is doubled/played by the Flute Reorganize Insignificant



m. 10-12 In CS, the Flute plays/doubles the original Clarinet 1 material one octave higher.


m. 13 (beat 4) - 14 (beat 1)





m. 13-14 In CS, the Clarinet plays the original Clarinet 2 material.


115

m. 24-26 (beat 2)

In CS, the original Clarinet 1 material is eliminated. The pitch material is played by a variety of other instruments but with different rhythms.


In BR, a majority of the original material is retained, but portions have been eliminated.

m. 26 (beat 3) - 33

In CS, the Flute plays/doubles the original Clarinet 1 material one octave higher.


m. 34 - 35 (beat 1)

In CS, the Oboe plays/doubles the original Clarinet 1 material one octave higher.


m. 35 (beat 2)

In CS, the Oboe plays/doubles the original Clarinet 1.




m. 37-39 In CS, the original Clarinet 1 material is eliminated. All original pitch material is played but in a variety of instruments in a variety of registers.



m. 40-47 In CS, the Clarinet plays the original Trombone 2 material. For beats 3&4 of m. 45, the Clarinet plays the original Trombone 1 material.


m. 48-51 In CS, the original Clarinet 1 material is eliminated. The original pitch material is played by other instruments but with a different rhythm.

Elimination Significant Similar Elimination in BR



m. 70-71 In OS, the Horn 3 doubles the Horn 4 one octave higher. In CS, this is reduced to only the Horn 3 register and is played by the Clarinet.


Insignificant



m. 76-78 In CS, the Clarinet plays the original Trombone 2 material.


m. 79-81 (beat 1)

In CS, the original Clarinet 1 material is eliminated. M. 79 & 81 are present in other instruments, but m. 80 is not present in any instrument. This material is sung by the Soprano voice.




m. 87 (beat 3) - 89

In CS, the original Clarinet 1 material is eliminated. The original pitch material is played by a variety of other instruments in a variety of registers.



116

m. 87 (beat 4) -91

In CS, the Clarinet plays the original Bassoon 1 material.




m. 113 In CS, the Flute plays the Clarinet 1 material.


m. 113 (beats 3&4)





m. 119-123 In CS, the Flute plays/doubles the original Clarinet 1 material one octave higher. The pitch of resolution (downbeat) in the Flute is different than the original Clarinet 1. These pitches are doubled by other instruments.




m. 130 In CS, the Flute plays/doubles the original Clarinet 1 material one octave higher.


m. 131 In CS, the Flute plays the Clarinet 1 pitch material. The rhythm is slightly different because the Flute plays its original material on the first beat.




m. 158 (beat 3) -159

In CS, the Clarinet plays the original Harp material.


m. 158 (beat 3) -159

In CS, the original Clarinet material is doubled/played by the Oboe.


m. 163-164 In CS, the original Clarinet material is doubled/played by the Oboe.


Clarinet 2


Mvt. 1 TACET Mvt. 2 m. 5 (beat 3) 6 (beat 1) / 129-130

In CS, the original Clarinet 2 material has been eliminated. The original pitch material is played by other instruments.



117

m. 8-9 (beat 1) / 132-133




m. 24 (beat 2) - 25 (beat 2) / 148-149




m. 25 (beat 3) - 30 (beat 2) / 149-154



No significant difference. A couple of the rhythms have been changed slightly.

m. 35-36 (beat 2) / 159-160




m. 36 (beat 3) - 41 / 160-165

In CS, the original Clarinet 2 material is played/doubled by the Bassoon.


m. 44 (beat 1-2) & 48-50 (beat 2) / 168 & 172-174




m. 52 (beat 3) - 61 / 176-185

In CS, Linckelmann composes new material for the Clarinet and Oboe. This material is comprised of portion of the original Oboe 1 &2, Clarinet 1 & 2, and Flute 2 material.


Brahms reduction is more similar to the OS. In both arrangements, a majority of the original material is provided.

m. 66 / 190 In CS, the original Clarinet 2 material is played/doubled by the Violin 2.


m. 67-73 / 191-197



m. 202 Possible Mistake - In CS, the Horn plays new content (Pitches D-G-C) that is not in the original. It is most closely related to the Clarinet 2 material (D-C-G).

New Content


No significant difference. The chords in BR do include the pattern used by Linckelmann.






m. 214-218 In CS, the Flute plays the original Clarinet material (1 &2)




About 50 % of the original material has been eliminated or presented with a different rhythm.

118

m. 225 (beat 3) - 226



m. 241-242 In OS, the Clarinet 1 doubles the Clarinet one octave higher. In CS, this has been reduced to the higher octave.



m. 245 In CS, the original Clarinet 1 & 2 material is doubled/played by the Flute one octave higher.


m. 272-275 In CS, the Clarinet plays the original Clarinet 2 pitches but with the Horn 4 rhythm.


m. 284-286 In CS, the original Clarinet 2 material is played/doubled by portions of the Violin 1,2, and Viola 1 parts.





m. 291-298 In CS, the original Clarinet 2 material is played/doubled by the Oboe one octave higher.


m. 299-303 In CS, Linckelmann creates a new Clarinet part that includes portions of the original Clarinet 1 & 2 and Flute 2.



m. 311-314 In OS, the Clarinet 1 doubles the Clarinet one octave higher. In CS, this has been reduced to the lower octave.



m. 315 (beats 1-3)






m. 329 (beat 3) - 330




m. 333 (beat 3) - 336



Mvt. 3 m. 33-35 In CS, the original Clarinet 2 material is

doubled/played by the Bassoon one octave lower.


m. 36-38 In CS, the original Clarinet 2 material is doubled/played by the Horn.


119

m. 41-47 In CS, the original Clarinet 2 material is doubled/played by the Bassoon. M. 44 & 46 are doubled by the Horn.


m. 61 In CS, the original Clarinet 2 material is played/doubled by the Horn one octave lower.


m. 62 In CS, the original Clarinet 2 material has been eliminated. The original pitch material is played by the Violin 2 but at a different octave and with a different rhythm.


Similar Elimination

m. 81-83 In CS, the original Clarinet 2 material is played/doubled by the Horn.


m. 93-96 In OS, the Clarinet 1 doubles the Clarinet 2 one and two octaves higher. In CS, this has been reduced to only the higher octave and is played by the Oboe.



m. 111 - 112 (beat 2)

In CS, the original Clarinet 2 material is doubled/played by the Bassoon one octave lower.


m. 113 (beats 2-3)



m. 116-118 (beat 1)



m. 129 In CS, the Oboe plays the original Clarinet 2 material.


m. 130-131 (beat 3)



m. 138 - 139 (beat 2)



m. 139 (beat 3)



m. 150 (beats 2-3) & 152 (beats 2-3)




m. 151 & 153

In CS, the original Clarinet 1 & 2 material is played/doubled by the Flute one octave higher.


m. 154-156 (beat 2)

In CS, the original Horn 1 material is played by the Clarinet. This is the original Clarinet 1 & 2 material but an octave lower.


m. 171 (beats 1-2)



m. 185-187 (beat 2)



120

m. 205 In CS, a portion of the Clarinet 2 material is played by the Oboe. The original Oboe 2 material (which is being played by the Oboe) is integrated into the Clarinet material.


m. 205 (beat 4) - 207 (beat 3)




Mvt. 4 m. 1-4 In OS, the Oboe doubles the Clarinet 2

one octave higher. In CS, this is reduced to only the Oboe at the higher octave.


Similar Reduction - In BR, this material is reduced to the lower Clarinet register.



m. 17-21 In CS, the Flute plays the original Clarinet 2 material. The final pitch in m. 21, is doubled/played by the Horn.


m. 47-48 In CS, the original Clarinet 2 material is played by the Oboe one octave higher.


m. 49-50 In OS, the Bassoon 2 doubles the Clarinet 2 one octave lower. In CS, this has been reduced to only the Bassoon at the lower octave.



m . 51-52 In CS, the original Clarinet 2 material is eliminated. The original pitch material is present in other parts, but with a different rhythm pattern.



m. 53-56 In OS, the Bassoon 2 doubles the Clarinet 2 one octave lower. In CS, this has been reduced to only the Bassoon at the lower octave.

Reduction /

Reorganize





m. 59-62 (beat 1)


Reduction /

Reorganize



m. 87 (beat 2) - 89

In OS, the Oboe doubles the Clarinet 2 one octave higher. In CS, this is reduced to only the Oboe at the higher octave.

Reduction /

Reorganize


m. 87 - Eliminated in BR / m.88-89 - No significant difference.



m. 102-104 In CS, the Flute plays the original Clarinet 2 material. The fourth beat of m. 103 has been changed.


m. 105 (beats 2 &3)



121



m. 161-164 (beat 1)

In CS, the original Clarinet 2 material is played by Horn.


m. 165 (beat 2) - 173

In OS, the Flute 2 and the Clarinet 2 double each other at the octave. In CS, this doubling is reduced to only the Clarinet at the lower octave.

Reduction /

Reorganize



m. 173 (beat 2) - 174 (beat 1)



m. 175 In CS, the original Clarinet 2 material is eliminated. No other instrument plays this pitch material.


Pitch is present, but one octave higher.

m. 176-179 In CS, the original Clarinet 2 material is doubled/played by the Oboe one octave higher.


Mvt. 5 m. 9 - 10 (beat 1)

In CS, the original Clarinet 2 part is played by the Flute.


m. 12 (beat 3) - 14

In OS, the Flute 2 doubles the Clarinet 2 one octave higher. The only exception is the third beat of m. 12. The pitches on this beat are different. In CS, this is reduced to only the Clarinet playing the original Flute 2 material. Therefore, the third beat of m. 12 of the original Clarinet 2 is eliminated (pitch played by Flute 1).

Reduction /

Elimination


Similar Reduction - In BR, this material is reduced to the higher Flute register.




m. 20 (beat 3)

On this beat, in CS, the Clarinet plays the original Clarinet 1 material. The Clarinet 2 part is played by the Oboe one octave higher.





m. 28 In CS, the Clarinet plays the original Clarinet 2 material which doubles the Flute 2 at the lower octave. The original Flute 2 material is reduced to only the Clarinet 2 part.


122

m. 32-34 (beat 2)

In CS, the Clarinet plays the original Flute 2 material one octave lower. The original Clarinet 2 material is incorporated into this material, but with a slightly different rhythm.


All original pitch material is present, but with slightly different rhythm.

m. 34 (beat 3) - m. 35

In CS, the original Clarinet 2 part is played by the Flute one octave higher.


m. 37 In CS, the Flute plays the original Clarinet material.




m. 44 (beat 4) - 45 (beat 2)

In CS, the Clarinet plays the original Clarinet 1 material. The original Clarinet 2 material is eliminated. The pitch material exists in string parts but with different rhythms.








m. 69 In CS, the original Clarinet 2 material is eliminated. The original pitch material is present in other parts, but with a different rhythm.





Reduction - In BR, this has been reduced to only the top octave.

m. 81-82 In OS, the original Clarinet 2 material doubles the Bassoon 2 one octave higher. In CS, this has been reduced to only the Bassoon.



Mvt. 6 m. 2-3 In CS, the original Clarinet 2 material is

played/doubled by the Horn. The leap goes in the opposite direction as the OS.




m. 20-22 (beat 1)



m. 23 In CS, the original Clarinet 2 material is played/doubled by the Bassoon one octave lower.


123

m. 25 (beat 2) - 26 (beat 1)

In CS, the original Clarinet 2 material is played/doubled by the Oboe one octave higher.


m. 32-34 In OS, the original Clarinet 1 doubles the Clarinet 2 one octave higher. In CS, this has been reduced to the higher octave.


In BR, this pitch material is present at both octaves, but not with the same rhythm as OS.

m. 75 In CS, the original Clarinet 2 material is played/doubled by the Oboe one octave higher.


m. 78-79 (beat 1)

In CS, the original Clarinet 2 material is played/doubled by the Viola.


m. 79 (beat 3) - 80

In CS, the original Clarinet 2 material is eliminated. All original pitch material is present with the same rhythm but in a different register.



m. 85-87 (beat 1) / 131-133



m. 93 (beat 2), 95 (beat 2) - 96 (beat 1), 98 (beat 2)- 99 (beat 1)



m. 96 (beat 2) - 97 (beat 1) / 142-143



m. 99-104 / 145-150

In CS, the Horn plays the original Clarinet 2 material.






m. 122-123 In CS, the Horn plays the original Horn 3, Trombone 1, and Clarinet 2 material.


m. 124-126 (beat 1)



m. 139 (beat 2), 141 (beat 2) - 142 (beat 1), 144 (beat 2)- 145 (beat 1)



124

m. 151-157 (beat 2) & 158 (beat 3) - 164



m. 165-166 (beat 1)



m. 166 (beat 2) - 177



m. 178-180 In CS, the original Clarinet 2 material is played/doubled by the Flute two octaves higher.


m. 182 (beat 3) & 183 (beat 2)



m. 184-186 In CS, the original Clarinet 2 material is played/doubled by the Flute two octaves higher.


m. 188-189 In CS, the original Clarinet 2 material is eliminated. All original pitch material is present but with a different rhythm.





m. 201 In CS, the original Clarinet 2 material is played/doubled by the Flute two octaves higher.


m. 202 In CS, the original Clarinet 2 material is played/doubled by the Bassoon two octaves lower.






m. 246 (beat 2) -248 (beat 1)



m. 249 (beat 4) - 259

In CS, Linckelmann creates a new Clarinet part. This is comprised of material from the original Clarinet 1 & 2, Oboe 2, and Horn 3 & 4.


m. 260-267 In CS, Linckelmann creates a new Clarinet part. This is comprised of material from the original Clarinet 1 & 2, Oboe 2, Bassoon 1, and Horn 1 & 2.


m. 276-281 In CS, the original Clarinet 2 material is either played by the Clarinet or played by another instrument with a different rhythm.


125

m.287 (beat 4) - 290



m. 291-292 (beat 2)



m. 298 (beat 4) - 303 & 305-308



m. 309-310 (beat 3)

In CS, the original Clarinet 2 material is eliminated. All original pitch material is present in other instruments but not with the same rhythm.







m. 324 (beat 4) - 329 (beat 3)



m. 328 (beat 4) - 330 (beat 3)

In CS, the original Clarinet 2 material is played/doubled by the Horn one octave lower.


m. 336-339 In CS, the original Clarinet 2 is presented by a variety of woodwind instruments in a variety of registers.


m. 342-346 In CS, the original Clarinet 2 material is eliminated. All original pitch material is present in other instruments but not with the same rhythm.



m. 347 In CS, the Horn plays the original Clarinet 2 material.


m. 348 In CS, the original Clarinet 2 material is played/doubled by the Bassoon. This part has an octave leap not present in the OS.


m. 349 In CS, the Horn plays/doubles the original Clarinet 2 material.


Mvt. 7 m. 10-11 (beat 3)

In CS, the original Flute 2 and Clarinet 2 material (one octave lower) is played by the Clarinet at the higher octave.


m. 11 (beat 4) - 12 (beat 1)



m. 13-14 In CS, the Clarinet plays the original Clarinet 2 material one octave higher.


126

m. 18-19 In CS, the original Clarinet 2 part is doubled/played by the Oboe.


m. 34 In CS, the Clarinet plays the a C on the downbeat of m. 34. This pitch was in the original Bassoon (the only woodwind instrument to play on this beat), but not in the CS.


m. 34-35 (beat 2)



m. 35 (beat 3) -36 (beat 2)

In CS, the original Clarinet 2 material is eliminated. The pitch material is played by a variety of instruments.




m. 37 In CS, the original Clarinet 2 material is doubled/played by the Oboe one octave higher.


m. 38 In CS, the original Clarinet 2 material is eliminated. The pitch material is played by a variety of instruments.


m. 40-47 In CS, the Clarinet plays the original Trombone 2 material. For beats 3&4 of m. 45, the Clarinet plays the original Trombone 1 material.








m. 84-85 (beat 3)

In CS, the Flute plays the Clarinet 2 material.


m. 86 In CS, the original Clarinet 2 material is eliminated. No other instrument plays the original pitch material.



m. 87 - 89 In CS, the original Clarinet 2 material is eliminated. The original pitch material is played by other instruments but with a different rhythm.



m. 111-112 In CS, the original Clarinet 2 material is played/doubled by the Oboe one octave higher.


m. 113 (beat 4)

In CS, the original Clarinet 2 material is eliminated. The original pitch material is played by the Viola and Cello but with a different rhythm.


127

m. 122-123 In CS, the original Clarinet 2 material is not played on the downbeat of these measures. Instead alternative pitches from other woodwind instruments are played.




m. 132 (beat 1)



m. 140 (beats 1 & 2)



m. 140 (beat 3) - 141

In CS, the original Clarinet 2 material is eliminated. The original pitch material is played by other instruments but with a different rhythm.



m. 143 (beats 1-3)

In CS, the Flute plays the Clarinet 2 pitch material. The rhythm is slightly different because the Flute plays its original material on the fourth beat.


m. 144 (beat 1)

In CS, the original Clarinet 2 material is eliminated. The original pitch material is played by the Violin 2.

Elimination /

Reorganize

Insignificant

m. 157-158 (beat 2)

In CS, the original Clarinet 2 material is eliminated. The original pitch material is played by a variety of instruments in a variety of registers


The same pitch material is present but in a variety of registers.

m. 158 (beat 3) - 159

In CS, the original Clarinet 2 material is doubled/played by the Horn one octave lower.


m. 164 (beats 2-4)

In CS, the original Clarinet 2 material is eliminated and the Clarinet plays the original Harp material. The Flute plays the same pitch material two octaves higher.

Elimination /

Reorganize


Similar Elimination in BR - All pitch material is provided but with a different rhythm.

m. 165-155 In CS, the original Clarinet 2 material is doubled/played by the Oboe one octave higher.


Bassoon 1


Mvt. 1 m.2-15 In CS, the Bassoon plays the original

Cello 2 part. Significant timbre change.



m. 27 In CS, the Cello 1 material is played by the Bassoon.


128

m. 28-29 In CS, the original Cello 2 material is played by the Bassoon.


m. 30-33 In OS, the original Bassoon 2 doubles the Cello 2. In CS, this is played by the Bassoon.


m. 30-33 In OS, the original Bassoon 1 doubles the Cello 1. In CS, this is played by the Clarinet.


m. 34-37 In CS, the Bassoon plays the original Trombone 3 material.


m. 39 (beat 2) - 42

In CS, the original Bassoon 1 material is eliminated. All original pitch material is provided by other instruments with a different rhythm.



m. 42-44 In CS, the original Horn 2 material is played by the Bassoon.


m. 46 In CS, the original Horn 2 material is played /doubled by the Bassoon.


m. 45-47 In OS, the Bassoon 2 doubles the Trombone 2. In CS, this material is played by the Bassoon.






m. 53 In OS, the Bassoon parts play the pitch of Db at an octave for a half note. In CS, Linckelmann writes two quarter notes. One from the lower octave, one from the higher.

Change Minimally Significant

In BR, the lower octave is eliminated.

m. 54 (beat 3)-55

In CS, the original Bassoon 1 material is eliminated for two beats. The pitch material is played by other instruments. In m. 55, both Bassoon parts are eliminated.



m. 56 / 89 In CS, the Bassoon plays the original Trombone 2 material.


m. 57-58 / 90-91

In CS, the original Bassoon 1 & 2 material is eliminated. All pitch material is presented in other instruments in a different rhythm.



m. 57-58 / 90-91

In CS, the Bassoon plays the original Trombone 3 material. Portions of the Trombone 2 material are added in m. 58.

Reorganize Insignificant In BR, a majority of the material is presented. However, the rhythm is obscured by the other parts.

m. 59-60 / 92-93

In CS, the Horn plays the original Bassoon 1 material.


m.66-72 In CS, the Bassoon 1 part plays the original Cello 2 part. For the second half of m. 72, the Bassoon 1 plays the Cello 1 part which is a doubling of the Cello 2 part at the higher octave.


129

m. 72 (beat 3) -75

In CS, the original Cello 1 material is played by the Bassoon 1.


m. 74 (beat 4) - 76

In CS, the Bassoon doubles/plays the original Trombone 2/3 material.


m. 77-79 In CS, the original Cello 2 material is played by the Bassoon 1.


m. 86-88 In CS, the original Bassoon 1 material is eliminated. All pitch material is presented in other instruments in a different rhythm.


Similar Elimination in BR - elements of the original material are present but not in same register



m. 115-118 In OS, the Bassoon 2, Cello 2, and Cello 3 all play the same material. In CS, this material is played by the Bassoon. The original Bassoon material ends at m. 117 (beat 2), but the Bassoon continues with the original Cello 2/3 material.


m. 115-116 In OS, the Bassoon 1 doubles the Bassoon 2 one octave higher. In CS, this has been reduced to only the lower octave.


m. 117 In CS, the original Bassoon 1 material is played/doubled by the Cello.






m. 121-122 In CS, the Horn plays the original Bassoon 1 material.






m. 125 In CS, the Horn plays the original Bassoon 1 material.


m. 126-127 In CS, the original Bassoon 1 material is played/doubled by the Flute one octave higher.


m. 129 (beat 3) - 132

In CS, the original Bassoon 1 material is eliminated. All pitch material is presented in other instruments in a different rhythm.


All pitch elements remain, but the rhythm is slightly different.

m. 132 (beat 3) - 136 (beat 1)

In CS, the original Horn 2 material is played by the Bassoon.


m. 137 (beat 2) - 138 (beat 1)



130

m. 144-145 In CS, the original Bassoon 1 material is played/doubled by the Oboe for beats 1&2 of m. 144, then by the Clarinet.


m. 147 (beat 4) - 148



m. 150-151 In CS, the original Bassoon 1 material is played/doubled by the Cello.


m. 151 In CS, the original Cello 2 material is played/doubled by the Bassoon but at the lower octave.


m. 155-158 In CS, the original Bassoon 1 material is played/doubled by the Horn but in a different register.


Mvt. 2 m. 12-19 / m. 136-143

In OS, on the third beat of each measure the Bassoon 1 part doubles the Bassoon 2 one octave higher. In CS, this has been reduced to only the lower octave.


m. 22 (beat 3) - 27 / 146 (beat 3) -151




m. 23-26 / 147-150

In this passage, Linckelmann creates a new part for the Bassoon that incorporates elements of the Horn 1 & 2 and Bassoon 1 & 2.

Reorganize Significant DIFFERENCE - Brahms eliminates the original Bassoon 1 & 2 material. All pitch material is incorporated but with a different rhythm.


In CS, the Bassoon plays the original Trombone 2 material.


m. 26 (beat 3) - 28 (beat 2) / 150 (beat 3) - 152 (beat 2)

In CS, the original Bassoon 1 material is played/doubled by the Oboe.






In CS, the original Bassoon 1 material is played by the Horn. (This material is also a doubling of the Tromb. 2)


131


In CS, the Bassoon plays the original Horn 1 material. From m. 31-33 this doubles the original Bassoon 2 material one octave higher.


m. 35-36 (beat 2) / 159 - 160 (beat 2)




m. 36 (beat 3) - 41 / 160 (beat 3) - 165

In OS, the Clarinet 1 doubles the Bassoon 1 one octave higher. In CS, this has been reduced to the upper octave and played by the Clarinet.



m. 44-48 / m. 168-172

In CS, the Bassoon plays the original Horn 3 & 4 material. At m. 46 (beat 3), the Horn 3 & 4 divide, and the Bassoon plays the original Horn 4 material.

Reorganize Insignificant DIFFERENCE - Brahms eliminates both Horn 3 & 4. The original pitch material is in other part with a different rhythm.

m. 48 (beat 3) - 52 (beat 2) / m. 172 (beat 3) -176 (beat 2)

In OS, the Horn 1, Bassoon 1 & 2 play the same material in three octaves. In CS, this has been reduced to the highest octave, and it is played by the Horn.


m. 49-54 (beat 2) / 173-178 (beat 2)

In CS, the Bassoon plays the original Trombone material. Tromb 3 - m. 49,50 / Tromb 2 - m. 51, 52 / Tromb 3 - m. 53,54



In OS, the Horn 3, Bassoon 1 & 2 play the same material in two octaves. In CS, this has been reduced to the highest octave, and it is played by the Horn.


m. 54 (beat 3) - 62 / 178 (beat 3) - 186

In CS, the Bassoon plays the original Tuba material.


m. 54 (beat 3) - 56 / 178 (beat 3) – 180

In CS, the original Bassoon 1 material is doubled/played by the Oboe one octave higher.


m. 57-62 / 181-186




m. 67-72 (beat 1) / 191-196 (beat 1)

In OS, the Clarinet 1 doubles the Bassoon 1 one octave higher. In CS, this has been reduced to only upper octave played by the Clarinet.

Reduction Insignificant All pitch elements remain, but the rhythm is slightly different.

m. 72 (beat 2) - 73 / 196 (beat 2) - 197

In CS, the Horn plays the original Bassoon 1 & Violin 2 (2) material.


m. 73 (beat 3) - 75

In CS, the Bassoon plays the original Horn 2 material.


132

m. 97-103 In CS, the Bassoon plays the original Horn 2 material.


m. 119 In OS, the Bassoon played a half-note. In CS, the Bassoon plays only a quarter. The woodwinds play the longer note, and the strings play the shorter note.

Miscellaneous Insignificant



m. 197 (beat 3) -198 (beat 2)



m. 198 (beat 3) - 200 (beat 1)



m. 205 In CS, the original Bassoon 1 material is played/doubled by the Clarinet 2 octaves higher.


m. 213 (beat 4) -222



m. 219 & 221

In CS, Linckelmann merges the original Bassoon 2 and Trombone 3 material to create a new part with a new rhythm. This material is played by the Bassoon.



m. 223 (beats 1 & 2)

In CS, the original Bassoon 1 material is played/doubled by the Horn.


m. 223 (beat 3) - 224

In OS, starting on the third beat, the Bassoon 1 & 2 play in octaves. In CS, this has been reduced to the lower octave (Bassoon 2)


m. 227-231 In CS, Linckelmann alternates between the original low pitch of the Bassoon 2 on beats 1 & 3 and the original high pitch of the Bassoon 1 on beats 2 & 4. The other pitches are eliminated by their pitch material is covered by the Clarinet with a different rhythm.

Reorganize Insignificant No significant difference

m. 250 In OS, the Bassoon holds a whole note. In CS, the same pitch is reiterated to cover the Trombone 3 & Horn 4 pitch.


m. 253-254 & 257-258

In OS, the Bassoon 1 doubles the Bassoon 2 one octave higher. In CS, this has been reduced to only the upper octave.


m. 255-256 & 259-260



133

m. 265 (beat 3) - 268



m. 291-294 In CS, the original Bassoon 1 material is eliminated. The 3rd and 4th beat of m. 293 are played by the Bassoon. All original pitch material is provided by other instruments but with a different rhythm.



m. 296 In CS, the Bassoon plays the original Tuba material.


m. 296 In OS, the original Bassoon material is played/doubled by the Cello.


m. 301-303 In CS, the Bassoon plays the original Horn 3 & 4 material.








m. 331-332 In OS, the Bassoon 1 doubles the Bassoon 2 one octave higher. In CS, this has been reduced to only the upper octave.


m. 337 In OS, the Bassoon plays the Tuba pitch of Bb. This is the same pitch as the Bassoon 2 but one octave higher.


Mvt. 3 m. 1-16 In CS, Bassoon plays the original

Horn 2 part. Reorganize Insignificant

m. 3-5 & 7 In CS, the original Cello 2 is played by the Bassoon. The second beat of m. 5 is omitted.


m. 33-38 In OS, the Bassoon 1 doubles the Clarinet one octave lower. In CS, this has been reduced to the Clarinet at the higher octave.


m. 39-40 In CS, the original Bassoon 1 material is played by the Horn.


m. 41-47 In CS, Linckelmann combines both Bassoon 1&2 to make a new melodic line. The pitches not used are provided by other instruments with the same rhythm but at a different register.






134

m. 61-62 In CS, the original Bassoon 1 & 2 material is eliminated. All pitch material is presented in other instruments with the same rhythm but at a different register.



m. 66-77 (beat 1)

In CS, the Horn 2 part is played by the Bassoon.


m. 81 (beat 3) -83

In CS, the original Bassoon1 material is played by the Clarinet.


m. 84 In CS, the original Bassoon 1 material is doubled/ played by the Horn.


m. 85-86 In CS, the original Bassoon 1 material is eliminated. All original pitch material is provided by other instruments but with a different rhythm.





m. 93-96 In OS, the Bassoon 1 doubles the Bassoon 2 one octave higher. In CS, this has been reduced to only the lower octave (Bassoon 2).




m. 114-115 In CS, the original Bassoon 1 material is played/doubled by the Oboe.


m. 116-118 (beat 1)



m. 118-119 / 122-123 / 126-127

In CS, the Bassoon plays the original Trombone 3/Tuba material.


m. 128-129 (beat 1)



m. 138-139 (beat 2)

In OS, the Clarinet 1 doubles the Bassoon 1 one octave higher. In CS, this has been reduced to the Clarinet at the higher octave.


m. 139 (beat 6) - 141

In CS, the original Bassoon 1 material is played/doubled by the Flute one octave higher.


m. 143 & 146 (beat 5) - 147 (beat 1)



m. 154-156 (beat 2)

In OS, the Bassoon 1 &2 doubles the Clarinet 1 & 2 one octave lower. In CS, this has been reduced to the Clarinet at the lower octave.


m. 154-156 (beat 2)



135

m. 156 (beat 2)

In OS, the Bassoon 1 doubles the Bassoon 2 one octave higher. In CS, this has been reduced to only the lower octave (Bassoon 2).


m. 157 (beat 3) - 158 (beat 1)



m. 157 (beat 3)

In CS, the original Bassoon 1 material is played/doubled by the Violin 1 one octave higher and the Flute two octaves higher.


m. 158 In CS, the original Bassoon 1 material is played/doubled by the Oboe one octave higher.


m. 159 In CS, the original Bassoon 1 material is played/doubled by the Flute two octave higher.


m. 160 In CS, the original Bassoon 1 material is eliminated. The original pitch content is provided by the Violin 1 but in a different rhythm.





m. 163 (beat 3) - 169



m. 170 In CS, the original Horn 2 material is played by the Bassoon.


m. 170 (beats 3&4)

In CS, the Cello 1 plays the original Bassoon 1 material.


m. 171-173 (beat 1)





A majority of the pitch material is presented, but not by one specific part in a logical progression to suggested that it is the original Bassoon 1 material.

m. 186-188 (beat 1)




m. 193-195 (beat 2) & 197 (beat 3) - 199

In OS, the Trombone 1/2 doubles the Trombone 3/Tuba one octave higher. In CS, this has been reduced to only the upper octave and played by the Bassoon.



DIFFERENCE - In BR, this material has been eliminated. The original Bass material is very similar, and it is used in BR.

m. 193-195 (beat 2)

In CS, the original Bassoon 1 material is played/doubled by the Bass one octave lower.



136

m. 197 (beat 4) - 198 (beat 1)

In CS, the original Bassoon 1 material is played by the Oboe.


m. 198-199 In CS, the original Bassoon 1 & 2 material is played/doubled by the Clarinet.


m. 200 -202 In CS, the original Horn 2 material is played by the Bassoon.


m. 200 (beat 1) & m. 202-205 (beat 2) & m. 206 (beat 2) - m. 207

In CS, Linckelmann combines both Bassoon 1 & 2 parts to create a new part for the Bassoon. This is not a significant difference from the original part.


In BR, Brahms eliminates the Bassoon 1 material and just uses the Bassoon 2 material.

m. 205 (beat 3) - 204 (beat 2)



Mvt. 4 m. 4-8 In CS, the Bassoon plays the original

Horn 1 material. Reorganize Insignificant



m. 47-55 In CS, the original Bassoon material is doubled/played by the Clarinet one octave higher.


m. 51 In CS, the Bassoon plays the original Horn 1 material.




m. 58 In CS, the original Bassoon material is doubled/played by the Clarinet one octave higher.


m. 59 In OS, the original Bassoon 1 material doubles the Bassoon 2 one octave higher. In CS, this has been reduced to only the lower Bassoon 2 pitch.


m. 60 In CS, the original Bassoon 1 material is eliminated. No other instrument plays this pitch material. The Tenor voice does sing the pitch.



m. 61-62 (beat 1)

In CS, the original Bassoon 1 material is played by the Horn.


m. 71 (beat 1)

The first beat of m. 71 has been changed to the original Horn 2 material. WHY? This pitch content is provided in multiple voices.



m. 85-86 In CS, the original Bassoon 1 material is played/doubled by the Clarinet one octave higher.


137

m. 87-89 In CS, the original Bassoon 1 material is eliminated. The pitch material is provided by a variety of different instruments but not with the same melodic pattern.


No significant difference for m. 87. Measures 88-89 have been eliminated.







m. 149-153 In CS, the Clarinet 1 original material is played by the Bassoon.




m. 164 (beat 3)

In OS, the Bassoon 1 doubled the Oboe 1 one octave lower. In CS, this has been reduced to the Oboe at the higher octave.



m. 174-175 In CS, the original Bassoon 1 material is eliminated. No other instrument plays this pitch material.


The same pitches in the same register have been eliminated. The same pitch content, however, is available in a variety of instruments in a variety of registers.

m. 176-179 In CS, the original Bassoon 1 material is doubled/played by the Clarinet one octave higher.







m. 20 (beat 4) -23

In OS, the Bassoon 1 is one octave higher than Bassoon 2 (except for unison on beat 2 of m. 22). In CS, this is reduced to either the lower or higher octave (varies).



m. 26 (beat 3) - m. 27 (beat 1)






m. 37 In OS, the Bassoon 1 doubles the Flute 1 one octave lower. In CS, the lower octave is removed and the




138

Oboe plays the original pitch material of the Flute 1.

m. 43-50 (beat 3)





m. 57 (beat 4) - 58






m. 64 In CS, the Bassoon 1 original material is doubled / played one octave higher by the Oboe.


m. 69 In OS, the Bassoon 1 & 2 play in octaves. In CS, this is reduced to only the Bassoon 2 lower pitch.








Mvt. 6 m. 7-10 In OS, the Bassoon 1 doubles the

Clarinet 1 an octave lower. In CS, this has been reduced to the Clarinet at the higher octave.





m. 23-24 (beat 1)

In OS, the Bassoon 1 doubles the Clarinet 1 an octave lower. In CS, this has been reduced to the Clarinet at the higher octave.



m. 68 - 78 In CS, the Tuba original material is played by the Bassoon. In m. 75, the Bassoon abandons the Tuba original material and plays an E3 rather than a G2.


m. 75-77 In OS, the original Bassoon 1 material doubles the Flute two octaves lower. In CS, this has been reduced to the Flute at the higher register.



m. 78 (beat 1)

In CS, the original Bassoon 1 material is played/doubled by the Viola.


139

m. 79 (beat 4) - 80 (beat 1)

In CS, the original Bassoon 1 material is played/doubled by the Clarinet.


m. 82-93 In OS, the Tuba doubles the Bassoon 2 part at the lower octave (until m. 88). In the CS, the Bassoon plays the lower Tuba original material and the higher octave doubling is omitted.


DIFFERENCE - Brahms chooses to eliminate this material. The pitch is provided but in a much different register. The original Tuba material is not omitted for m. 87.

m. 82-84 (beat 2) / 128-129

In CS, the original Bassoon 1 material is played/doubled by the Oboe one octave higher.


m. 85-87 (beat 1) / 131-133

In CS, the original Bassoon 1 material is played by Clarinet.


m. 87 (beat 3) - 89



m. 90 (beats 1-2)-94



m. 93 (beat 2-3)



m. 95 (beat 2) - 96 (beat 1)

In CS, the Bassoon plays the original Clarinet 2 material.


m. 96 (beats 2-3)

In CS, the Bassoon plays the original Tuba material one octave higher.


m. 95 (beat 2) - 96 / 98 (beat 2) - 99 (beat 1)



m. 98 (beat 2) - 99 (beat 1)



m. 104 (beat 3) - 106 (beat 1)



m. 106 (beat 3) - 107



m. 99-108 In OS, the Tuba doubled both the Cello and Bassoon (with slight variations occurring due only to octave displacement). In CS, the original Tuba material is most closely presented by Bassoon part. The Cello also plays a very similar part.


m. 116-123 In OS, the original Bassoon 1 material doubles Bassoon 2 one octave higher. In CS, this has been reduced to the lower register (Bassoon 2).


No significant difference. Brahms plays, m. 118, one octave lower than OS.

140

m. 124-126 In Cs, the original Bassoon 1 material is played/doubled by the Clarinet.


m. 128-139 In CS, the Tuba original material is played by the Bassoon. (Very similar to m. 82-93)



m. 127-130 (beat 2)









m. 137-139 (beat 1)

In CS, the original Bassoon 1 material is played/doubled by the Clarinet one octave higher.


m. 139 (beats 2-3)



m. 139 (beats 2-3)



m. 141 (beat 2) - 142 (beat 1)



m. 142 (beats 2-3)

In CS, the Bassoon plays the original Tuba material one octave higher.


m. 141 (beat 2) - 142 / 144 (beat 2) - 145 (beat 1)



m. 144 (beat 2) - 145 (beat 1)



m. 145-151 (beat 1)

In OS, the Tuba doubled both the Cello and Bassoon (with slight variations occurring due only to octave displacement). In CS, the original Tuba material is most closely presented by Bassoon part. The Cello also plays a very similar part.


141

m. 150 (beat 3) - 155

In CS, the original Bassoon 1 material is played by the Oboe one octave higher. There is a random rest on the second beat of m. 151. Possible mistake?


m. 156 - 157 (beat 2)

In CS, the original Bassoon 1 material is played/doubled by the Flute two octaves higher.


m. 158 (beat 3) - 159 (beat 2)



m. 159 (beat 3) - 166 (beat 1)

In CS, the original Bassoon 1 material is played/doubled by the Clarinet. Starting a m. 161 (beat 2), all material is one octave higher.


m. 166 (beat 2) - 168 (beat 1)

In OS, the Bassoon 1 doubles the Bassoon 2 one octave higher. In CS, this has been reduced to the upper octave (Bassoon 1).



m. 168-177 In CS, the original Bassoon 1 material is played/doubled by the Clarinet.


m. 178-180 In OS, the Bassoon 1 doubles the Bassoon 2 one octave higher. In CS, this has been reduced to the upper octave (Bassoon 1).



m. 182-183 In CS, the original Bassoon 1 material is played/doubled by the Clarinet. The third beat of m. 182 is played/doubled by the Oboe.





m. 178-180 / 184-186 / 192-193

In CS, the original Tuba material is played/doubled by the Bassoon.

Reorganize Insignificant In BR, the original Tuba material is presented one octave higher, and in the correct octave but with a different rhythm.

m. 188-191 In CS, the original Bassoon 1 material is played/doubled by the Clarinet. The third beat of m. 189 and 191 has changed.






142




m. 196-200 In CS, the original Tuba material is played by the Bassoon.

Reorganize Insignificant In BR, the original pitch material is presented but at a higher octave with a slightly different rhythm.

m. 196-200 In CS, the original Bassoon 1 material is played/doubled by the Flute two octaves higher.








In BR, this has been reduced to two octaves.

m. 233 In OS, the Clarinet 1 doubles the Bassoon 1 one octave higher. In CS, this has been reduced to only upper octave played by the Clarinet.



m. 234 (beats 1-3)





m. 246-248 (beat 1)



m. 250-253 In CS, the original Bassoon 1 material is eliminated. All original material is present in other woodwind instruments with the same rhythm but not at the same register.


A majority of the original pitch material is present in a similar manner. This material is not consistently with one piano part.

m. 250 (beat 3) - 266

In CS, the original Trombone 3 material is doubled/played by the Bassoon.


m. 254-257 (beat 1)



m. 262 (beat 1 &4) - 263 (beat 1)



143

m. 263 (beat 4) - 265 (beat 2)



m. 265 (beat 4) - 267

In OS, the Bassoon 1 doubles the Bassoon 2 one octave higher. In CS, this has been reduced to only lower octave.


DIFFERENCE - In BR, this material is similar to the OS for m. 265, then played with a different rhythm for m. 266, and eliminated for m. 267.

m. 271-275 In OS, the Bassoon 1 & 2 doubles the Cello. In CS, this has been reduced to only the Cello.


m. 273-276 (beat 1)





Similar Elimination in BR - Brahms actually eliminates all original woodwind material with this rhythmic pattern.

m. 281 (beat 4) - 284



m. 282-284 (beat 1)



m. 286 (beat 3) - 288

In OS, the Bassoon 1 & 2 doubles the Cello. In CS, this has been reduced to only the Cello.


m. 286 (beat 3) - 288

In CS, the original Tuba material is played by the Bassoon.

Reorganize Insignificant DIFFERENCE - In BR, the original Tuba material is eliminated. All pitch material remains but with a different rhythm.

m. 289-292 (beat 2)



m. 292 (beat 3) - 304



m. 295 (beat 3) - 298 (beat 3)

In OS, the Horn 1 doubles the Horn 2 one octave higher. In CS, this has been reduced to the lower octave and played by the Bassoon.


Elimination - In BR, this material has been eliminated. The original pitch is still provided but not in a similar rhythm.







144

m. 312 (beat 4)-316

In CS, the original Tuba material is played by the Bassoon. The third beat of m. 312 has been eliminated.

Reorganize Insignificant Similar - m. 314-315 contain the same pitches but not always the same rhythm.

m. 317-319 In CS, the original Bassoon 1 material is played/doubled by the Clarinet on octave higher.




m. 331 (beat 4) - 340

In CS, the original Bassoon 1 material is eliminated. All original material is present in other woodwind instruments with the same rhythm but not at the same register.










Mvt. 7 m. 1-4 / 102-105

In CS, the Bassoon doubles the original Cello material.


m. 5-9 / 106-110



m. 10-12 In CS, the original Bassoon 1 & Bassoon 2 pitch material is incorporated into either the Bassoon or Clarinet.


m. 11 (beat 4) - 12 (beat 1)



m. 18-19 In CS, the original Bassoon 1 material is doubled/played by the Clarinet one octave higher.


m. 20-21 In CS, the Flute plays the original Bassoon 1 material.


m. 22 (beats 1-3)

In CS, the original Bassoon 1 material is played/doubled by the Flute 2 octaves higher.


m. 22 (beat 3) - 34



145

m. 29-30 In CS, the original Bassoon 1 material is played/doubled by the Flute 2 octaves higher. WHY? The Bassoon does not play another part for these two measures.


m. 31-34 In CS, the original Bassoon 1 material is eliminated. The pitch material is present in other instruments but with a different rhythmic pattern. WHY? The bassoon is not playing another part.


No significant change.

m. 34 In CS, the Clarinet plays a C on the downbeat of m. 34. This pitch was in the original Bassoon (the only woodwind instrument to play on this beat).




m. 44-48 In OS, the Bassoon 1 & 2 play in octaves. In CS, this is reduced to only the Bassoon 2 lower pitch.




m. 87 (beat 4) -91



m. 111-112 In CS, the original Bassoon 1 material is doubled/played by the Oboe one octave higher.


m. 113 (beats 3&4)



m. 127-128 In OS, the Flute 1, Oboe 1, Clarinet 1, and Bassoon 1 all play the same material. In CS, this has been reduced to Clarinet and Flute.



m. 128 In CS, the original Bassoon 1 material is eliminated. The pitch material is present in other instruments but with a different rhythmic pattern.

Elimination Insignificant Similar Elimination in BR - Insignificant

m. 131 In CS, the original Bassoon 1 material is eliminated. The pitch material is present in other instruments but with a different rhythmic pattern.


m. 140-141 In CS, the original Bassoon 1 material is eliminated. The pitch material is present in other instruments but with a different rhythmic pattern.

Elimination Insignificant No significant difference



146

m. 153-154 (beat 1)

In CS, the original Bassoon 1 material is eliminated. The pitch material is no present in any other instrument for the 3rd&4th beats of m. 153.


Brahms only eliminates the down beat of m. 154. The other pitch material remains the same.

m. 163-166 In CS, the original Bassoon 1 material is doubled/played by the Clarinet one octave higher. For beats 2-4 of m. 164, the Clarinet plays the original Harp material.


Bassoon 2


Mvt. 1 m. 30-33 In OS, the original Bassoon 2 doubles

the Cello 2. In CS, this is played by the Bassoon.




m. 54 (beat 3)-55

In CS, the original Bassoon 1 material is eliminated for two beats. The pitch material is played by other instruments. In m. 55, both Bassoon parts are eliminated.









Similar to OS, but the Bassoon 2 pitch is eliminated for the first two beats of m. 126

m. 139 (beat 3) - m. 140 (beat 1)

In CS, the original Bassoon 2 material is played/doubled by the Bass one octave lower.


Mvt. 2 m. 12-19 / m. 136-143

In OS, on the third beat of each measure the Bassoon 1 part doubles the Bassoon 2 one octave higher. In CS, this has been reduced to only the lower octave.


147

m. 23-26 / 147-150

In this passage, Linckelmann creates a new part for the Bassoon that incorporates elements of the Horn 1 & 2 and Bassoon 1 & 2.

Reorganize Significant DIFFERENCE - Brahms eliminates the original Bassoon 1 & 2 material. All pitch material is incorporated but with a different rhythm.

m. 27-30 / 151-154



All material is presented within chords, not as an distinct individual part.










m. 54 (beat 3)-55 / 178 (beat 3) - 179

In CS, the original Bassoon 2 material is doubled in the Clarinet one octave higher.


m. 56-62 / 180-186



All material is presented within chords, not as a distinct individual part. This material is also presented at a different octave (original doubling of other woodwind instruments).

m. 63-64 / m. 187-188

In CS, the original Bassoon 2 material is played/doubled by the Cello.


m. 119 In OS, the Bassoon played a half-note. In CS, the Bassoon plays only a quarter. The woodwinds play the longer note, and the strings play the shorter note.

Miscellaneous Insignificant



m. 219 & 221




148

m. 227-231 In CS, Linckelmann alternates between the original low pitch of the Bassoon 2 on beats 1 & 3 and the original high pitch of the Bassoon 1 on beats 2 & 4. The other pitches are eliminated by their pitch material is covered by the Clarinet with a different rhythm.


m. 250 In OS, the Bassoon holds a whole note. In CS, the same pitch is reiterated to cover the Trombone 3 & Horn 4 pitch.


m. 253-254 & 257-258



m. 265 (beat 3) - 268



m. 271-290 (beat 2)

In CS, Bassoon 2 material is played by Bass (the Bassoon 2 part is doubled by the Bass in the OS)


m. 293 (beats 2-3)



m. 295-296 In CS, Bassoon 2 material is played by Bass (the Bassoon 2 part is doubled by the Bass in the OS)


m. 296 In OS, the original Bassoon material is played/doubled by the Cello.




m. 331-332 In OS, the Bassoon 1 doubles the Bassoon 2 one octave higher. In CS, this has been reduced to only the upper octave.


m. 333-335 (beat 1)

In CS, the Bass plays the original Bassoon 2 material.


m. 337 In OS, the Bassoon plays the Tuba pitch of Bb. This is the same pitch as the Bassoon 2 but one octave higher.



Bassoon 2 material but one octave higher. - WHY?


149

m. 41-47 In CS, Linckelmann combines both Bassoon 1&2 to make a new melodic line. The pitches not used are provided by other instruments with the same rhythm but at a different register.




m. 62 In CS, the original Bassoon 2 material is played/doubled by the Clarinet one octave higher.


m. 93-96 In OS, the Bassoon 1 doubles the Bassoon 2 one octave higher. In CS, this has been reduced to only the lower octave (Bassoon 2).


m. 111-116 (beat 1)







m. 150 (beat 6) - 151 (beat 3)

In CS, the original Bassoon 2 material is eliminated. The pitch material is present in other instruments but with a different rhythmic pattern.



m. 152 (beat 6) - 153 (beat 3)






m. 156 (beat 3) - 157 (beat 2)



m. 157 (beat 3)



m. 170 (beats 3&4)


Elimination Insignificant Similar Elimination in BR

m. 171-172 In CS, the original Bassoon 2 material is eliminated. The exact pitch material is presented in the Cello but in a different rhythm.


150

m. 185 In CS, the original Bassoon 2 material is eliminated. The pitch material is presented in the Cello one octave lower but in a different rhythm.


Similar Elimination in BR - In Brahms, the same exact same pitch material is presented but in a different rhythm.

m. 193-195 (beat 2)




m. 197 (beat 4) - 198 (beat 1)



m. 198-199 In CS, the original Bassoon 1 & 2 material is played/doubled by the Clarinet.


m. 200 (beat 1) & m. 202-205 (beat 2) & m. 206 (beat 2) - m. 207

In CS, Linckelmann combines both Bassoon 1 & 2 parts to create a new part for the Bassoon. This is not a significant difference from the original part.


In BR, Brahms eliminates the Bassoon 1 material and just uses the Bassoon 2 material.

Mvt. 4 m. 21-23 In CS, the original Bassoon 2

material is doubled/played by the Cello.





m. 56 In CS, the original Bassoon 2 material is doubled/played by the Clarinet one octave higher.


m. 71 (beat 1)

The first beat of m. 71 has been changed to the original Horn 2 material. WHY? This pitch content is provided in multiple voices.


m. 131-132 In CS, the original Bassoon 2 material is doubled/played by the Bass.


Mvt. 5 m. 14-16 In OS, the Bassoon 2, Clarinet 2, and

Flute 2 play the same pitch material in octaves. In CS, this has been reduced to only the Bassoon at the lower octave.



m. 20 (beat 4) -23

In OS, the Bassoon 1 is one octave higher than Bassoon 2 (except for unison on beat 2 of m. 22). In CS, this is reduced to either the lower or higher octave (varies).



151

m. 66 (beat 4) - 67

In CS, the Cello 1 plays the original Bassoon 2 part. These are the same pitches one octave higher than the original Cello part.


m. 34-35 (beat 1)

In OS, the Bassoon 2 doubles the Cello part. In CS, this has been reduced to only the Cello.


m. 53 (beat 2)-54

In CS, the original Bassoon 2 material is eliminated. This original material is not provided by any other part.


M. 53 - Similar to CS / M. 54 - No significant difference to OS

m. 52-53 (beat 1)

In CS, the Cello plays the original Bassoon 2 material.


m. 56 In OS, the Bassoon 1&2 play in octaves. In CS, the lower octave is eliminated.

Reduction / Elimination






m. 65-68 In OS, the Bassoon 2 and Cello provide the same pitch content (one portion is at octaves). In CS, this has been reduced to only the Cello.






Mvt. 6 m. 32 (beat 1)

In CS, the original Bassoon 2 material is played by the Cello.


m. 65 (beat 3) - 66



m. 78 (beat 3) - 79 (beat 1)



m. 82-93 / 128-139

In OS, the Tuba doubles the Bassoon 2 part at the lower octave (until m. 88). In the CS, the Bassoon plays the lower Tuba original material and the higher octave doubling is omitted.



m. 84 & 90 / 130 & 136

In CS, the original Bassoon 2 material is played/doubled by the Clarinet one octave higher.


152

m. 91-92 / 137-138

In OS, the Oboe 1, Clarinet 2, and Bassoon 2 all play the same pitches in two octaves. In OS, this has been reduced to the Clarinet but at the Bassoon 2 lower octave.




m. 93-99 (beat 1) / 139-145

In CS, the original Bassoon 2 material is eliminated. All pitch material is presented in other woodwind instruments with the same rhythm, but not as one continuous melodic idea.


Most of the original material is presented as one continuous melodic idea, but the register does shift occasionally.

m. 99 (beat 2) - 104 / 145-150

In OS, the Bassoon 2 doubles the Bassoon 1 one octave lower. In CS, this has been reduced to the higher octave for a majority of the time. In CS, the Bassoon is actually playing the Tuba material.





m. 112-115 In OS, the original Bassoon 2 doubles the Bass one octave higher. In CS, this has been reduced to the Bass at the lower octave.



m. 157 (beat 3) - 158 (beat 1)



m. 166 (beat 2) - 168 (beat 1)

In OS, the Bassoon 1 doubles the Bassoon 2 one octave higher. In CS, this has been reduced to the upper octave (Bassoon 1).



m. 178-180 In OS, the Bassoon 1 doubles the Bassoon 2 one octave higher. In CS, this has been reduced to the upper octave (Bassoon 1).







m. 194-195 In CS, the Horn plays the original Bassoon 2 & Trombone 1 material.


m. 196-200 In CS, the original Bassoon 2 material is played/doubled by the Oboe one octave higher.


m. 201-208 In CS, the original Tuba material is played by the Bassoon. This material doubles the original Bassoon 2 material with a couple octave changes.


153



m. 270 In CS, the Cello 1 plays the original Bassoon 2 part for the final beat of this measure.




m. 282-284 (beat 1)




m. 286 (beat 3) - 288



m. 291-292 (beat 2)



m. 292 (beat 3) - 298 (beat 3)



m. 309-310 (beat 3)



In BR, the pitch material is present but in a different rhythm.

m. 310 (beat 4) - 311



m. 312 - 316







m. 329 (beat 4) - 331



m. 334 In CS, the original Bassoon 2 material is played/doubled by the Cello.


Mvt. 7 m. 10-12 In CS, the original Bassoon 1 &

Bassoon 2 pitch material is incorporated into either the Bassoon or Clarinet.


154




m. 31-34 In CS, the original Bassoon 2 material is doubled/played by the Bass one octave lower.


m. 34 In CS, the Clarinet plays the a C on the downbeat of m. 34. This pitch was in the original Bassoon (the only woodwind instrument to play on this beat), but not in the CS.


m. 44-48 In OS, the Bassoon 1 & 2 play in octaves. In CS, this is reduced to only the Bassoon 2 lower pitch.


m. 49-51 In CS, the original Bassoon 2 is played/doubled by the Bass one octave lower.


m. 66-68 In CS, the original Bassoon 2 is played/doubled by the Cello one octave lower.


m. 87 (beat 4) -91



m. 116-119 In CS, the original Bassoon 2 has been eliminated. The pitch content is provided by the Cello but with a different rhythm.


m. 158-159 In CS, the original Bassoon 2 material is played/doubled by the Bass.


m. 163-166 In CS, the Bassoon plays the original Bassoon 2 material. In beats 1-2 of m. 164, the Bassoon plays the original Harp material.


Horn 1


Mvt. 1 m. 1-6 / 65-70

In OS, the Horn 1 & 2 played in octaves. In CS, this has been reduced to only the upper octave (Horn 1)

Reduction Insignificant DIFFERENCE - Brahms can more easily provide octaves with the Piano.

m. 7-10 / 71-74



m. 17-19 (beat 1)

In CS, the original Horn 1 material is eliminated. No other instrument plays this part.


155

m. 18 In OS, the original Viola 2 part was doubled by the Horn 1. Both parts have been eliminated in CS.


m. 30-33 In CS, the original Horn 1 material is eliminated. The original pitch material is present in other parts with the same rhythm. On the first beat of m. 33, the original Horn 1 material (pitch of E) is not in any other instrument. The pitch is still present in the Tenor voice.




m. 34 In OS, the Horn 1 & 2 played in octaves. In CS, this has been reduced to only the upper octave (Horn 1)


m. 42-45 & 47



m. 56 In CS, the original Horn 1 has been eliminated. The original pitch material is present in the Violin 1 but with a different rhythm.


m. 57 (beats 1-3)

In CS, the Horn plays the original Trombone 2 material.


m. 57 (beat 4) - 58



m. 58 (beat 4) - 60

In CS, the original Horn 1&2 material is eliminated. The original pitch material is present in other instruments but with different rhythms.





m. 74 (beat 3) -76



m. 89 In CS, the original Horn 1 material is eliminated. The original pitch material is present in the Violin 1 part but with a different rhythm.



m. 90 (beats 1-3)



m. 90 (beat 4) - 91



m. 91 (beat 4) - 93






m. 102-104 (beat 1)

In CS, the original Cello 1 material is played by the Horn.


156

m. 110-111 (beat 1)

In OS, the Horn doubles the Flute one octave lower. In CS, this has been reduced to only the Flute at the higher octave.










m. 126-127 In CS, the Horn plays the original Trombone 1 material.


m. 123-126 In CS, the original Horn 1 material is eliminated. The original pitch material is present in other instruments with the same rhythm.


Not a significant difference. Brahms is able to play one full chord with one hand. Linckelmann is rearranging pitches and Eliminating duplicates. Both versions maintain the integrity of the chord.

m. 136 (beat 2) - 142





See note for m. 123-126




m. 154 In OS, the original Horn 1 & 2 play a quarter note that is doubled by the Cello (and Bass one octave higher). In CS, this has been reduced to only the Bass on the lower octave.


m. 157-158 In CS, the original Horn 1 material is played/doubled by the Bassoon.


Mvt. 2 m. 3-8 / 127-132

In OS, the Horn 1, Horn 2, Trumpet 1, and Trumpet 2 all play the same pitch material in three octaves. In CS, this has been reduced to the Horn playing the material at the middle octave (Horn 1).



DIFFERENCE - Brahms focuses on including the Harp chords to his arrangement. These chords include the original Brass pitches, but strummed. Essentially, Brahms eliminates the Brass in favor of the Harp. Linckelmann cannot recreate the Harp part being strummed so he focuses on the Brass part which is played staccato.

157

m. 9-10 / 133-134

In CS, the Horn plays the original pitch of the Horn 1&2 but one octave lower. This lower pitch is in the original Harp material.

Reorganize Insignificant See note for m. 3-8

m. 5 (beat 4) - 6 (beat 1) / 129-130

In OS, the Horn 3 & 4 double at the octave. In CS, this has been reduced to the upper octave (Horn 3) and is played by the Horn.


Insignificant

m. 11-13 / 135-137

In CS, the Horn plays portions of both the Horn 1 & 2 original material. Most of the material was presented in octaves in OS. The original Horn 2 material from the first beat of m. 12 has been eliminated and not played by another instrument. The original Horn 2 material for the first beat of m. 13 is played/doubled by the Bassoon.

Reorganize / eliminated


SIMILAR - At this point, Brahms abandons the Harp part. Both composers use elements of the original Horn 1 & 2 to create slightly different material. (The focus is on the woodwinds and strings together, not one particular Horn part.)

m. 14-16 / 138-140

In OS, the Horn 1 is doubled by the Horn 2 one octave lower. In CS, this has been reduced to only the upper octave (Horn 1)


m. 21 (beat 3) - 22 (beat 1) / 145-146



m. 22 (beat 3)-m. 26 (beat 2) / 146-150



m. 23-25 / 147-149

In OS, the Horn 1&2 and Trumpet 1&2 play the pitch of B in octaves. This pitch is also present in the original Harp material. In CS, the Bassoon plays this original material but at the lowest octave found in the Harp.

Reorganize Insignificant Similar to m. 3-8, Brahms focuses on the Harp melodic content.

m. 26-29 / 150-153

In OS, the Horn 1 & 2 played in octaves. In CS, this has been reduced to only the upper octave (Horn 1). The pitch in m. 26 is played by the Bassoon. The final pitch in m. 29 is the original Horn 2 part.

Reduction Insignificant Same as previous

m. 30 (beat 3)-m. 33 (beat 2)






m. 34-36 / 158-160


Reduction Insignificant DIFFERENCE - Brahms chooses to eliminate this material.

158

m. 42 (beat 3) - 43 (beat 1) / 166-167

In CS, the original Horn 1 & 2 material is doubled/played by the Bassoon.

Reorganize Insignificant DIFFERENCE - Brahms chooses to eliminate this material. Pitch content is still provided.



m. 46-48 (beat 2) & 52-54 (beat 2) / 170-172 & 176-178

In CS, the Horn plays the original Horn 3 material.





m. 54 (beat 3) - 61 / 178 (beat 3) - 185

In this passage, Linckelmann combines a variety of pitch and rhythmic material to create a new layer. The Horn provides portions of the Horn 1,2,3,4, Trumpet 1 &2, and Trombone 1 original material.

Reorganize Significant DIFFERENCE - Brahms chooses to eliminate this material. The pitch is provided but with a different rhythm.

m. 61 (beat 3) - 65 (beat 1) / 185-189



m. 66 & 68 / 190 & 192

In CS, the Horn plays the original Horn 3 & 4 material.


m. 67 & 69-70 / 191 & 193-194



m. 71 / 195 In CS, the Horn plays the original Horn 3 & 4 material.


m. 71-73 (beat 2) / 195-197

In CS, the original Horn 1 & 2 material is eliminated. The original pitch material is present in other instruments but with different rhythms.



m. 72 (beat 2) - 73 / 196 (beat 2) - 197



m. 197 (beat 3) -198 (beat 2)

In CS, the Bassoon plays the original Horn 1 & 2 material.


m. 198 (beat 3) - 201



m. 202 Possible Mistake - In CS, the Horn plays new content (Pitches D-G-C) that is not in the original. It is most closely related to the Clarinet 2 material (D-C-G).

New Content Minimally Significant

No significant difference. The chords in BR do include the pattern used by Linckelmann.

159





m. 219-221 (beat 2)


Reduction Insignificant DIFFERENCE - Brahms chooses to eliminate this material. The pitch is provided but with a different rhythm.

m. 221 (beat 3) - 225




m. 221 (beat 3) - 225



m. 233-237 In CS, the Horn plays the original Horn 3 & 4 material.


m. 242-243 In CS, the Horn plays the original Horn 3 material.


m. 243 (beat 3) - 244



m. 249 (beat 3) - 251 (beat 1)



m. 251 (beat 3) - 253

In CS, the original Horn 1 material is eliminated. The original pitch material is present in other instruments but with different rhythms.







m. 267-272 (beat 3)



m. 274-278 In OS, the Horn 1 is doubled by the Horn 2 one octave lower. In CS, this has been reduced to only the upper octave (Horn 1)


m. 279-280 & 283

In CS, the original Horn 1 & 2 original material is played by the Oboe one and two octaves higher.




m. 284-285 (beat 2)

In OS, the Horn 1 doubles the Horn 3 &4 one octave higher. In CS, this has been reduced to only the upper octave (Horn 1).


160

m. 285 (beat 3) - 290



m. 293 (beat 3) - 297

In CS, the Horn plays a combinations of pitches from both Horn 3 & 4. When there is a divisi, the Horn plays one of the two pitches. The other pitch is provided by another instrument but not always with the same rhythm.



Eliminated in BR

m. 293 (beat 3) - 295






m. 325-327 (beat 2)



m. 327-329 (beat 2)

In OS, the Horn 1 is doubled by the Horn 2 one octave lower. In CS, this has been reduced to only the upper octave (Horn 2).


m. 329 (beat 3) - 333 (beat 1)

In OS, the Horn 1 & 2 play octave Bb pitches. This pitch is also played by the Bass. In CS, this has been reduced to only the Bass at the lowest octave.

Reduction Insignificant Not reduced - similar to OS

m. 329 (beat 3) - 333 (beat 1)

In CS, the Horn plays the original Trombone 2 / Trombone 3 material.


m. 333 (beat 3) - m. 227



Mvt. 3 m. 18-20 In OS, the Horn 1 is doubled by the

Horn 2 one octave lower. In CS, this has been reduced to only the higher octave (Horn 1)




m. 39-40 In CS, the original Bassoon 1 material is played by the Horn.


161



Insignificant DIFFERENCE - Brahms chooses to eliminate this material. The pitch is provided but with a different rhythm.



m. 44-46 In OS, the Horn 1 is doubled by the Horn 2 one octave lower. In CS, this has been reduced to only the lower octave (Horn 2).

Reduction Insignificant Similar to OS

m. 54-55 In CS, the original Horn 1 & 2 material is eliminated. The original pitch material is present in the Violin 2 but with a different.


In OS, the Horns are sustaining chords for six beats, but the voices only hold them for five. In BR, the pitches are provided, but Brahms only holds them for five.

m. 62-64 In OS, the Horn 1 is doubled by the Horn 2 one octave lower. In CS, this has been reduced to only the higher octave (Horn 1)


m. 77-78 (beat 3)



m. 77 (beat 4) - 84



m. 90-96 (beat 2)

In OS, the Horn 1 is doubled by the Horn 2 one octave lower. In CS, this has been reduced to only the higher octave (Horn 1)

Reduction Insignificant Similar to OS (content overlaps with strings)

m. 108 In CS, the original Horn 1 material is eliminated. This material is not substantially provided by any other part.


Similar to OS

m. 118-119 / 122-123



m. 121-122 / 125-126



Insignificant Similar to OS

m. 125-126 In CS, the original Horn 3 material is played by the Horn.






m. 138-139 In CS, the original Horn 1 material is played/doubled by the Oboe one octave higher.


m. 138-139 In OS, the Horn 3 is doubled by the Horn 4 one octave lower. In CS, this has been reduced to only the lower octave (Horn 4). This material is played by the Horn.


Insignificant

162



m. 144-146 (beat 2)

In CS, the original Horn 1 material is played/doubled by the Flute one octave higher.




m. 154-156 (beat 2)



m. 154-155 In CS, the Horn plays portions of the Trumpet 1 & 2 and Trombone 2 original material.


m. 156 In OS, the Horn 3 is doubled by the Horn 4 one octave lower. In CS, this has been reduced to only the lower octave (Horn 4). This material is played by the Horn for 2 beats.


Insignificant

m. 156-157 In CS, the original Horn 1 & 2 material is doubled/played by the Flute one octave higher.


m. 158-163 In CS, the Violin plays the original Horn 1 material.




m. 171 In CS, the Cello 1 plays the pitch of A3. This pitch is played by multiple instruments in OS. The rhythm is most consistent with the original Horn 1 part or the original Cello 1 material at the higher octave.


m. 173-175 In CS, the Horn plays the original Trombone 1 & 2 material.




m. 176 (beat 3) - 178 (beat 1) / 179 - 180 (beat 3)

In CS, the Horn plays the original Trombone 1 & 2 material.


m. 178 (beat 2)

In CS, the original Horn 1 material is eliminated. This material is not substantially provided by any other part.


m. 180 (beat 4) - 181 (beat 1)

In CS, the original Horn 1 & 2 material is eliminated. This material is not substantially provided by any other part.



m. 180 (beat 4) - 181 (beat 1)

In CS, the Horn plays the original Horn 3 and Trumpet 1 material.


163

m. 181 (beat 3) - 183 (beat 1)



m. 183 (beat 2-3)



m. 183 (beat 2-3)



m. 184 (beats 1-3) / 187 (beats 1-3)



m. 184 (beat 4) - 186



m. 190-191 (beat 1) / 192 (beats 1-2)



m. 191 (beats 2-3)

In CS, the original Horn 1 material is eliminated. This material is not substantially provided by any other part.



m. 193 (beats 2-3)



m. 193 (beats 2-3)

In CS, the original Horn 1 & 2 material is eliminated. All original pitch material is present in other instruments.



m. 196 (beat 2) - 197 (beat 1)



m. 197 (beat 4) - 198 (beat 1)



m. 198 (beat 2) - 199 (beat 1)



m. 198 (beat 2) - 199 (beat 1)

In CS, the Horn plays material from both the Horn 2 and Horn 3


m. 206 (beats 3-4)

In CS, the original Horn 1 material is eliminated. All original pitch material is present in other instruments.



Mvt. 4 m. 1-4 (beat 1)

In OS, the Horn 1 doubles the Horn 2 one octave higher. In CS, this has been reduced to only the Horn 2 at the lower octave.






164

m. 61-62 (beat 1)



m. 126 In OS, the Horn 1 & 2 played in octaves. In CS, this has been reduced to only the lower octave (Horn 2)





m. 141-143 (beat 1)

In OS, the Horn 1 & 2 played in octaves. In CS, this has been reduced to only the lower octave (Horn 2)



m. 149-152 In CS, the original Horn 1 is doubled/played by the Violin 2.


m. 153-156 In CS, the original Horn 1 is doubled/played by the Oboe one octave higher.


m. 165-168 In CS, the original Horn 1 is doubled/played by the Oboe one octave higher.


m. 169-171 In OS, the Horn 1 & 2 played in octaves. In CS, this has been reduced to only the lower octave (Horn 2)


Eliminated in BR

m. 172 In CS, this measure has been changed from the original pitch of B to Eb. WHY?


m. 173 (beat 2) - 174 (beat 1)

In CS, the Oboe plays the original Horn 1 material.


m. 174 (beat 2) - 175

In CS, the Flute plays the original Horn 1 material. This is also a a doubling of the Oboe 1 material one octave lower.


Mvt. 5 DONE m. 6 - 7 (beat 1)

In CS, the original Horn 1 material (sustained G4) is eliminated for one beat. A sustained G4 is provided in the Clarinet on the second beat.


Insignificant Similar Elimination in BR

m. 12-14 In CS, the original Horn 1 & 2 material is omitted. This is a significant elimination because this is the only instrument to provide this pitch and rhythmic pattern.


m. 51-52 In CS, the original Horn 1 material is eliminated. This pitch content is provided by any other instrument, but not with the same sustained rhythm.



Mvt. 6 m. 2-3 In CS, the Horn plays the original


165



In BR, the original material is eliminated. M. 11-13 - no significant difference.



m. 68-70 (beat 2)



m. 72 (beat 3) -74



m. 72 In OS, the Horn 1 & 2 material is doubled by the Viola. In CS, this has been reduced to only the Viola.


Original pitch material is present but not with the same change in octaves as OS.

m. 74 In CS, the Horn 1 doubles the Horn 2 one octave higher. In CS, this has been reduced to the lower octave (Horn 2) and is played by the Oboe.



m. 75-80 In OS, the Horn 1 & 2 and Trumpet 1 & 2 play the same pitch material over two or three octaves. In CS, the first measure of this content is doubled/played by the Oboe one octave higher. The remaining measures are provided by the Horn at a lower register (Horn 2).


m. 82-83 / 128-129

In OS, the Horn 1 & 2 and Trumpet 1 & 2 play the same pitch material. In CS, this has been reduced to the lower octave (Horn 2 and Trumpet 2).


m. 84 / 130 In CS, the original Horn 1 material is doubled/played by the Oboe.


m. 85-87 / 131-133


Reduction Insignificant In BR, the same material is presented but with slightly different rhythm.

m. 88-89 / 134-135




m. 90 / 136 In OS, the Horn 1 & 2 and Trumpet 1 & 2 play the same pitch material. In CS, this material has been eliminated but all pitch material is present in other voices with a different rhythm.



m. 88-89 / 134-135



m. 90-91 / 136-137

In CS, Linckelmann creates a new melodic pattern that includes portions of Trombone 1 and Trombone 3 material.


166

m. 93-95 / 139-141

In OS, the Horn 1 & 2 and Trumpet 1 & 2 play the same pitch material. In CS, the Horn plays the pitch material of the Horn 1 and Trumpet 1 but one octave lower. The Horn 2 and Trumpet 2 pitch material is found in other voices.


m. 96-98 / 142-144

In OS, the Horn 1 & 2 and Trumpet 1 & 2 play the same pitch material. In CS, the Horn plays the pitch material of the Horn 2 and Trumpet 2. The Horn 1 and Trumpet 1 pitch material is found in other voices.


m. 99-104 / 145-150

In CS, the original Horn 1 & 2 material has been eliminated. All pitch material is presented in other woodwind instruments but with a different rhythm.


Partial elimination. M. 99-101 - No difference. M. 102-104 - eliminated

m. 99-104 / 145-150

In CS, the Horn plays the original Clarinet 2 material.


m. 104 (beat 3) - 106 (beat 1)

In OS, the Horn 1 & 2 and Trumpet 1 & 2 play the same pitch material. In CS, this has been reduced to the lower octave (Horn 2, Trumpet 2).


In BR, the doubling remains but one octave lower.

m. 106 (beat 3) - 107

In CS, the original Horn 1 material is played/doubled by the Clarinet one octave lower.


m. 106 (beat 3) - 107



m. 108-111 In CS, the Horn 1 doubles the Horn 2 one octave higher. In CS, this has been reduced to the lower octave (Horn 2).


Similar Reduction - In BR, the pitch material is presented one octave lower then Horn 2. This is the original Timpani material.





m. 122-123 In CS, the original Horn 1 & 2 material is played/doubled by the Bassoon.




m. 124-126 In OS, the Horn 1 doubles the Horn 2 one octave higher. In CS, this has been reduced to one Horn part with portions from each octave.


167



m. 150 (beat 3) - 151 (beat 1)

In CS, the original Horn 1 & 2 material has been eliminated. All pitch material is presented in other instruments but with a different rhythm.



m. 152 In OS, the Trombone 2 doubles the Trombone 3 one octave higher. In CS, this has been reduced to the higher octave and played by the Horn.






m. 158 (beat 3) - 160 (beat 1)





m. 168-170 In OS, the Horn 1,2 and Trumpet 1,2 all play the same pitch of G in two octaves. In CS, this material is partially played by the Horn (until m. 169, beat 2) and partially by the Clarinet (m. 169, beat 3 - 171, beat 1). The material has been reduced to the lower octave.


m. 170 (beat 2) - 174

In CS, the original Horn 1 material is played/doubled by the Clarinet.


m. 175-177 In CS, the original Horn 1 & 2 material is eliminated. All original material is played by other woodwind instruments but not with the same rhythm or in the same octave.



m. 178-180 In OS, the Horn 1,2 and Trumpet 1,2 play the same pitch material in two octaves. In CS, this has been reduced to the lower octave (Horn 2, Trumpet 2).



m. 182-183 In OS, the Horn 1 & 2 material is doubled/played by the Clarinet.


168

m. 184-186 In OS, the original Horn 1 & 2 material is played by the Bassoon.


m. 184-186 In CS, the Horn plays the original Horn 3,4 and Trumpet 1,2 material. This is one octave lower for the original Trumpet material.


m. 188-189 In OS, the Horn 1 doubles the Horn 2 one octave higher. In CS, this has been reduced to the higher octave and played by the Oboe. The third beat of m. 189 is different than OS.



BR uses a combination of both octaves.

m. 190-193 In OS, the Horn 1,2 and Trumpet 1,2 all play the pitch of C in octaves. In CS, the highest octave is played by the Oboe and the lower octave by the Horn.



m. 196-200 In OS, the Horn 1,2 and Trumpet 1,2 all play the pitch of E in octaves. In CS, this has been reduced to the lower octave and played by the Horn.



Similar pitch material but it is presented with a different rhythm.

m. 201-203 In CS, the Horn plays the original Horn 1 and Trumpet 1 material for m. 201-202 one octave lower, and the original Horn 2 and Trumpet 2 material for m. 203.


m. 201-203 In CS, the original Horn 1 and Trumpet 1 material is played/doubled by the Viola.








m. 224 In OS, the Horn 1,2 and Trumpet 1,2 all play the pitch of C in octaves. In CS, the Horn plays the low pitch (Horn 2, Trumpet 2)


m. 226 In OS, the Horn 1 doubles the Horn 2 one octave higher. In CS, this has been reduced to the lower octave and played by the Horn.





m. 228 In CS, the Horn plays the original Horn 3 material.


169

230 - 234 (beat 3)

In CS, the original Horn 1 & 2 material has been eliminated. A majority of the original pitch material has been retained (primarily through the strings) but not in the same rhythm.


A majority of the original pitch material is present, but spread across a variety of hands.




m. 245-247 In CS, the original Horn 1 & 2 has been eliminated. Most original pitch material has been presented in other instrument but not always with the same rhythm.



m. 248-250 (beat 2)

In CS, the original Trombone 3 material is played by the Horn.


m. 249 (beat 4) - 251 (beat 2)

In CS, the original Horn 1 material is doubled/played by the Flute one octave higher.




m. 261 (beat 4) -262 (beat 2)

In CS, the Oboe plays the original Horn 1 and Trumpet 1 material.


m. 262 (beat 4) - 263 (beat 2)

In CS, the Horn plays the original Horn 3 & 4 material. The 4th beat of m. 262 is provided by the Clarinet.


m. 265 In CS, the original Horn 1 material is played/doubled by the Flute one octave higher.




m. 266-267 (beat 1)







m. 276- 277 (beat 2)



m. 277 (beat 3) - 280 (beat 1)



m. 276-281 (beat 1)

In CS, the original Horn 1 & 2 material has been integrated into the Oboe part. The Oboe is playing the original Trumpet material. This means portion of the original Horn 1 & 2 may be at the wrong octave or possibly eliminated.

Significant Reorganization


Very similar treatment in BR. Most of original material is retained, but not at the same octave and not as a complete layer.

170

m. 282-285 (beat 3)



m. 286 (beat 2) - 290

In CS, the original Horn 3 & 4 material is played by the Horn.


m. 287-290 In CS, the original Horn 1 & 2 material is provided by a combination of the Oboe and Clarinet at the higher octave.


m. 291-295 In OS, the Horn 1 doubles the Horn 2 one octave higher. In CS, this has been reduced to the lower octave and played by the Horn.


In BR, this material has been reduced and lowered one octave.

m. 295 (beat 3) - 298 (beat 3)




m. 304 In CS, the original Horn 1 material is doubled/played by the Flute one octave higher.




m. 312 (beat 4) - 313 (beat 1)

In CS, the original Horn 1 & 2 material is played/doubled by the Clarinet.




m. 322-324 (beat 3)




m. 330 (beat 3) - 331



m. 341-344 (beat 3)







m. 348 In CS, the original Horn 1 material is eliminated. All original pitch material is present in other woodwind instruments in the same rhythm but in a different octave.


m. 348 (beat 3) -349

In CS, the Horn plays the original Horn 3 material for m. 348 and the original Horn 4 material for m. 349.


171

Mvt. 7 m. 1-4 In OS, the Horn 1 & 2 played in

octaves. In CS, this has been reduced to only the higher octave (Horn 1)


m. 10-11 In CS, the original Horn 1 &2 material is played/doubled by the Bass one or two octaves lower.






m. 40-47 In OS, the Horn 3 & Horn 4 play in octaves. In CS, this has been reduced to only the upper octave (Horn 3). These pitches are played by the Horn.








m. 70-72 In OS, the Horn 1 & 2 played in octaves. In CS, this has been reduced to only the higher octave (Horn 1)


m. 84 In CS, the Horn plays/doubles the original Trombone 2 material.




m. 79-81(beat 1)



m. 81-84 (beat 1)







m. 104-105 In OS, the Horn 1 & 2 played in octaves. In CS, this has been reduced to only the upper octave (Horn 1)




172



m. 135 (beat 4) - 136

In m. 135 (beat 4), the original Horn 1 material (which is doubled by the Horn 2) is eliminated. In m. 136, the Horn 1 material is doubled/played by the Flute 1 octave higher.


Insignificant



m. 151-152 In CS, the original Horn 1 material is doubled/played by the Flute one octave higher.


m. 153-154 (beat 1)



m. 155 (beat 4)-156 (beat 2)



m. 156-159 In CS, the original Horn 1 & Horn 2 parts are present either in the Horn or by doubling with another instrument. No original pitch content is eliminated.


m. 163-164 In CS, the original Horn 1 material is doubled/played by the Clarinet. WHY? - The horn is not playing any content.


m. 165-166 In CS, the original Horn 1 material is doubled/played by the Bassoon. WHY? - The horn is not playing any content.


m. 166 In CS, the original Trombone 1 material is played by the Horn.


Horn 2


Mvt. 1 m. 1-6 / 65-70





173



m. 35-37 In CS, the original Horn 2 material is eliminated. The original pitch material is present in other parts with the same rhythm.


No significant change in BR



m. 45 & 47 In OS, the Horn 1 & 2 played in octaves. In CS, this has been reduced to only the upper octave (Horn 1)


m. 46 In CS, the original Horn 2 material is played /doubled by the Bassoon.


m. 58 (beat 4) - 60




m. 74 (beat 2) - 77

In CS, the original Horn 2 material is eliminated. The original pitch material is present with the same rhythm in the Bass voice part. POSSIBLE MISTAKE - The clarinet, in CS, contains new material with the same rhythm. In addition, the pitches make sense if you do not transpose the original horn part. Did Linckelmann intend for the Clarinet to play the Horn 2 part?


m. 115-117 In CS, the original Horn 2 material is eliminated. The original pitch material is present in other instruments.


All pitch material is present in both scores. The particular melodic pattern has been eliminated for both scores.




m. 132 (beat 3) - 136 (beat 1)



m. 137 (beat 2) - 138 (beat 1)



m. 136 (beat 2) - 142



174

m. 147 (beat 4) - 148



m. 149 (beats 2-4)

In CS, the original Horn 2 material is eliminated. The original pitch material is present in other instruments.



m. 154 In OS, the original Horn 1 & 2 play a quarter note that is doubled by the Cello (and Bass one octave higher). In CS, this has been reduced to only the Bass on the lower octave.




m. 158 In CS, the original Horn 2 material is eliminated. The original pitch material is present in other instruments.


Mvt. 2 m. 3-8 / 127-132

In OS, the Horn 1, Horn 2, Trumpet 1, and Trumpet 2 all play the same pitch material in three octaves. In CS, this has been reduced to the Horn playing the material at the middle octave (Horn 1).



DIFFERENCE - Brahms focuses on including the Harp chords to his arrangement. These chords include the original Brass pitches, but strummed. Essentially, Brahms eliminates the Brass in favor of the Harp. Linckelmann cannot recreate the Harp part being strummed so he focuses on the Brass part which is played staccato.

m. 9-10 / 133-134

In CS, the Horn plays the original pitch of the Horn 1&2 but one octave lower. This lower pitch is in the original Harp material.

Reorganize Insignificant See note for m. 3-8

m. 11-13 / 135-137

In CS, the Horn plays portions of both the Horn 1 & 2 original material. Most of the material was presented in octaves in OS. The original Horn 2 material from the first beat of m. 12 has been eliminated and not played by another instrument. The original Horn 2 material for the first beat of m. 13 is played/doubled by the Bassoon.

Reorganize / eliminated


SIMILAR - At this point, Brahms abandons the Harp part. Both composers use elements of the original Horn 1 & 2 to create slightly different material. (The focus is on the woodwinds and strings together, not one particular Horn part.)

m. 14-16 / 138-140



m. 17-21 & 37-41 / 141-145 & 161-165

In CS, the original Horn 2, 3, 4 and Trumpet 1&2 material has been eliminated. All original pitch material is present in other instruments but it is presented with a different rhythm.


M. 17-18 - Similar Elimination / 19-21 - No significant difference

175

m. 21 (beat 3) - 22 (beat 1) / 145-146



m. 23-25 / 147-149


Reorganize Insignificant Similar to m. 3-8, Brahms focuses on the Harp melodic content.

m. 26-29 / 150-153

In OS, the Horn 1 & 2 played in octaves. In CS, this has been reduced to only the upper octave (Horn 1). The pitch in m. 26 is played by the Bassoon. The final pitch in m. 29 is the original Horn 2 part.

Reduction Insignificant Same as previous

m. 30 / 154 In CS, the original Horn 1&2 material is played by the Bassoon.


m. 31-32 / 155-156




m. 34-36 / 158-160


Reduction Insignificant DIFFERENCE - Brahms chooses to eliminate this material.

m. 37-41 / 161-165

In CS, the original Horn 2 material is eliminated. All original pitch material is presented by other instruments but with a different rhythm.


Most of the original pitch material is presented with the same rhythm, but not always at the same octave.

m. 42 (beat 3) - 43 (beat 1) / 166-167


Reorganize Insignificant DIFFERENCE - Brahms chooses to eliminate this material. Pitch content is still provided.



m. 45-54 / 169-178

In OS, the Horn 2 doubles the Cello/Bass. In CS, this has been reduced to only the Bass.


m. 54 (beat 3) - 61 / 178 (beat 3) - 185



m. 67 & 69-70 / 191 & 193-194



176

m. 71-73 (beat 2) / 195-197




m. 73 (beat 3) - 75







m. 197 (beat 3) -198 (beat 2)

In CS, the Bassoon plays the original Horn 1 & 2 material.




m. 219-221 (beat 2)



m. 221 (beat 3) - 225




m.263-264 (beat 2)

In CS, the original Horn 2 material is eliminated. The original pitch material is present in other instruments but with different rhythms.


No significant difference. The rhythm is slightly different.

m. 274-278 In OS, the Horn 1 is doubled by the Horn 2 one octave lower. In CS, this has been reduced to only the upper octave (Horn 1)


m. 279-280 & 283

In CS, the original Horn 1 & 2 original material is played by the Oboe one and two octaves higher.




m. 285 (beat 3) - 290



m. 293 (beat 3) - 295




177



m. 299-300 In CS, the original Horn 2 material is eliminated. All original pitch material is present in other instruments.





m. 327-329 (beat 2)

In OS, the Horn 1 is doubled by the Horn 2 one octave lower. In CS, this has been reduced to only the upper octave (Horn 1).


m. 329 (beat 3) - 333 (beat 1)

In OS, the Horn 1 & 2 play octave Bb pitches. This pitch is also played by the Bass. In CS, this has been reduced to only the Bass at the lowest octave.


m. 337 In CS, the original Horn 2 material is doubled/played by the Bassoon.


Mvt. 3 m. 1-16 In CS, Bassoon plays the original

Horn 2 part. Reorganize Insignificant



Insignificant

m. 31-32 In OS, the Horn 2 and Trumpet 2 play the same pitch material in octaves. In CS, this has been reduced to the higher octave (Trumpet 2) and is played by the Clarinet.


Insignificant



Insignificant

m. 44-46 In OS, the Horn 1 is doubled by the Horn 2 one octave lower. In CS, this has been reduced to only the lower octave (Horn 2).


m. 54-55 In CS, the original Horn 1 & 2 material is eliminated. The original pitch material is present in the Violin 2 but with a different.



178



m. 66-77 (beat 1)

In CS, the Horn 2 part is played by the Bassoon.


m. 90-96 (beat 2)

In OS, the Horn 1 is doubled by the Horn 2 one octave lower. In CS, this has been reduced to only the higher octave (Horn 1)


m. 106 In CS, the original Horn 2 material is eliminated. All original pitch material is present in other instruments.




m. 113 In CS, the Horn 2 part is played by the Cello 1 for this measure.


m. 147 In CS, the original Horn 2 material is eliminated. All original pitch material is present in other instruments.





m. 158-163 In CS, the Violin 2 plays the original Horn 2 material.


m. 170 In CS, the original Horn 2 material is played by the Bassoon.





m. 183 (beat 2-3)







m. 198 (beat 2) - 199 (beat 1)



m. 200 -202 In CS, the original Horn 2 material is played by the Bassoon.


m. 205 (beat 3) - 204 (beat 2)



179




Mvt. 4 m. 1-4 (beat 1)



Similar Elimination in BR - Brahms reduces to the lower octave and has the original Viola provide the upper octave in a different rhythm.





m. 54 (beat 3) - 55

In OS, the Bassoon 2 doubles the Bassoon 1 one octave lower. In CS, this has been reduced to only the Bassoon 1 at the higher octave.


m. 56-57 In OS, the Bassoon 2 is doubled by the Cello. In CS, this part is only played by the Cello.


m. 70-73 In CS, the original Horn 2 material has been eliminated. The original pitch content is doubled/provided in a variety of instruments in a variety of registers.





In BR, this material has been partially eliminated.

m. 87 - 89 In CS, the Clarinet plays the original Horn 2 material.


















In BR, this material has been partially reduced and partially eliminated.

180



m. 161-163 In CS, the original Horn 2 material is doubled/played by the Clarinet.


m. 164 In CS, most of the original Horn 2 material for this measure has been eliminated. The Flute does play the middle of the measure.



m. 172 In CS, this measure has been changed from the original pitch of B to Eb. WHY?


m. 176-179 In CS, the original Horn 2 material is doubled/played by the Bassoon.




m. 12-14 In CS, the original Horn 1 & 2 material is omitted. This is a significant elimination because this is the only instrument to provide this pitch and rhythmic pattern.


m. 23 In CS, the Bassoon plays the original Horn 2 material one octave lower.


m. 26 (beat 3) - m. 27 (beat 1)



m. 43-50 (beat 3)





m. 57 (beat 4) - 58



m. 59-62 / 76-78


Reduction / Elimination


Most of the original pitch material is eliminated. All original pitch material is still present but with a different rhythm.


octaves. In CS, this has been reduced to only the lower octave (Horn 2)


In BR, the original material is eliminated. M. 11-13 - no significant difference.





DIFFERENCE - Brahms chooses to eliminate this material. The pitch is provided but with a different rhythm by the Bass.

m. 72 In OS, the Horn 1 & 2 material is doubled by the Viola. In CS, this has been reduced to only the Viola.


Original pitch material is present but not with the same change in octaves as OS.

181

m. 74 In CS, the Horn 1 doubles the Horn 2 one octave higher. In CS, this has been reduced to the lower octave (Horn 2) and is played by the Oboe.



m. 75-80 In OS, the Horn 1 & 2 and Trumpet 1 & 2 play the same pitch material over two or three octaves. In CS, the first measure of this content is doubled/played by the Oboe one octave higher. The remaining measures are provided by the Horn at a lower register (Horn 2).


m. 82-83 / 128-129



m. 85-87 / 131-133



m. 88-89 / 134-135







m. 93-95 / 139-141


Reorganization Insignificant No significant difference.

m. 96-98 / 142-144


Reorganization Insignificant No significant difference.

m. 99-104 / 145-150

In CS, the original Horn 1 & 2 material has been eliminated. All pitch material is presented in other woodwind instruments but with a different rhythm.


Partial elimination. M. 99-101 - No difference. M. 102-104 - eliminated

m. 104 (beat 3) - 106 (beat 1)




182

m. 106 (beat 3) - 107

In CS, the original Horn 2 material is played/doubled by the Oboe.






m. 122-123 In CS, the original Horn 1 & 2 material is played/doubled by the Bassoon.


m. 124-126 In OS, the Horn 1 doubles the Horn 2 one octave higher. In CS, this has been reduced to one Horn part with portions from each octave.




m. 150 (beat 3) - 151 (beat 1)

In CS, the original Horn 1 & 2 material has been eliminated. All pitch material is presented in other instruments but with a different rhythm.





m. 158 (beat 3) - 160 (beat 1)





m. 170 (beat 2) - 174 (beat 1)

In CS, the original Horn 2 material is played/doubled by the Bassoon one octave lower.


m. 175-177 In CS, the original Horn 1 & 2 material is eliminated. All original material is played by other woodwind instruments but not with the same rhythm or in the same octave.



183




m. 182-183 In OS, the Horn 1 & 2 material is doubled/played by the Clarinet.


m. 184-186 In OS, the original Horn 1 & 2 material is played by the Bassoon.


m. 188-189 In OS, the Horn 1 doubles the Horn 2 one octave higher. In CS, this has been reduced to the higher octave and played by the Oboe. The third beat of m. 189 is different than OS.



BR uses a combination of both octaves.




m. 194-195 In CS, the Horn plays the original Bassoon 2 & Trombone 1 material.

















230 - 234 (beat 3)

In CS, the original Horn 1 & 2 material has been eliminated. A majority of the original pitch material has been retained (primarily through the strings) but not in the same rhythm.


A majority of the original pitch material is present, but spread across a variety of hands.

184




m. 245-247 In CS, the original Horn 1 & 2 has been eliminated. Most original pitch material has been presented in other instrument but not always with the same rhythm.



m. 250-254 In CS, the original Horn 2 material is presented by a combination of the Horn and the Bassoon.







m. 264 In CS, the original Horn 2 material is played/doubled by the Bassoon one octave lower.


m. 265 In CS, the original Horn 2 material is played/doubled by the Clarinet.


m. 266 In CS, the original Horn 2 material is played/doubled by the Flute one octave higher.


m. 276-281 (beat 1)

In CS, the original Horn 1 & 2 material has been integrated into the Oboe part. The Oboe is playing the original Trumpet material. This means portion of the original Horn 1 & 2 may be at the wrong octave or possibly eliminated.


Very similar treatment in BR. Most of original material is retained, but not at the same octave and not as a complete layer.

m. 287-290 In CS, the original Horn 1 & 2 material is provided by a combination of the Oboe and Clarinet at the higher octave.


m. 291-295 In OS, the Horn 1 doubles the Horn 2 one octave higher. In CS, this has been reduced to the lower octave and played by the Horn.


In BR, this material has been reduced and lowered one octave.

m. 301 (beat 3) - 303 (beat 3)





m. 319-321 In CS, the original Horn 2 material is eliminated. All original pitch material is present in other woodwind instruments in the same rhythm.


185

m. 327 (beat 4) - 329 (beat 3)



m. 330 In CS, the original Horn 2 material is doubled/played by the Bassoon one octave lower.


m. 339 / 345

In CS, the original Horn 2 material is eliminated. All original pitch material is present in other woodwind instruments in the same rhythm.




m. 348 In CS, the original Horn 2 material is eliminated. All original pitch material is present in other woodwind instruments in the same rhythm but in a different octave.



octaves. In CS, this has been reduced to only the higher octave (Horn 1)


m. 5-9 / 106-110





m. 70-72 In OS, the Horn 1 & 2 played in octaves. In CS, this has been reduced to only the higher octave (Horn 1)


m. 87 In CS, the original Horn 2 material is played/doubled by the Flute two octaves higher.










186





m. 153-154 (beat 1)



m. 155 (beat 4)-156 (beat 2)



m. 156-159 In CS, the original Horn 1 & Horn 2 parts are present either in the Horn or by doubling with another instrument. No original pitch content is eliminated.


m. 163-164 In CS, the original Horn 2 material is doubled/played by the Bassoon. WHY? - The horn is not playing any content.


m. 165-166 In CS, the original Horn 1 material is doubled/played by the Oboe on octave higher. WHY? - The horn is not playing any content.




Horn 3


Mvt. 1 TACET Mvt. 2 m. 5 (beat 4) - 6 (beat 1) / 129-130


Reduction /

Reorganize

Insignificant Elimination - In BR, this material is eliminated.

m. 17-21 & 37-41 / 141-145 & 161-165




187

m. 25-26 / 149-150

In CS, the original Horn 3 & 4 material has been eliminated. The original pitch material is partially played by other instruments.



m. 44-48 / m. 168-172



m. 46-48 (beat 2) & 52-54 (beat 2) / 170-172 & 176-178






m. 54 (beat 3) - 61 / 178 (beat 3) - 185



m. 63-65 (beat 1) / 187-189

In OS, the original Horn 3 doubles the Violin. In CS, this has been reduced to only the Violin.


m. 66 & 68 / 190 & 192



m. 69-70 / 193-194

In CS, the original Horn 3 & 4 pitch material is played by the Clarinet but with a slightly different rhythm, and one octave higher.




m. 72-73 / 196-197

In CS, the original Horn 3 & 4 material has been eliminated. All original pitch material is played by other instruments with similar rhythms.



m. 202 In CS, the original Horn 3 & 4 material has been eliminated. All original pitch material is played by other instruments with similar rhythms.



m. 203-206 (beat 1)

In CS, the original Horn 3 & 4 material is played/doubled by the Cello & Bass.


188

m. 206 (beats 2-3)



m. 221 (beat 3) - 225



m. 227-231 In CS, the original Horn 3 & 4 material has been eliminated. All original pitch material is played by other instruments but with a different rhythm. Significant because this is a complete lost off the rhythmic content provided by the Horn 3 & 4.

Elimination Significant In BR, Brahms keeps a small portion of the original material. Most importantly the rhythmic motive IS retained.







m. 245-251 (beat 1)




m. 251 (beat 3) - 253

In CS, the original Horn 3 material is played/doubled by the Horn one octave lower.


m. 267-272 (beat 3)



m. 272 (beat 4) -275

In CS, the original Horn 3 material has been eliminated. All original pitch material is played by the Flute two octaves higher and with a different rhythm.


In BR, the same pitch material with same rhythm is presented, but not in a consistent register.


Reorganize /

Reduction


Eliminated in BR

m. 284-285 (beat 2)



m. 286 (beat 4) - 287 (beat 3)



m. 287 (beat 4) - 290

In this passage, Linckelmann combines a variety of pitch and rhythmic material to create a new layer. The Clarinet provides portions of the Horn 3 & 4 original material.


In BR, this material is partially eliminated. Many pitch elements are present, but the rhythm has changed.

189

m. 293 (beat 3) - 297


Reorganize /

Elimination


Eliminated in BR



m. 312-314 In CS, the original Horn 3 material is played/doubled by the Clarinet. M. 312 has slight variations in rhythm.


m. 315 (beats 1-3)



m. 325-327 (beat 2)



m. 328 - 329 & 331-333

In CS, the original Horn 3 material is played/doubled by the Oboe one octave higher.


m. 330 In CS, the original Horn 3 material has been eliminated. All original pitch material is played by other instruments.


m. 337 In CS, the original Horn 3 & 4 material is played/doubled by the Horn.


Mvt. 3 m. 33-36 In CS, the original Horn 3 & 4 material

is played/doubled by the Flute two and three octaves higher.


m. 37 In CS, the original Horn 3 & 4 material is played/doubled by the Bassoon.


m. 38-40 In CS, the original Horn 3 material is eliminated. All original material is present but in a different rhythm.


In BR, the original pitch material is present but at a different register.

m. 54-55 In OS, the Horn 3 doubles the Trombone 1 one octave higher. In CS, this has been reduced to the lower octave (Trombone 1) and is played by the Oboe.


m. 62 In CS, the original Horn 3 & 4 material is eliminated. All original material is present but in a different rhythm.



m. 85-86 In CS, the original Horn 3 & 4 material is eliminated. All original material is present but in a different rhythm.





190

m. 93-94 In CS, the original Horn 3 & 4 material is doubled/played by the Flute.


m. 95-96 In CS, the original Horn 3 & 4 material is doubled/played by the Oboe.










Reduction /

Reorganize

Insignificant



m. 151 & 153

In CS, the original Horn 3 & 4 material is played by the Clarinet, but with slightly different rhythm.






Reduction /

Reorganize

Insignificant

m. 156 (beat 3) - 158

In OS, the Horn 3 is doubled by the Horn 4 one octave lower. In CS, this has been reduced to only the higher octave (Horn 3). This material is played/doubled by the Clarinet.

Reduction /

Reorganize

Insignificant

m. 175 (beat 4) - 176 (beat 1)

In CS, the original Horn 3 & 4 material is played/doubled by the Horn. The first beat of 176 for the Horn 1 is played/doubled by the Oboe.


m. 178 (beat 2-3)

In CS, the Oboe plays the original Horn 3 material. The third beat contains a slightly different rhythm.


m. 180 (beat 4) - 181 (beat 1)



m. 183 (beat 2-3)



191

m. 184 (beat 4) - 185 (beat 1)

In CS, the original Horn 3 & 4 material is eliminated. All original material is present but in a different rhythm.



m. 193 (beats 2-3)



m. 198 (beat 2) - 199 (beat 1)






Mvt. 4 TACET Mvt. 5 TACET Mvt. 6 m. 2-3 In CS, the original Horn 3 material is

eliminated. All pitch material is presented by woodwinds in the same rhythm but not at the same register.





m. 70 In CS, the original Horn 3 material is played by the Bassoon octave lower.


m. 76-78 In CS, the original Horn 3 doubles the Horn 4 one octave higher. In CS, this material is played/doubled by the Viola at the lower octave.


Similar Reduction in Brahms

m. 79-80 In CS, the original Horn 3 material is played/doubled by the Flute.


m. 88-89 / 134-135

In CS, the original Horn 3 material is eliminated. All pitch material is presented by woodwinds in the same rhythm but not at the same register.



m. 90-93 / 136-139

In CS, the original Horn 3 &4 material is played/doubled by a combination of the Clarinet and Flute. This material is not presented exactly as it appears in the OS, but contains the pitch material and rhythm.

Reorganize Insignificant Pitch material is presented similar to OS but with a slightly different rhythm.

m. 116-118 In CS, the original Horn 3 & 4 material is eliminated. This pitch material is not provided by any other instrument.


Similar Elimination in Brahms



192

m. 124-126 In CS, the original Horn 3 & 4 material is played/doubled by the Flute two and three octaves higher.


m. 134-139 In CS, the original Horn 3 & 4 material is eliminated. All original material is present in a variety of instruments with the same rhythm but at a variety of registers.



m. 147-149 In CS, the original Horn 3 & 4 material is eliminated. All original material is present in other instruments.



m. 151 (beat 3) - 157

In CS, the original Horn 3 & 4 material is played by the Clarinet. The first beat of m. 154 has been changed from original.


m. 158 (beat 3) - 160 (beat 1)

In OS, the Horn 1,2,3,4 and Trumpet 1,2 all play the pitch of E in three octaves. In CS, the middle octave (Horn 3 & Trumpet 2) is played by the Horn.

Reorganize Insignificant Elimination - For the most part the original brass material is eliminated. M. 158 (beat 3) - 159 (beat 2) the pitch material is present two octave higher.



m. 178-180 In CS, the original Horn 3 material is played/doubled by the Flute one octave higher.


m. 184-186 In CS, the Horn plays the original Horn 3,4 and Trumpet 1,2 material.








m. 201-203 In CS, the original Horn 3 & 4 material is not presented as its own layer. The material is incorporated into the Horn 1 and Violin 2 material.




m. 228 In CS, the Horn plays the original Horn 3 material.


m. 229-234 In OS, the Horn 3,4 and Trumpet 1,2 double the Timpani one and two octaves higher. In CS, this has been reduced to only the Timpani at the lowest octave. Portions of the original material are present in other instruments but not with the same rhythm.

Reduction /

Reorganize


Elimination - In BR, this material has been eliminated as an independent layer. Pitch material is presented through the Bass, but with a different rhythm.

193

m. 254-256 In CS, the original Horn 3 & 4 material is eliminated. Original pitch material is provided by a variety of instruments but not always in the same rhythm.


Similar treatment, but pitches are presented in similar rhythm but not always the same octave.

m. 260 (beat 4) - 261 (beat 2)

In CS, the Horn 3 material is played by the Horn through m. 261 (beat 1), then by the Clarinet for m. 261 (beat 2).


m. 262 (beat 4) - 263 (beat 2)



m. 266-267 In CS, the original Horn 3 material is played/doubled by the Clarinet one octave higher.







m. 286 (beat 2) - 290



m. 294 In CS, the original Horn 3 & 4 material is played/doubled by the Clarinet but with a slightly different rhythm.


m. 313-314 (beat 2)

In CS, the original Horn 3 material is played/doubled by the Clarinet one octave higher.


m. 314 (beat 3) - 316



m. 317 In OS, the Bassoon 1 and the Horn 3 play the same pitch material. This material is played by the Flute.


m. 318 In CS, the original Horn 3 & 4 material is played/doubled by the Bassoon.


m. 330 In CS, the original Horn 3 material is played/doubled by the Clarinet one octave higher.


m. 338-340 / 344-346

In CS, the original Horn 3 & 4 material is eliminated. All original material is present in other instruments.



m. 348 (beat 3) -349



Mvt.7 m. 14-17 In CS, the Horn plays the original Horn


194

m. 40-47 In OS, the Horn 3 & Horn 4 play in octaves. In CS, this has been reduced to only the upper octave (Horn 3). These pitches are played by the Horn.






m. 66-67 In CS, the Flute plays the original Horn 3 material.





Reorganize /

Reduction

Insignificant



m. 79 In CS, the original Horn 3 material is played/doubled by the Clarinet.


m. 81-84 (beat 1)



m. 84 (beat 2) - 87 (beat 1)

In CS, the original Horn 3 material is played by the Viola.


m. 143-144 In CS, the original Horn 3 material is eliminated. No other instrument plays this part.

Elimination Significant Similar Elimination in BR

Horn 4


Mvt. 1 TACET Mvt. 2 m. 5 (beat 4) - 6 (beat 1) / 129-130


Reduction /

Reorganize

Insignificant Elimination - In BR, this material is eliminated.

m. 17-21 & 37-41 / 141-145 & 161-165




m. 25-26 / 149-150

In CS, the original Horn 3 & 4 material has been eliminated. The original pitch material is partially played by other instruments.



195

m. 44-48 / m. 168-172



m. 53 & 54 / 177 & 178

In OS, the Horn 4 doubles the Horn 3 one octave lower. In CS, this has been reduced to the Horn 3 material.


m. 54 (beat 3) - 61 / 178 (beat 3) - 185



m. 63-65 (beat 1) / 187-189

In OS, the Horn 4 doubles the Horn 3 one octave lower. In CS, this has been reduced to the Horn 3 material which is played by the Violin. The final beat is played/doubled by the Violin 2.

Reduction /

Reorganize

Insignificant

m. 66 & 68 / 190 & 192



m. 69-70 / 193-194

In CS, the original Horn 3 & 4 pitch material is played by the Clarinet but with a slightly different rhythm, and one octave higher.




m. 202 In CS, the original Horn 3 & 4 material has been eliminated. All original pitch material is played by other instruments with similar rhythms.



m. 203-206 (beat 1)

In CS, the original Horn 3 & 4 material is played/doubled by the Cello & Bass.


m. 206 (beats 2-3)



m. 221 (beat 3) - 225



m. 227-231 In CS, the original Horn 3 & 4 material has been eliminated. All original pitch material is played by other instruments but with a different rhythm. Significant because this is a complete lost off the rhythmic content provided by the Horn 3 & 4.

Elimination Significant In BR, Brahms keeps a small portion of the original material. Most importantly the rhythmic motive IS retained.



196

m. 245-251 (beat 1)




m. 251 (beat 3) - 253

In CS, the original Horn 3 material is played/doubled by the Bassoon.


m. 267-272 (beat 3)






Reorganize /

Reduction


Eliminated in BR

m. 284-285 (beat 2)



m. 286 (beat 4) - 287 (beat 3)



m. 287 (beat 4) - 290

In this passage, Linckelmann combines a variety of pitch and rhythmic material to create a new layer. The Clarinet provides portions of the Horn 3 & 4 original material.


In BR, this material is partially eliminated. Many pitch elements are present, but the rhythm has changed.

m. 293 (beat 3) - 297


Reorganize /

Elimination


Eliminated in BR



m. 325-327 (beat 2)



m. 327 (beat 3) - 329 & 331

In CS, the original Horn 4 material has been eliminated. All original pitch material is played by other instruments.



m. 330 & 332-333



m. 337 In CS, the original Horn 3 & 4 material is played/doubled by the Horn.


Mvt. 3 m. 33-36 In CS, the original Horn 3 & 4 material

is played/doubled by the Flute two and three octaves higher.


197









m. 93-94 In CS, the original Horn 3 & 4 material is doubled/played by the Flute.


m. 95-96 In CS, the original Horn 3 & 4 material is doubled/played by the Oboe.






Reduction /

Reorganize

Insignificant



m. 151 & 153

In CS, the original Horn 3 & 4 material is played by the Clarinet, but with slightly different rhythm.






Reduction /

Reorganize

Insignificant

m. 156 (beat 3) - 158

In OS, the Horn 3 is doubled by the Horn 4 one octave lower. In CS, this has been reduced to only the higher octave (Horn 3). This material is played/doubled by the Clarinet.

Reduction /

Reorganize

Insignificant

m. 175 (beat 4) - 176 (beat 1)

In CS, the original Horn 3 & 4 material is played/doubled by the Horn. The first beat of 176 for the Horn 1 is played/doubled by the Oboe.


m. 178 (beat 2-3)

In CS, the Horn plays/doubles the original Horn 4 material.


198

m. 180 (beat 4) - 181 (beat 1)

In CS, the original Horn 4 material is eliminated. All original material is present but in a different rhythm.


m. 183 (beat 2-3)

In CS, the Horn plays the original Horn 3 pitch material. The Horn 4 plays the same material but with an octave leap. This has been removed.


m. 184 (beat 4) - 185 (beat 1)

In CS, the original Horn 3 & 4 material is eliminated. All original material is present but in a different rhythm.



m. 193 (beats 2-3)

In CS, the Oboe plays the original Horn 4 material without the octave leap.


m. 198 (beat 2) - 199 (beat 1)

In CS, the original Horn 4 material is eliminated. All original material is present but in a different rhythm.






Mvt. 4 TACET Mvt. 5 TACET Mvt. 6 m. 2-3 In CS, the Horn plays the original Horn


m. 70 In CS, the original Horn 4 material is played by the Bassoon. One pitch is at the correct octave, one is an octave lower. (Bassoon is playing the original Tuba material which doubles the Horn)


m. 76-78 In CS, the original Horn 3 doubles the Horn 4 one octave higher. In CS, this material is played/doubled by the Viola at the lower octave.


Similar Reduction in Brahms - m. 76 & 77 are reduced to the lower octave. M. 77-78 are one octave higher.



m. 88-89 / 134-135

In OS, the original Horn 4 material plays an E3 for two beats then E4 for two beats. In CS, this pitch material is provided by Oboe but without the octave change.


m. 90-93 / 136-139

In CS, the original Horn 3 &4 material is played/doubled by a combination of the Clarinet and Flute. This material is not presented exactly as it appears in the OS, but contains the pitch material and rhythm.

Reorganize Insignificant Pitch material is presented similar to OS but with a slightly different rhythm.

199

m. 116-118 In CS, the original Horn 3 & 4 material is eliminated. This pitch material is not provided by any other instrument.


Similar Elimination in Brahms


Reduction Significant

m. 124-126 In CS, the original Horn 3 & 4 material is played/doubled by the Flute two and three octaves higher.


m. 134-139 In CS, the original Horn 3 & 4 material is eliminated. All original material is present in a variety of instruments with the same rhythm but at a variety of registers.



m. 147-149 In CS, the original Horn 3 & 4 material is eliminated. All original material is present in other instruments.



m. 151 (beat 3) - 157

In CS, the original Horn 3 & 4 material is played by the Clarinet. The first beat of m. 154 has been changed from original.


m. 158 (beat 3) - 160 (beat 1)



m. 158 (beat 3) - 160 (beat 1)







m. 184-186 In CS, the Horn plays the original Horn 3,4 and Trumpet 1,2 material.








m. 201-203 In CS, the original Horn 3 & 4 material is not presented as its own layer. The material is incorporated into the Horn 1 and Violin 2 material.


200



m. 228 (beat 1)

In CS, the original Horn 4 material is eliminated for this one beat.



Reduction /

Reorganize





Similar treatment, but pitches are presented in similar rhythm but not always the same octave.

m. 260 (beat 4) - 261 (beat 2)

In CS, the original Horn 4 material is eliminated. All original material is present with same rhythm but not in the same register.


m. 262 (beat 4) - 263 (beat 2)



m. 266-267 In CS, the original Horn 4 material is played/doubled by the Flute two octaves higher.





m. 286 (beat 2) - 290



m. 294 In CS, the original Horn 3 & 4 material is played/doubled by the Clarinet but with a slightly different rhythm.




m. 315-316 (beat 1)

In CS, the original Horn 4 material is played/doubled by the Horn.






201

m. 330 In CS, the original Horn 4 material is eliminated. All original material is present in other instruments.


m. 338-340 / 344-346

In CS, the original Horn 3 & 4 material is eliminated. All original material is present in other instruments.



m. 348 (beat 3) -349



Mvt. 7 m. 40-47 In OS, the Horn 3 & Horn 4 play in

octaves. In CS, this has been reduced to only the upper octave (Horn 3). These pitches are played by the Horn.


m. 50-51 In CS, the original Horn 4 material is doubled/played by the Flute two octaves higher.





Reorganize /

Reduction

Insignificant

m. 76-78 (beat 2)

In CS, the original Horn 4 material is doubled/played by the Flute one octave higher.


m. 78 (beats 3&4)



m. 79-81(beat 1)



m. 81-83 In CS, the original Horn 4 material is doubled/played by the Flute one octave higher.


m. 143-144 In CS, the original Horn 4 material is eliminated. No other instrument plays this part.

Elimination Significant The original pitch material is present but it is not presented as a specific part as in OS.

Trumpet 1


Mvt. 1 TACET Mvt. 2 m. 3-8 / 127-132

In OS, the Horn 1, Horn 2, Trumpet 1, and Trumpet 2 all play the same pitch material in two octaves. In CS, this has been reduced to the Horn



202

playing the material at the lower octave (Horn 2).

m. 17-21 / 37-41 and 141-145 / 161-165

In CS, the original Horn 2, 3, 4 and Trumpet 1&2 material has been Eliminated. All original pitch material is present in other instruments but it is presented with a different rhythm.


m. 23-25 / 147-149



m. 27-28 / 151-152

In CS, the original Trumpet 1 & 2 material is played by the Horn.


m. 54 (beat 3) - 61 / 178 (beat 3) - 185



m. 161-164 (beat 1)

In OS, the Horn 2,3,4 and Trumpet 1&2 play the pitch of B in octaves. This pitch is also present in the original Harp material. In CS, this has been eliminated. The Bassoon plays a majority of the original pitch content but with a different rhythm. No original pitch content has been completely eliminated.


Similar treatment in BR, but the rhythm is slightly closer to the original.

m. 164 (beat 2) -165

In OS, the Horn 2 and Trumpet 1&2 play the pitch of F in octaves. This pitch is also present in the original Harp material. In CS, this pitch is played with a very similar rhythm by the Viola.


m. 203 In CS, the original Trumpet 1 & 2 material is played/doubled by the Oboe one octave higher.


m. 204 In CS, the original Trumpet 1 material is played/doubled by the Horn.




m. 206 In CS, the original Trumpet 1 & 2 material is eliminated. All original pitch content is provided by a variety of instruments in a variety of octaves.


m. 212-213 In CS, the original Trumpet 1 & 2 material is provided by the Oboe but with a different rhythm.


203

m. 214 (beats 1-2)

In CS, the original Trumpet 1 & 2 material is played/doubled by the Bassoon one and two octaves lower.


m. 219-221 (beat 2)

In CS, the original Trumpet 1 & 2 material is played/doubled by the Horn (one octave lower for Trumpet 1).


m. 222-225 In CS, the original Trumpet 1 & 2 material is eliminated. Other instruments provide the pitch content but in a different rhythm.



m. 271 (beat 4) - 273



m. 274-275 In CS, the Trumpet 1 & 2 material is eliminated. The original pitch material is present in the Clarinet but in a different rhythm.


M. 274 - No Difference / M. 275 - Eliminated

m. 276-278 In CS, the original Trumpet 1 & 2 material is played/doubled by the Horn (one octave lower for Trumpet 1).


m. 279-280 In CS, the original Trumpet 1 & 2 material is played/doubled by the Oboe (one octave higher for the Trumpet 2).


m. 285-286 / 288-290



m. 294-297 In CS, the original Trumpet 1 & 2 material is played by the Clarinet (one octave higher for Trumpet 2).


m. 303-305 In CS, the original Trumpet 1 & 2 material is played/doubled by the Horn one octave lower.


m. 311-313 In CS, the original Trumpet 1 & 2 material is played/doubled by the Clarinet but in a slightly different rhythm.


m. 327-329 (beat 2)



m. 329 (beat 3) - 333 (beat 1)

In OS, the Trumpet 1 & 2 play octave Bb pitches. This pitch is also played by the Bass. In CS, this has been reduced to only the Bass at the lowest octave.


m. 337 In CS, the original Trumpet 1 pitch is played/doubled by the Clarinet one octave lower.



octaves. In CS, this has been reduced to only the upper octave


204

(Trumpet 1). This material is played by the Clarinet.



m. 62 In CS, the original Trumpet 1 & 2 material is played/doubled by the Horn (one octave lower for Trumpet 1).






m. 77 (beat 2) - 79 (beat 1)

In CS, the original Trumpet 1 material is played by the Clarinet.


m. 93-97 (beat 1) & 98 (beat 1)



m. 142 & 144



m. 145 In CS, the original Trumpet 1 & 2 material is played by the Clarinet (one octave lower for Trumpet 1).


m. 146 In CS, the original Trumpet 1 & 2 pitch material is provided by the Horn and Timpani. The exact rhythm is not supplied. This is partial elimination.


m. 147 In CS, the original Trumpet 1 material is doubled/played by the Horn one octave lower.


m. 148 In CS the original Trumpet 1 material is eliminated. All pitch material is provided by other instruments in a different rhythm.





m. 151-153 In CS the original Trumpet 1 & 2 material is eliminated. All pitch material is provided by other instruments in a different rhythm.





m. 156 In CS the original Trumpet 1 material is eliminated. All pitch material is provided by other instruments in a different rhythm.



m. 157 In CS, the original Trumpet 1 material is played/doubled by the Horn one octave lower.

Reorganize Insignificant Elimination - Original material is eliminated but pitch content is played in a different rhythm.

205



m. 170-171 (beat 2)



m. 171-172 In CS, the original Trumpet 1 & 2 pitch material is provided by the Horn. The octave varies.


m. 175 (beat 4) - 176 (beat 1)

In CS, the original Trumpet 1 & 2 material is played by the Horn (one octave lower for the Trumpet 1).


m. 178 (beats 2-3)

In CS, the original Trumpet 1 & 2 material is played by the Horn one and two octaves lower.


m. 180 (beat 4) - 181 (beat 1)

In CS, the Horn plays the original Horn 3 and Trumpet 1 material (one octave higher for Trumpet 2).


m. 183 (beat 2-3)

In CS, the Horn plays the original Horn 3 and Trumpet 1 material one octave lower. The original Trumpet 2 has the same pitch material without an octave leap.


m. 184 (beat 4) - 185 (beat 1)

In CS, the original Trumpet 1 & 2 material is eliminated. All original pitch content is provided by a variety of instruments in a variety of octaves.


In BR, this material is partially eliminated (occurs on one beat).

m. 191 (beats 2-3)

In CS, the Clarinet plays content very similar to the original Trumpet 1. The rhythm has been changed very slightly.


m. 193 (beats 2-3)

In CS, the original Trumpet 1 & 2 material is played/doubled by the Oboe (one octave higher for the Trumpet 2).


m. 196 (beat 2) - 197 (beat 1)

In CS, the original Trumpet 1 material is played/doubled by the Flute.


m. 198 (beat 2) - 199 (beat 1)




m. 206-208 In CS, the original Trumpet 1 & 2 material is eliminated. All original pitch content is provided by a variety of instruments with a slightly different rhythm.



Mvt. 4 TACET Mvt. 5 TACET Mvt. 6 m. 75-80 In OS, the Horn 1 & 2 and Trumpet 1

& 2 play the same pitch material over two or three octaves. In CS, the first measure of this content is


206

doubled/played by the Oboe one octave higher. The remaining measures are provided by the Horn at a lower register (Horn 2).

m. 82-83 / 128-129



m. 84 / 130 In OS, the Trumpet 1 & 2 play the same pitches in octaves. In CS, the same pitch material is present in the Timpani one octave lower. Similar pitch material is also present in other voices.


m. 85-87 / 131-133



m. 88-89 / 134-135







m. 93-95 / 139-141



m. 96-98 / 142-144



m. 99-103 / 145-149

In CS, the original Trumpet 1 & 2 material is eliminated. The original pitch material is played by a variety of woodwind instruments with the same rhythm but at a different octave.


m. 104 (beat 3) - 106 (beat 1)




m. 122-123 In CS, the Oboe plays the original Trumpet 1 & Trombone 1 material.


207

m. 124-126 In CS, the Horn plays the original Trumpet 1 & Trumpet 2 pitch material. The material is not always presented in the same octave as the original material.


m. 158 (beat 3) - 160 (beat 1)



















m. 201-203 In CS, the original Horn 1 and Trumpet 1 material is played/doubled by the Viola.






m. 226 In OS, the Trumpet 1 doubles the Trumpet 2 one octave higher. In CS,




208

this has been reduced to the higher octave and played by the Oboe.







m. 248 In CS, the original Trumpet 1 & 2 material is played/doubled by the Bassoon. (One octave lower for the Trumpet 1)






m. 261 (beat 4) -262 (beat 2)

In CS, the Oboe plays the original Horn 1 and Trumpet 1 & 2 material.


m. 264-266 In CS, the Oboe plays the original Trumpet 1 & 2 material.




m. 282 In CS, the original Trumpet 1 & 2 material is eliminated. The original pitch material is played by other instruments but not with the same rhythm.



m. 287-288 In CS, the original Trumpet 1 & 2 material is played/doubled by the Flute one and two octaves higher.


m. 289 In CS, the original Trumpet 1 & 2 material is played/doubled by the Clarinet (one octave higher for Trumpet 2).


m. 303-304 / 329-330

In CS, the Oboe plays the original Trumpet 1 & 2 material (one octave higher for the Trumpet 2).


m. 313-316 In CS, the original Trumpet 1 & 2 material is played/doubled by the Clarinet (one octave higher for Trumpet 2).


m. 338-340 In CS, the Oboe plays the original Trumpet 1 & 2 material (one octave higher for the Trumpet 2).




Mvt. 7 TACET

209

Trumpet 2


Mvt. 1 TACET Mvt. 2 m. 3-8 In OS, the Horn 1, Horn 2, Trumpet 1,

and Trumpet 2 all play the same pitch material in two octaves. In CS, this has been reduced to the Horn playing the material at the lower octave (Horn 2).



m. 17-21 / 37-41

In CS, the original Horn 2, 3, 4 and and Trumpet 1&2 material has been Eliminated. All original pitch material is present in other instruments but it is presented with a different rhythm.


m. 23-25 In OS, the Horn 1&2 and Trumpet 1&2 play the pitch of B in octaves. This pitch is also present in the original Harp material. In CS, the Bassoon plays this original material but at the lowest octave found in the Harp.


m. 27-28 In CS, the original Trumpet 1 & 2 material is played by the Horn.


m. 54 (beat 3) - 61 / 178 (beat 3) - 185



m. 161-164 (beat 1)

In OS, the Horn 2,3,4 and Trumpet 1&2 play the pitch of B in octaves. This pitch is also present in the original Harp material. In CS, this has been eliminated. The Bassoon plays a majority of the original pitch content but with a different rhythm. No original pitch content has been completely eliminated.


Similar treatment in BR, but the rhythm is slightly closer to the original.

m. 164 (beat 2) -165

In OS, the Horn 2 and Trumpet 1&2 play the pitch of F in octaves. This pitch is also present in the original Harp material. In CS, this pitch is played with a very similar rhythm by the Viola.


m. 203 In CS, the original Trumpet 1 & 2 material is played/doubled by the Oboe one octave higher.


210

m. 204 In CS, the original Trumpet 2 material is played/doubled by the Flute two octaves higher.




m. 206 In CS, the original Trumpet 1 & 2 material is eliminated. All original pitch content is provided by a variety of instruments in a variety of octaves.


m. 212-213 In CS, the original Trumpet 1 & 2 material is provided by the Oboe but with a different rhythm.


m. 214 (beats 1-2)

In CS, the original Trumpet 1 & 2 material is played/doubled by the Bassoon one and two octaves lower.


m. 219-221 (beat 2)



m. 222-225 In CS, the original Trumpet 1 & 2 material is eliminated. Other instruments provide the pitch content but in a different rhythm.



m. 271 (beat 4) - 273



m. 274-275 In CS, the Trumpet 1 & 2 material is eliminated. The original pitch material is present in the Clarinet but in a different rhythm.


M. 274 - No Difference / M. 275 - Eliminated

m. 276-278 In CS, the original Trumpet 1 & 2 material is played/doubled by the Horn (one octave lower for Trumpet 1).


m. 279-280 In CS, the original Trumpet 1 & 2 material is played/doubled by the Oboe (one octave higher for the Trumpet 2).


m. 285-286 / 288-290



m. 294-297 In CS, the original Trumpet 1 & 2 material is played by the Clarinet (one octave higher for Trumpet 2).


m. 303-305 In CS, the original Trumpet 1 & 2 material is played/doubled by the Horn one octave lower.


211

m. 311-313 In CS, the original Trumpet 1 & 2 material is played/doubled by the Clarinet but in a slightly different rhythm.


m. 327-329 (beat 2)



m. 329 (beat 3) - 333 (beat 1)

In OS, the Trumpet 1 & 2 play octave Bb pitches. This pitch is also played by the Bass. In CS, this has been reduced to only the Bass at the lowest octave.


m. 337 In CS, the original Trumpet 2 material is played/doubled by the Oboe one octave higher.



octaves. In CS, this has been reduced to only the upper octave (Trumpet 1). This material is played by the Clarinet.




Insignificant

m. 31-32 In OS, the Horn 2 and Trumpet 2 play the same pitch material in octaves. In CS, this has been reduced to the higher octave (Trumpet 2) and is played by the Clarinet.


Insignificant







m. 77 (beat 4) - 79 (beat 1)

In CS, the original Trumpet 2 material is played/doubled by the Horn.


m. 93-97 (beat 1) & 98 (beat 1)



m. 142 & 144

In CS, the Clarinet plays the original Trumpet 2 material.


m. 145 In CS, the original Trumpet 1 & 2 material is played by the Clarinet (one octave lower for Trumpet 1).


212

m. 146 In CS, the original Trumpet 1 & 2 pitch material is provided by the Horn and Timpani. The exact rhythm is not supplied. This is partial elimination.


m. 147-148 In CS, the original Trumpet 2 material is played/doubled by the Timpani two octaves lower.




m. 151-153 In CS the original Trumpet 1 & 2 material is eliminated. All pitch material is provided by other instruments in a different rhythm.





m. 156-157 In CS the original Trumpet 2 material is eliminated. All pitch material is provided by other instruments in a different rhythm.





m. 170 In CS, the original Trumpet 2 material is played by the Clarinet.


m. 171-172 In CS, the original Trumpet 1 & 2 pitch material is provided by the Horn. The octave varies.


m. 175 (beat 4) - 176 (beat 1)

In CS, the original Trumpet 1 & 2 material is played by the Horn (one octave lower for the Trumpet 1).


m. 178 (beats 2-3)

In CS, the original Trumpet 1 & 2 material is played by the Horn one and two octaves lower.


m. 180 (beat 4) - 181 (beat 1)

In CS, the Horn plays the original Horn 3 and Trumpet 1 material (one octave higher for Trumpet 2).


m. 183 (beat 2-3)

In CS, the Horn plays the original Horn 3 and Trumpet 1 material one octave lower. The original Trumpet 2 has the same pitch material without an octave leap.


m. 184 (beat 4) - 185 (beat 1)


Elimination Insignificant In BR, this material is partially eliminated (occurs on one beat).

213

m. 191 In CS, the original Trumpet 2 material is played by the Horn one octave lower.


m. 193 (beats 2-3)

In CS, the original Trumpet 1 & 2 material is played/doubled by the Oboe (one octave higher for the Trumpet 2).


m. 196 (beat 2) - 197 (beat 1)

In CS, the original Trumpet 2 material is played/doubled by the Horn.


m. 198 (beat 2) - 199 (beat 1)




m. 206-208 In CS, the original Trumpet 1 & 2 material is eliminated. All original pitch content is provided by a variety of instruments with a slightly different rhythm.



Mvt. 4 TACET Mvt. 5 TACET Mvt. 6 m. 75-80 In OS, the Horn 1 & 2 and Trumpet 1

& 2 play the same pitch material over two or three octaves. In CS, the first measure of this content is doubled/played by the Oboe one octave higher. The remaining measures are provided by the Horn at a lower register (Horn 2).


m. 82-83 / 128-129



m. 84 / 130 In OS, the Trumpet 1 & 2 play the same pitches in octaves. In CS, the same pitch material is present in the Timpani one octave lower. Similar pitch material is also present in other voices.


m. 85-87 / 131-133



m. 88-89 / 134-135




214




m. 93-95 / 139-141



m. 96-98 / 142-144



m. 99-103 / 145-149

In CS, the original Trumpet 1 & 2 material is eliminated. The original pitch material is played by a variety of woodwind instruments with the same rhythm but at a different octave.


m. 104 (beat 3) - 106 (beat 1)




m. 122-123 In CS, the Oboe plays the original Trumpet 2 material one octave lower.


m. 124-126 In CS, the Horn plays the original Trumpet 1 & Trumpet 2 pitch material. The material is not always presented in the same octave as the original material.


m. 158 (beat 3) - 160 (beat 1)








215


















m. 226 In OS, the Trumpet 1 doubles the Trumpet 2 one octave higher. In CS, this has been reduced to the higher octave and played by the Oboe.










m. 248 In CS, the original Trumpet 1 & 2 material is played/doubled by the Bassoon. (One octave lower for the Trumpet 1)


216

m. 250-253 In CS, the majority of the original Trumpet 2 material is eliminated. All pitch material remains in woodwind parts, but not in the same melodic pattern as the original. IMPORTANT - The trumpet 1 & 2 are the only woodwinds/brass to play on the third beat. This third beat material for the Trumpet 2 is played by the Clarinet.







m. 261 (beat 4) -262 (beat 2)

In CS, the Oboe plays the original Horn 1 and Trumpet 1 & 2 material.






m. 282 In CS, the original Trumpet 1 & 2 material is eliminated. The original pitch material is played by other instruments but not with the same rhythm.



m. 287-288 In CS, the original Trumpet 1 & 2 material is played/doubled by the Flute one and two octaves higher.


m. 289 In CS, the original Trumpet 1 & 2 material is played/doubled by the Clarinet (one octave higher for Trumpet 2).


m. 303-304 / 329-330

In CS, the Oboe plays the original Trumpet 1 & 2 material (one octave higher for the Trumpet 2).


m. 313-316 In CS, the original Trumpet 1 & 2 material is played/doubled by the Clarinet (one octave higher for Trumpet 2).






Mvt. 7 TACET

217

Trombone 1


Mvt. 1 m. 34 In CS, the original Trombone 1

material is played by the Clarinet. Reorganize Insignificant

m. 35-37 In CS, the original Trombone 1 material is played/doubled by the Flute one octave higher.


m. 57 (beats 1-3) / 90 (beats 1-3)

In CS, the original Trombone 1 material is eliminated. The pitch material is provided by other instruments but with a different rhythm.


m. 57 (beat 4) - 58 / 90 (beat 4)-91



m. 74 (beat 3) -76



m. 123-125 In CS, the original Trombone 1 material is eliminated. The original pitch material is present in other instruments with the same rhythm.





Mvt. 2 m. 49-54 (beat 2) / 173-178 (beat 2)



m. 54 (beat 3) - 61 / 178 (beat 3) - 185



m. 61 (beat 3) - 65 (beat 1) / 185-189



m. 198 (beat 3) - 201



m. 202 In CS, the original Trombone 1 material is played/doubled by the Oboe one octave higher.


m. 203-204 (beat 1)



218

m. 204 (beat 2) - 205 (beat 1)

In CS, the original Trombone 1 material is played/doubled by the two octaves higher.


m. 205 (beat 2) -206



m. 219-225 In CS, the original Trombone 1 material is eliminated. All original pitch material is provided in other instruments.



m. 249 (beat 3) - 251 (beat 1)

In CS, the original Trombone 1 material is eliminated. All original pitch material is provided in other instruments.



m. 251 (beat 3) - 252

In CS, the original Trombone 1 material is played/doubled by the Horn.


m. 253 (beat 1)

In CS, the original Trombone 1 material is played/doubled by the Flute two octaves higher.





Reorganize Minimally Signficiant


m. 273-275 In CS, the original Trombone 1 material is played/doubled by the Flute two octaves higher.


m. 287 (beat 4) - 288



m. 289-290 In CS, the original Trombone 1 material is played/doubled by the Oboe one octave higher.




m. 294-297 In CS, the original Trombone 1 material is eliminated. All original pitch material is provided in other instruments.


M. 294-295 - No significant difference. M. 296-297 - Similar Elimination



m. 337 In CS, the original Trombone 1 material is played/doubled by the Horn one octave lower.


Mvt. 3 m. 54-55 In OS, the Horn 3 doubles the

Trombone 1 one octave higher. In CS, this has been reduced to the lower octave (Trombone 1) and is played by the Oboe.






219

m. 171-173 (beat 1)





m. 176 (beat 3) - 178 (beat 1) / 179 - 180 (beat 3)



m. 181 (beat 3) - 183 (beat 1)



m. 184 (beats 1-3) / 187 (beats 1-3)



m. 190-191 (beat 1) / 192 (beats 1-2)



m. 193-195 (beat 2) & 197 (beat 3) - 199





Mvt. 4 TACET Mvt. 5 TACET Mvt. 6 m. 68-74 In CS, the Oboe plays the original

Trombone 1 material. Reorganize Insignificant

m. 75-78 (beat 1)



m. 78 (beat 4) - 80



m. 82-83 / 128-129



m. 84-85 / 130-131




m. 87 / 133 In CS, the original Trombone 1 material is played/doubled by the Oboe one octave higher.


m. 88-89 / 134-135



220

m. 90-91 / 136-137






m. 99 (beat 2) - 101 / 145-147



m. 102-104 (beat 1) / 148-150

In CS, the original Trombone 1 material is played/doubled by the Oboe one octave higher.


m. 104-107 In CS, the original Trombone 1 material is played/doubled by the Clarinet.


m. 108 In CS, the original Trombone 1 material is played/doubled by the Horn.


m. 122-123 In CS, the original Trombone 1 material is played/doubled by the Oboe.







m. 178-180 & 184-186



m. 192-195 In CS, the original Trombone 1 material is played/doubled by the Horn.




m. 231-232 & 234 (beats 1-3)



m. 233 (beats 1-3)



m. 249 (beat 4) - 251 (beat 1)



m. 251 (beat 2) - 253




221

m. 254 -255 (beat 2)



m. 255 (beat 3) - 256




m. 276- 277 (beat 2)



m. 284-285 In CS, the original Trombone 1 material is played/doubled by the Bassoon.


m. 286 (beats 1-3)



m. 286 (beat 4) - 287



m. 287 (beats 3-4) & 288 (beats 3-4)



m. 288 (beats 1-2) & 289-290

In CS, the original Trombone 1 material is played/doubled by the Clarinet one octave higher.


m. 310-311 (beat 3) & m. 312 (beat 4) - 316



m. 311 (beat 4) - 312 (beat 3)



m. 341-344 (beat 3)



m. 347-348 (beat 2)



m. 348 (beats 3-4)



m. 349 In CS, the original Trombone 1 material is played/doubled by the Flute two octaves higher.




m. 42 In CS, the original Trombone 1 material is doubled/played by the Bassoon one octave lower.


m. 43 In CS, the original Trombone 1 material is eliminated. No other instrument plays this material. The tenor voice does sing this material.


222

m. 40-48 In CS, the Clarinet plays the original Trombone 2 material. For beats 3&4 of m. 45 and the downbeat of m. 48, the Clarinet plays the original Trombone 1 material.


m. 44-48 In CS, the original Trombone melodic pattern has been eliminated. With the exception of m. 47, all pitch material is present in a variety of other instruments.

Elimination Minimally Signficiant




m. 81-84 In CS, the Flute plays the original Trombone 1 material. The final pitch (downbeat of 84) is played by the Clarinet 1 one octave higher.






m. 145-146 In CS, the original Trombone 1 material is eliminated. No other instrument plays this material. The voice parts do have similar pitches.


m. 158-159 In CS, the original Trombone 1 material is doubled/played by the Oboe. The resolution pitch on the third beat of m. 159 is played by the Horn.




Trombone 2


Mvt. 1 m. 34-37 In CS, the original Trombone 2

material is doubled/played by the Horn for m. 34, and then played by the Clarinet.




m. 56 / 89 In CS, the Bassoon plays the original Trombone 2 material.


m. 57 (beats 1-3) / 90 (beats 1-3)



223

m. 57-58 / 90-91



m. 74 (beat 4) - 76



m. 123-126 In CS, the original Trombone 2 material is eliminated. The original pitch material is present in other instruments with the same rhythm.



Mvt. 2 m. 22 (beat 3)-m. 26 (beat 2) / 146-150






m. 30 (beat 3)-m. 33 (beat 2)



m. 49-54 (beat 2) / 173-178 (beat 2)



m. 54 (beat 3) - 62 / 178-186

In CS, the original Trombone 2 material is eliminated. The original pitch material is present in a variety of other instruments but with different rhythms.



m. 63 - 65 (beat 1) / 187-189





m. 202-206 In CS, the original Trombone 2 material is eliminated. The original pitch material is present in a variety of other instruments but with different rhythms.






224

m. 224-225 In CS, the original Trombone 2 material is doubled/played by the Clarinet one octave higher.


m. 249 (beat 3) - 251 (beat 1)



m. 251 (beat 2) - 253






m. 273-275 In CS, the original Trombone 2 material is played/doubled by the Clarinet one octave higher but with a different rhythm.


m. 287 (beat 4) - 290

In CS, a majority of the original Trombone 2 material is played/doubled by the Horn.





m. 329 (beat 3) - 333 (beat 1)



m. 337 In CS, the original Trombone 2 material is played/doubled by the Oboe one octave higher.


Mvt. 3 m. 39-40 In CS, the original Trombone 2

material is played/doubled by the Clarinet one octave higher.


m. 54-55 In CS, the original Trombone 2 material is eliminated. The original pitch material is present in the Violin 2 but with a different.





m. 62 In CS, the original Trombone 2 material is played/doubled by the Clarinet one octave higher.


m. 118-119 / 122-123







225

m. 129 (beat 1)





m. 144 (beat 1)

In CS, the original Trombone 2 material is played/doubled by the Flute two octave higher.


m. 150-158 In CS, the original Trombone 2 material is eliminated. The original material is a series of notes with long values. All pitch material is present but with different rhythms and in a variety of registers.





m. 163-169 In OS, the original Cello 1 doubles the Bass at the higher octave. In CS, the Cello plays the original Trombone 2 material. This content doubles/supports the Bass Voice.


Brahms is able to maintain the octave doubling and also provide the Trombone 2 material.

m 170 (beat 3) - 172






m. 176 (beat 3) - 178 (beat 1) / 179 - 180 (beat 3)



m. 181 (beat 3) - 183 (beat 1)



m. 184 (beats 1-3) / 187 (beats 1-3)



m. 190-191 (beat 1) / 192 (beats 1-2)



m. 193-195 (beat 2) & 197 (beat 3) - 199





Mvt. 4 TACET

226

Mvt. 5 TACET Mvt. 6 m. 68-70 (beat 2)



m. 70 (beat 3) -72 (beat 2)



m. 72 (beat 3) - 77



m. 78 (beat 1)



m. 78 (beat 3) - 80

In CS, the original Trombone 2 material is played/doubled by the Bassoon.


m. 82-83 / 128-129



m. 84-85 / 130-131

In CS, the original Trombone 2 material is eliminated. All original pitch material is present but in a different rhythm.


Similar Elimination in BR - Portion of original material present in same manner.

m. 87 (beat 2) -89 / 133-135



m. 90-91 / 136-137

In CS, the original Trombone 2 material is eliminated. All original pitch material is present but In a variety of instruments with different registers.


In BR, a majority of the original material is present as it is in the OS.

m. 93 (beats 2-3) / 139



m. 94 (beat 1) & 97 (beat 1) / 140 & 143

In CS, the original Trombone 2 material is played/doubled by the Bassoon.


m. 96 (beats 2-3) / 142



m. 99-101 / 145-147



m. 101 (beat 2) - 104 (beat 1) / 147-150



m. 104 (beat 3) - 107



227

m. 108 (beat 1)





m. 124 (beat 1)

In CS, the original Trombone 2 material is played/doubled by the Oboe two octaves higher.


m. 124 (beat 3) - 125 (beat 1)



m. 125 (beat 3) - 126 (beat 1)

In CS, the original Trombone 2 material is played/doubled by the Bassoon one octave lower.






m. 155 In CS, the original Trombone 2 & 3 material is played/doubled by the Horn.


m. 156 & 159

In CS, the original Trombone 2 & 3 material is played/doubled by the Clarinet.


m. 178-180 & 184-186



m. 192-193 In CS, the original Trombone 2 material is played/doubled by the Clarinet one octave higher.





m. 196-208 In CS, the original Trombone 2 material is played/doubled by the Oboe one and two octave higher.






228

m. 231-234 In CS, the original Trombone 2 material is eliminated. All original pitch material is present but in a variety of instruments and registers.



m. 249-256 In CS, a majority of the original Trombone 2 material is played/doubled by the Clarinet. Pitches not present in the Clarinet are normally presented by the Horn.




m. 276-277 (beat 2)

In CS, the original Trombone 2 material is eliminated. All original pitch material is present but in a variety of instruments and registers.



m. 277 (beat 3) - 280 (beat 1)



m. 280 (beat 2) - 281

In CS, the original Trombone 2 material is eliminated. All original pitch material is present but in a variety of instruments and registers.



m. 282-285 In CS, the original Trombone 2 material is played/doubled by the Bassoon.


m. 286-287 & 289-290



m. 287 (beat 3) - 288 (beat 2)



m. 288 (beats 3-4)





m. 341-344 In CS, the original Trombone 2 material is played/doubled by the Clarinet.


m. 347-349 In CS, the original Trombone 2 material is played/doubled by the Clarinet. There is an added note from the Horns on the third beat.


Mvt. 7 m. 40-48 In CS, the Clarinet plays the original

Trombone 2 material. For beats 3&4 of m. 45 and the downbeat of m. 48, the Clarinet plays the original Trombone 1 material.




229





m. 84 In CS, the Horn plays/doubles the original Trombone 2 material.


m. 131-132 In CS, the original Trombone 2 material is eliminated. The pitch material is present in a variety of instruments but not with the same melodic pattern.



m. 140-141 In CS, the original Trombone 2 material is eliminated. The pitch material is present in a variety of instruments but not with the same melodic pattern.





m. 158-159 In CS, the original Trombone 2 material is doubled/played by the Horn. The resolution pitch on the third beat of m. 159 is played by the Oboe.


m. 166 In CS, the original Trombone 2 material is played by the Clarinet one octave higher.


Trombone 3




m. 57-58 / 90-91



m. 74 (beat 4) - 76







Mvt. 2 m. 49-54 (beat 2) / 173-178 (beat 2)



230

m. 54-65 / m. 178-189

In CS, the Trombone 3 original material (which is almost a complete doubling of the String Bass an octave higher) is played by the Bassoon for m. 54-62 / 178-186. For m. 63-65 / 187-189, the original tuba material is played by the Cello.



m. 198 (beat 3) - 200 (beat 1)



m. 200 (beat 2) - 203



A majority of the original material is presented in BR. A portion of this material is presented in a different register or with a different rhythm.

m. 206-207 In CS, the original Trombone 3 material is played by the Bassoon but with a slightly different rhythm.


m. 219 & 221




m. 219-222 In CS, the original Trombone 3 material is played by the Bass but with a different rhythm.


m. 223-224 In CS, the Trombone 3 original material is played by the Bassoon. The third beat which is played as an A2 was originally an A3 in the Trombone 3 part.

Reorganize Insignificant In BR, the Trombone 3 original material is omitted. The pitch material and rhythm are still present but in a different octave. This is played by the right hand of the Piano 1 part.

m. 250 In CS, the original Trombone 3 material is eliminated. The original pitch material is present in the Viola but with a different rhythm.


m. 250-253, 255-256, & 259-260

In CS, the Bassoon plays/doubles the original Trombone 3 material. The octave is occasionally changed.


m. 271-290 In CS, the Trombone 3 original material is played by the Bassoon (the Bassoon doubled the Trombone 3 in the OS). The final note B2 is omitted, but played by the Bassoon 1 octave higher.

Reorganize Insignificant In BR, the Trombone 3 part is played by the left hand of Piano 2. The final note is also omitted.

m. 291-297 In CS, the Trombone 3 original material is omitted. The clarinet plays a similar rhythm, but this it is playing another brass instrument. The String Bass presents the same pitch material until m. 294, but the rhythm is different.


In BR, the Trombone 3 original material is omitted. The brass chords and rhythm is presented in the right hand of Piano 2, but the register is considerably different than that of the Tuba.

m. 329 (beat 3) - 333 (beat 1)



231

m. 337 In CS, the original Trombone 3 material is played/doubled by the Bassoon.








m. 118-119 / 122-123 / 126-127



m. 128-129 In CS, the original Trombone 3 material is eliminated. All original pitch material is played by other instruments but with a different rhythm.


All pitch material is present but in a different register.

m. 143 & 146 (beat 5) - 147 (beat 1)



m. 144-153 In CS, the original Trombone 3 material is played/doubled by the Bass one octave lower.


m. 154-156 (beat 2)



m. 156 (beat 3-157 (beat 2) & 158

In CS, the original Trombone 3 material is played/doubled by the Bass one octave lower but in a different rhythm.


m. 157 (beat 3) - 158 (beat 1)



m. 163 (beat 3) - 169



m. 170-172 In CS, the original Trombone 3 material is played/doubled by the Bass one octave lower.


m. 173 - 208

In OS, the String Bass part is divided into two parts an octave apart, playing alternating whole notes (4/2 time) on the pitch of D. The Trombone 3 doubled the higher of the two pitches. In CS, Linckelmann reduces this pattern to repeating half notes on the lower octave. Portions of the original pattern are also played by the Horn and Bassoon.




232

m. 193-195 (beat 2) & 197 (beat 3) - 199

In OS, the Trombone 1/2 doubles the Trombone 3/Tuba one octave higher. In CS, this has been reduced to only the upper octave and played by the Bassoon. (String Bass continues throughout)




Mvt. 4 TACET Mvt. 5 TACET Mvt. 6 m. 68-70 (beat 2)



m. 70 (beat 3) - 72 (beat 2)



m. 72 (beat 3) -74 / 76-78



m. 75 In CS, the original Trombone 3 material is played/doubled by the Oboe two octaves higher.


m. 78 (beat 3) - 80

In CS, the original Trombone 3 material is played by a variety of instruments in a variety of registers, but not always in the same pattern as the OS.


m. 82-85 / 128-131

In CS, the original Trombone 3 material is played/doubled by the Oboe two octaves higher. The first beat of m. 84 is different.


m. 87-89 / 133-135



m. 90-91 / 136-137



m. 93 (beat 2-3) / 139



m. 94 (beat 1) / 140



m. 96 (beat 2) - 97 (beat 1) / 142-143



m. 99-101 / 145-147



m. 102-104 / 148-150



233

m. 104 (beat 3) - 106 (beat 1)

In CS, the original Trombone 2 material is played/doubled by the Bassoon. The leap is in the opposite direction as OS.


m. 106 (beat 3) - 107



m. 108 (beat 1)



m. 122-124 (beat 1)

In OS, the original Trombone 3 doubled the Tuba one octave higher. In CS, this has been reduced to the lower octave and played by the Bassoon.




m. 124 (beat 3) - 126 (beat 1)

In CS, the original Trombone 2 material is played/doubled by the Oboe two octaves higher.






m. 155 In CS, the original Trombone 2 & 3 material is played/doubled by the Horn.


m. 156 & 159

In CS, the original Trombone 2 & 3 material is played/doubled by the Clarinet.


m. 178-180 & 184-186



m. 192- 208 In CS, the original Trombone 3 material is played/doubled by the Bassoon one octave lower.


m. 232 & 234

In CS, the original Trombone 3 material is eliminated. All original pitch material is played by other instruments but with a different rhythm.


In BR, all original pitch material is present but not always in the same register.



m. 248-250 (beat 2)



m. 250 (beat 3) - 266



m. 273-276 (beat 1)



234

m. 276 (beat 2) - 277 (beat 3)

In CS, the original Trombone 3 material is eliminated. All original pitch material is played by other instruments but with a different rhythm.



m. 277 (beat 4) - 280

In CS, the original Trombone 3 material is doubled/played by the Cello.


m. 281 (beat 4) - 284



m. 285 In CS, the original Trombone 3 material is doubled/played by the Cello.


m. 286-289 In CS, the original Trombone 3 material is doubled/played by the Bassoon.


m. 289-290 In CS, the original Trombone 3 material is doubled/played by the Cello.


m. 304-310 In CS, the original Trombone 3 material is doubled/played by the Cello.




m. 311-312 (beat 2)

In CS, the original Trombone 3 material is doubled/played by the Bass.


m. 312 (beat 3) - 316















m. 131-132 In CS, the original Trombone 3 material is doubled/played by the Bass.


235

m. 140 In CS, the original Trombone 3 material is eliminated. The pitch material is present in a variety of instruments but not with the same melodic pattern.

eliminated Minimally Significant


m. 141 In CS, the original Trombone 3 material is played/doubled by the Cello.




m. 158-159 In CS, the original Trombone 3 material is played/doubled by the Cello/Bass.


m. 166 In CS, the original Trombone 3 material is played by the Bassoon.


Tuba


Mvt. 1 TACET Mvt. 2 m. 54-65 / m. 178-189

In CS, the Tuba original material (which is almost a complete doubling of the String Bass an octave higher) is played by the Bassoon for m. 54-62 / 178-186. For m. 63-65 / 187-189, the original tuba material is played by the Cello.

Reorganize Insignificant In BR, the original Tuba material is combined with the rhythm of the timpani and doubled an octave lower to cover the string bass part.

m. 223-224 In CS, the Tuba original material is played by the Bassoon. The third beat which is played as an A2 was originally an A3 in the Tuba part.

Reorganize Insignificant DIFFERENCE - Brahms chooses to eliminate this material. The pitch is provided but in a much different register.

m. 271-290 In CS, the Tuba original material is played by the Bassoon (the Bassoon doubled the Tuba in the OS). The final note B2 is omitted, but played by the Bassoon 1 octave higher.

Reorganize Insignificant Similar. The final note is also omitted.

m. 291-297 In CS, the original Tuba material is eliminated. The original pitch material is present in other instruments but with different rhythms.


Similar reduction in BR

m. 331-337 In CS, the original Tuba material is played/doubled by the String Bass.


Mvt. 3 m. 118-119 / 122-123 / 126-127



m. 143-144 In CS, the Bassoon plays the original Trombone 3/Tuba material.


236

m. 173 - 208 In OS, the String Bass part is divided into two parts an octave apart, playing alternating whole notes (4/2 time) on the pitch of D. The Tuba doubled the higher of the two pitches. In CS, Linckelmann reduces this pattern to repeating half notes on the lower octave. This effectively eliminates the doubling but creates a similar pattern.




m. 193-195 (beat 2) & 197 (beat 3) - 199





Mvt. 4 TACET Mvt. 5 TACET Mvt. 6 m. 68 - 78 In CS, the Tuba original material is

played by the Bassoon. In m. 75, the Bassoon abandons the Tuba original material and plays an E3 rather than a G2.


m. 78-80 In CS, the original Tuba material is played/doubled by the String Bass one octave lower.


m. 82-93 In OS, the Tuba double the Bassoon 2 part at the lower octave (until m. 88). In the CS, the Bassoon plays the lower Tuba original material and the higher octave doubling is omitted.



m. 93-96 In OS, the Tuba original material doubled the Cello part. In CS, the Cello plays this material.

Reduction Insignificant No significant difference

m. 99-108 In OS, the Tuba doubled both the Cello and Bassoon (with slight variations occurring due only to octave displacement). In CS, the original Tuba material is most closely presented by Bassoon part. The Cello also plays a very similar part.


m. 122-123 In CS, the Tuba original material is played by the Bassoon.


m. 124-126 In OS, the Tuba doubled the Cello. In CS, there is only the Cello to play this content.


m. 128-139 In CS, the Tuba original material is played by the Bassoon. (Very similar to m. 82-93)



m. 142-143 In OS, the Tuba original material doubled the Cello part. In CS, the Cello plays this material.

Reduction Insignificant No significant difference

m. 145-150 In OS, the Tuba doubled both the Cello and Bassoon 1. In CS, the


237

original Tuba material is most closely presented by Bassoon part. The Cello also plays a very similar part.

m. 178-180 / 184-186 / 192-193


Reorganize Insignificant In BR, the original Tuba material is presented one octave higher, and in the correct octave but with a different rhythm.



In BR, the original pitch material is presented but at a higher octave with a slightly different rhythm.


Reorganize Insignificant In BR, the original pitch material is presented but at a higher octave with a slightly different rhythm.



m. 231-234 In CS, the original Tuba material is eliminated. The original pitch material is present in other instruments but with different rhythms.


Similar reduction in BR

m. 282-286 (beat 2)

In CS, the original Tuba material is played/doubled by the Cello.


m. 286 (beat 3) - 288


Reorganize Insignificant DIFFERENCE - In BR, the original Tuba material is eliminated. All pitch material remains but with a different rhythm.

m. 289-290 In CS, the original Tuba material is played/doubled by the Cello.


m. 309-312 (beat 2)

In CS, the original Tuba material is played/doubled by the String Bass


m. 312 (beat 4)-316

In CS, the original Tuba material is played by the Bassoon. The third beat of m. 312 has been eliminated.

Reorganize Insignificant Similar - m. 314-315 contain the same pitches but not always the same rhythm.

Mvt. 7 TACET

Timpani


Mvt. 1 TACET Mvt. 2 NO CHANGE Mvt. 3 m. 33 In OS, there is one quarter note on the

first beat of this measure. In CS, this note has been omitted. Possible mistake? (There is no apparent reason for the omission)


238

Mvt. 4 TACET Mvt. 5 TACET Mvt. 6 NO CHANGE Mvt. 7 TACET

Harp


Mvt. 1 mm.48 & 50 In CS, original harp material played by

Violin I and Clarinet. Slight variation - Original material spans two octaves. In CS, harp material is played within one octave.


mm. 54-60 In CS, original harp material is played by Clarinet. Slight variation - Original material spans two octaves and is often doubled at the octave. In CS, harp material is played within one octave and never doubled.


mm. 87-93 In CS, original harp material is played by Clarinet. Slight variation - Original material spans two octaves and is often doubled at the octave. In CS, harp material is played within one octave and never doubled.


mm. 150-151 In CS, original harp material is played by Clarinet and Flute. Slight variation - Original material spans three octaves. In CS, the Clarinet plays only two octaves. The flute enters on the fourth beat of m. 151 to play the highest range of the original harp part.


mm. 152-153 In the CS, original harp material is played by Clarinet and Flute. In the OS, the harp played chords and the Double Bass doubled the root of each chord. In the CS, the Double Bass plays the root and the Clarinet and Flute fill in the chord with single pitches.


mm. 154-158 In the CS, the original harp material is played by Bass, Cello, Viola, Clarinet, and Flute. Five instruments are used in this reorder to play the original harp material in the correct register. In prior examples, the original material is reduced to one octave. Material begins in Bass and proceeds to the next, higher pitched instrument when needed.

Reorganize More Significant

In BR, original harp material is played by Piano I.

Mvt. 2

239

m. 3-13 / m. 127-137

In the CS, the orginal harp material is completely omitted. The violin I, violin II, and clarinet play the same chords, but with a different rhythm.

Elimination Significant In BR, original harp material is integrated into the Piano II part.

m. 17-21 / m. 141-145

In the CS, the orginal harp material is completely omitted. Pitch material is present in other voices but with a different rhythm.

Elimination Significant In BR, the original harp material is also ommitted. Pitch material is present in other voices but with a different rhythm.

m. 23-33 / m. 147-157

In the CS, the orginal harp material is completely omitted. The violin I, violin II, and clarinet play the same chords, but with a different rhythm.

Elimination Significant In BR, original harp material is integrated into the Piano II part.

m. 37-41 / m. 161-165


Elimination Significant In BR, the original harp material is also ommitted. Pitch material is present in other voices but with a different rhythm.

m. 54-65 / m. 178-189

In the CS, the orginal harp material is completely omitted.

Elimination Significant In BR, the original harp material is also ommitted.

m. 69-73 / m. 193-197


Elimination Significant In BR, the original harp material is also ommitted for m. 69-70 / 193-194. The original harp material is present starting on the third beat of m. 71 / 195. It is played by only the left hand of Piano II.

m. 106-119 In the original, the harp doubled the flute with a lower doubling at the octave. The only unique measure for the harp was m. 106. In the CS, the harp material is omitted but the original flute material is present.

Reduction Insignificant In BR, the original harp material is presented in only the higher octave (which is also the flute material).

Mvt. 3 TACET Mvt. 4 TACET Mvt. 5 TACET Mvt. 6 TACET Mvt. 7 mm. 158-159 In CS, original harp material is played by

Clarinet and Flute. Slight variation - Original material spans three octaves. In CS, the Clarinet plays only two octaves. The flute enters on the fourth beat of m. 158 to play the highest range of the original harp part.


mm. 160-161 In the CS, a majority of the original harp material is ommitted. The only pitchs to remain are added to the Violin 1 part. In the OS, the harp played chords that doubled the strings. Linckelmann's treats this passage different than the corresponding passage in Movement I. Why??

Ommission Reduction

Significant In BR, original harp material is played by Piano II.

mm. 162-166 In the CS, the original harp material is played by Bass, Cello, Viola, Clarinet, and Flute. Five instruments are used in this reorder to play the original harp

Reorganize More Significant

In BR, original harp material is played by Piano II.

240

material in the correct register. In prior examples, the original material is reduced to one octave. Material begins in Bass and proceeds to the next, higher pitched instrument when needed.

Violin 1


Mvt. 1 The OS did not have a part for Violin I & 2 for the first movement. All indications are for either CS or BR. m. 30-31 In OS, the Viola 2 part doubles the

Flute 2 part one octave lower. In CS, the Violin 1 plays the original Viola 2 material and the Flute doubling is removed.

Reorganize /

Reduction


SIMILAR REDUCTION in Brahms. This passage also demonstrates slight alterations to parts when Reorganized. The downbeat of m. 31 has been changed, but the pitch material is still present at a different register.

m. 32-33 In CS, the original Viola 2 part is played by the Violin 1.




REDUCTION IN ONLY BRAHMS. Starting in m. 39, Brahms eliminates the Violas, which double the Cello part.

m. 48 & 50 In CS, the original Harp material is played by Violin 1.




m. 71- 76 In CS, the original Viola 1 part is played by the Violin 1.









Reorganize Insignificant Treated differently than m. 37-42 because the Cello does not double the Violas. This passage covers more of the original material, but will be more difficult to play.



m. 142-144 In CS, the original Cello 1 material is played by the Violin 1. Minimally significant because the Cello material has not been played by Violin up to this point.


m. 145-153 (beat 2)

In CS, the original Viola 2 part is played by the Violin 1.


241

m. 153 (beat 3) -158



ELIMINATION - Brahms chooses to eliminate parts of the original Viola 1 to play the original harp material (m. 151).

m. 156-158 In CS, the original Cello 2 material is played by the Violin 1 and Violin 2 but at the higher octave. This pitch material could also be considered a doubling of the original Oboe material.


Mvt. 2 m. 22-33 In OS, there are 3 Viola parts. In CS,

these 3 parts are integrated into the Violin I, Violin II, and Viola parts. The original Viola parts do not stay consistently with the same instrument in the CS. Each change to a different part at the third beat of m. 24, the third beat of 26, and the third beat of 28. - WHY?

Reorganize Significant Reorganize / Partial Elimination - In OS, the woodwinds double much of the original pitch material of the violas but not with enough consistency to state that one instrument is paired with another. Brahms uses the Piano 1, RH to play this material. However, the range and pitch material demonstrate that he is focused on the original woodwinds not the violas. Since so much of the pitch material is the same, this should not be considered a full elimination. Good example of making choices to eliminate due to instrumental demands/limitations.

m. 22-24 (beat 2)

In CS, the Violin 1 plays the original Viola 2 material. This is also the same as the Flute 1 material one octave lower.


m. 24 (beat 3) - 26 (beat 2)

In CS, the Violin 1 plays the original Viola 1 material.


m. 26 (beat 3) - 28 (beat 2)



m. 28 (beat 3) - 33



m. 35-41 In CS, the Violin 1 plays the original Flute 1 material.


m. 54 (beat 3) -62

In CS, the original Violin 1 material is played by the Flute.


m. 54 - 62 / m. 178-186

In this passage, Linckelmann combines a variety of pitch and rhythmic material to create a new layer. The Violin 1 provides portions of the Viola 3, Harp, and Horn original material.

Significant Reorganize

Very Significant

Diffference - In BR, the original pitch material for the strings is presented very close to the original score. The harp part is eliminated.

242

m. 146-157 In OS, there are 3 Viola parts. In CS, these 3 parts are integrated into the Violin I, Violin II, and Viola parts. The original Viola parts do not stay consistently with the same instrument in the CS. Each change to a different part at the third beat of m. 148, the third beat of 150, and the third beat of 152. - WHY?

Reorganize Significant See prior note

m. 146-148 (beat 2)

In CS, the Violin 1 plays the original Viola 2 material. This is also the same as the Flute 1 material one octave lower.


m. 148 (beat 3) - 150 (beat 2)



m. 150 (beat 3) - 152 (beat 2)



m. 152 (beat 3) - 157



m. 159-165 In CS, the Violin 1 plays the original Flute 1 material.


Mvt. 3 m. 3-16 In OS, there are 5 string parts - Viola I,

Viola II, Cello 1, Cello 2, and Bass. In CS, the top four parts are integrated into the Violin I, Viola, and Cello parts. Since there are only 3 parts at any one time, the doubled pitches are removed.

Reorganize /

Reduction



m. 3-14 In CS, the Violin plays the original Viola 1 material. On the first beat of m. 12, the Viola 1 material doubles the Cello 2 material up the octave.


m. 15 In CS, the Violin plays the original Cello 1 material.


m. 16 In CS, the Violin plays the original Cello 2 material up one octave.


m. 158-163 In CS, the Violin plays the original Horn 1 material.


Mvt. 4 NO CHANGES

Mvt. 5 NO CHANGES

Mvt. 6 m. 335 In OS, the original Violin 1 plays an A4.

In CS, the Violin 1 plays a C5. This is the original Oboe 2 pitch.


Mvt. 7

243

m. 74-76 In CS, the original Viola part is played by the Violin 1. The Viola plays the original Cello 1 part.


mm. 160-161 In the CS, a majority of the original harp material is omitted. The only pitches to remain are added to the Violin 1 part. In the OS, the harp played chords that doubled the strings.


Violin 2


Mvt. 1 The OS did not have a part for Violin I & 2 for the first movement. All indications are for either CS or BR. m. 7-9 (beat 1)



MINIMALLY SIGNIFICANT BECAUSE OF TIMBRE CHANGE - NOT RELEVANT TO COMPARISON



MINIMALLY SIGNIFICANT BECAUSE OF TIMBRE CHANGE - NOT RELEVANT TO COMPARISON



m. 49-50 In CS, the original Viola 1 part is played by the Violin 2. The first beat of m. 50 has been Eliminated, but the pitch is present in the Viola part.

Reorganize Insignificant COMPARE TO m. 30-31. Brahms must also change the first beat of the final measure.

m. 51-53 (beat 2)

In CS, the original Cello 1 & 2 material is played by the Violin 2.


m. 53 (beat 3)-62





m. 80 & 82 In CS, the original Viola 2 part is played by the Violin 2.


m. 81 & 83 In CS, the original Cello 1 material is played by the Violin 2.


m. 84-87 (beat 2)



m. 87-88 (beat 1)

In CS, the original Cello 1 material is played by the Violin 2.




m. 98-100 (beat 1)


Reorganize Insignificant Another comparison for the necessity to make minor changes in voicing (see m. 49-50)

m. 115-117 (beat 2)


Reorganize Insignificant Example of reduction in Brahms. In OS, the Viola 2, Oboe 1, and Flute 1 all play the same material in 3 octaves. In

244

the BR, this has been reduced to only the middle octave played by both right hands.

m. 124-126 In CS, the original Cello 1 material is played by the Violin 2.




m. 134-135 In CS, the original Cello 1 & 2 material is played by the Violin 2.



Reorganize Insignificant In the BR, the necessity to present the vocal material causes elimination. In m. 140, the original Cello 1 and Viola 1 material (doubling a sustained pitch of G) is Eliminated. This material is not present in any other part. The vocal line ascends to a G, but for only one beat.

m. 141-144 (beat 1)






Reorganize Insignificant Reorganize - Brahms chooses to Reorganize parts of the original Cello 1 to play the original harp material (m. 150-151). The pitch material is present but at different octaves.

m. 153 (beat 4) - 154



m. 156-158 In CS, the original Cello 2 material is played by the Violin 1 and Violin 2 but at the higher octave.


Mvt. 2 m. 2-6 (beat 2) / 126-132

In OS, the Violin 2 part doubles the Flute part and the Viola 1 part one octave higher. In CS, the Violin 2 plays its original material and the doublings are eliminated.


In BR, both hands of Piano 1 play the original string material. The octave doubling does not have to be reduced.

m. 19-21 / 143-145

In CS, the original Viola 1 material is played by the Violin 2.

Reorganize Insignificant Insignificant

m. 19-21 / 143-145

In CS, the original Violin 2 material is played / doubled by the Oboe.


m. 22-33 / 146-157

In OS, there are 3 Viola parts. In CS, these 3 parts are integrated into the Violin I, Violin II, and Viola parts. The original Viola parts do not stay consistently with the same instrument in the CS. Each change to a different part at the third beat of m. 24, the third beat of 26, and the third beat of 28. - WHY?

Reorganize Significant See note in Violin 1

m. 22-24 / 146-148



m. 25-26 (beat 2) / 149-150



245

m. 26 (beat 3) - m. 28 (beat 2) / 150-152



m. 28 (beat 3) - 29 (beat 1) / 152-153



m. 29 & 30 (beat 2) / 153-154

In CS, the Violin 2 doubles the original Viola 1 material.


m. 29 (beat 3) - 30 (beat 1) / 153-154



m. 30 (beat 3) - 33 / 154-157



m. 35-41 / 159-165



m. 54 - 62 / m. 178-186

In this passage, Linckelmann combines a variety of pitch and rhythmic material to create a new layer. The Violin 2 provides portions of the Violin 2 (1), Violin 2 (2), Viola 2 original material.


Significant Diffference - In BR, the original pitch material for the strings is presented very close to the original score. The harp part is eliminated.

m. 65 (beat 3) - 66



m. 71-73 In CS, the Horn plays the original Violin 2 material.


m. 317 (beats 3-4)

In CS, the original Violin 2 material is played by the Violin 1 but in a different rhythm.


Mvt. 3 m. 158-163 In CS, the Violin 2 plays the original Horn


Mvt. 4 NO CHANGES

Mvt. 5 NO CHANGES

Mvt. 6 m. 34 In OS, the Violin 1 and Violin 2 play an

F#4 for one beat. In CS, this has been reduced to only the Violin 1.


m. 34-39 (beat 2)

In CS, the Violin 2 plays the original Viola 1 material. This material is played at its original pitch, except for the first beat of m. 39. The Violin 2 plays it up one octave.


m. 46-53 In CS, the Violin 2 plays the original Viola 1 material. In m. 46, both the Viola and the Violin 2 play the same material after the first beat. In m. 53, the original Violin 2 material and the original Viola 1 material is interwoven on the final beat.


246

m. 62-66 In CS, the original Violin 2 material for m. 62 is Eliminated (one beat), but the pitch material is still present in the Viola at the lower octave. Instead, the Violin 2 plays the original Viola 1 material. In m. 65, the original Viola 1 material must be played one octave higher. Linckelmann writes the Viola 2 material one octave higher as well for only this measure.

Elimination /

Reorganize



m. 305 POSSIBLE ERROR - In OS, the Violin 2 plays an A3. This pitch is changed to a C4 in CS. The only other part to play the A is the Bass Voice.



Mvt. 7 m. 24 Possible Mistake - In CS, the first beat is

written as a C#. The original pitch is a Db. Both the preceding and subsequent pitches are Db. There is no reason to change to C# for this half of beat.


m. 25 Possible Mistake - In the original score, the second half of a beat 1 moves to Db. The CS, uses a D natural. This change is not supported in the vocal parts, so it is probably a mistake.


m. 146 (beat 3) - 147



Violin 2 (2nd Part)


Mvt. 1 TACET Mvt. 2 m. 2-8 / 126-132

In OS the Violin 2(2) doubles the Viola 3 one octave higher. In CS, this has been reduced to the lower octave and is played by the Viola.



m. 42-54 (beat 2) / 166 - 178 (beat 2)

In CS, a majority of the Violin 2 (2) material is played/doubled by the Viola. Small portions of the original material are not provided by the Viola, but all pitch material is provided by other strings.


A majority of the original material is presented in BR. Similar to CS, a few notes are eliminated or doubled an octave higher or lower.

m. 54 - 62 / m. 178-186

In this passage, Linckelmann combines a variety of pitch and rhythmic material to create a new layer. The Violin 2 provides portions of the Violin 2 (1), Violin 2 (2), Viola 2 original material.


Significant Diffference - In BR, the original pitch material for the strings is presented very close to the original score. The harp part is eliminated.

m. 72 (beat 2) - 73 / 196 (beat 2) - 197



247

m. 317 (beats 1-2)

In CS, the original Violin 2 (2) material is played/doubled by the Horn.


m. 318 (beats 1-2)

In CS, the original Violin 2 (2) material is played/doubled by the Horn.


m. 318 (beat 3) - 319

In CS, the original Violin 2 (2) material is played by the Clarinet.


m. 320-322 In CS, the original Violin 2 (2) material is played by the Flute.


Mvt. 3 TACET Mvt. 4 TACET Mvt. 5 TACET Mvt. 6 m. 30-31 In CS, the original Violin 2 (2) material is

played by the Viola. Reorganize Insignificant

Mvt. 7 TACET

Viola 1


Mvt. 1 m. 7-9 (beat 1)





EXAMPLE of Reduction. Starting in m. 39, Brahms Eliminates the Violas, which double the Cello part.

m. 37-42 In CS, the original Cello 1 material is played by the Viola.




m. 49-50 In CS, the original Viola 1 part is played by the Violin 2. The first beat of m. 50 has been Eliminated, but the pitch is present in the Viola part.

Reorganize Insignificant COMPARE TO m. 30-31. Brahms must also change the first beat of the final measure.



m. 53 (beat 3) - 63

In CS, the original Cello 1 & 2 material is played by the Viola. In m. 57, the first beat of the original Cello 1 material is doubled/played by the Violin 1 at the octave.


m. 71- 76 In CS, the original Viola 1 part is played by the Violin 1.






m. 80 & 82 In CS, the original Cello 2 material is played by the Viola.


248



m. 89 - 96 In CS, the original Cello 1 & 2 material is played by the Viola. In m. 90, the first beat of the original Cello 1 material is doubled/played by the Violin 1 at the octave.











Reorganize Insignificant Treated differently than m. 37-42 because the Cello does not double the Violas. This passage covers more of the original material, but will be more difficult to play.

m. 153 (beat 3) -158



Reduction - Brahms chooses to reduce parts of the original Viola 1 to play the original harp material (m. 151).

m. 153 (beat 4) -154 (beat 1)

In CS, the original Cello 1 material is played by the Viola.


Mvt. 2 m. 2-8 / 126-132

In OS, the Violin 1 doubles the Viola 1 one octave higher. In CS, this has been reduced to only the Violin 1 at the higher octave.



m. 2-8 / 126-132

In CS, the Viola plays the original Viola 3 material.


m. 9-10 / 133-134

In CS, the original Viola 1 material is played / doubled by the Clarinet starting on beat 2 of m. 9.


m. 19-21 / 143-145

In CS, the original Viola 1 material is played by the Violin 2.


m. 22-33 / 146-157


Reorganize Significant Reorganize / Partial Elimination - In OS, the woodwinds double much of the original pitch material of the violas but not with enough consistency to state that one instrument is paired with another. Brahms uses the Piano 1, RH to play this material. However, the range and pitch material demonstrate that he is focused on the original woodwinds not the violas. Since so much of the pitch material is the same, this should not be considered a full elimination. Good example of making choices to Eliminate due to instrumental demands/limitations.

249

m. 42-50 (beat 2) / 166-174

In OS, the Viola 1 doubles the Violin 1 one octave lower. In CS, this has been reduced to the Violin 1 at the higher octave.



m. 51-54 / 175-178

In CS, the original Viola 1 material is integrated into the new Viola layer. Portion that are not included are doubled/played by other string instrument but not always at the same register.



m. 42-54 (beat 2) / 166-178

In this passage, Linckelmann combines a variety of pitch and rhythmic material to create a new layer. The Viola provides portions of the Viola 1,2,3 and Violin 2 (2) original material.

Reorganize Significant No significant difference.

m. 54 - 62 / m. 178-186

In this passage, Linckelmann combines a variety of pitch and rhythmic material to create a new layer. The Viola provides portions of the Viola 1, 2, 3 and Violin 2, Violin 2 (2) original material.

Reorganize Significant Diffference - In BR, the original pitch material for the strings is presented very close to the original score. The harp part is eliminated.

Mvt. 3 m. 3-16 In OS, there are 5 lower string parts -

Viola I, Viola II, Cello 1, Cello 2, and Bass. In CS, the top four parts are integrated into the Violin I, Viola, and Cello parts. Since there are only 3 parts at any one time, the doubled pitches are removed.

Reorganize /

Reduction



m. 85, 87 - 88 (beat 2), 89

In CS, the original Viola 1 material is eliminated. All pitch material is played by other instruments but in a different rhythm.


In BR, Brahms reduces multiple string parts. Portions of the Viola 1 material remain.

m. 124-125 In CS, the Cello plays the original Viola 1 part.


m. 127-128 In OS, the Viola 1 doubles the Violin 1 one octave lower. In CS, this has been reduced to the Violin 1 at the higher octave.



Mvt. 4 m. 49-52 In OS, the original Viola 1 part is a

doubling of the Violin 1 part one octave lower. In CS, the original Viola 1 material is eliminated, reducing the part to only the Violin 1.

Reduction Insignificant Similar Reduction - Brahms also chooses to reduce this doubling.

m. 53-55 In CS, the original Viola 1 part is eliminated. The original pitch material is preserved in the Violin 1 part (one octave higher), but with a different rhythm.


SIMILAR - Brahms eliminates/changes both of the original Viola parts. The pitch material is still provided by the Piano covering the original Violin material, but he adds an extra eighth note on the downbeat to simulate the Viola entrance. In essence, he creates a slightly new part from the pitch and rhythm material of both Violins and Violas.

m. 63 (beats 1 &2)

In CS, the original Viola 1 material is played / doubled by the Oboe.


250

m. 101 (beat 3)

In CS, the original Viola 1 material is played one octave lower on the second half of the 3rd beat.


m. 124 (beat 2)

POSSIBLE ERROR - In CS, the original Viola 1 material (B3) is replaced by a G3. Both notes are in the chord. The original pitch is not played by any other part.


Mvt. 5 m.12 (beat 4) - 13

In OS, the original Viola 1 part is a doubling of the Violin 1 part one octave lower and a doubling of the Flute two octaves lower. In CS, the original Viola 1 material is eliminated, reducing the part only the two upper octaves.

Reduction Insignificant Similar Reduction - Brahms also chooses to reduce this doubling in the same manner.

m. 35-38 In CS, the original Viola 1 material is played by the Clarinet.


m. 58 (beat 4) - 60 (beat 1)

In OS, the original Viola 1 part is a doubling of the Violin 1 part one octave lower. In CS, the original Viola 1 material is eliminated, reducing the part to only the Violin 1.

Reduction Insignificant No significant change

Mvt. 6 m. 30-31 In CS, the original Violin 2 (2) material is

played by the Viola. Reorganize Insignificant

m. 34-39 (beat 2)

In CS, the Violin 2 plays the original Viola 1 material. This material is played at its original pitch, except for the first beat of m. 39. The Violin 2 plays it up one octave.


m. 46-53 In CS, the Violin 2 plays the original Viola 1 material. In m. 46, both the Viola and the Violin 2 play the same material after the first beat. In m. 53, the original Violin 2 material and the original Viola 1 material is interwoven on the final beat.


m. 62-66 In CS, the original Violin 2 material for m. 62 is eliminated, but the pitch material is still present in the Viola at the lower octave. Instead, the Violin 2 plays the original Viola 1 material. In m. 65, the original Viola 1 material must be played one octave higher. Linckelmann writes the Viola 2 material one octave higher as well for only this measure.

Elimination /

Reorganize



Mvt. 7 m. 7-8 In CS, the Viola plays the original Viola 2

material in the second beat of m. 7 and the first beat of m. 8. The original Viola 1 material is retained one octave higher in the Violin 1 part.

Reorganize /

Reduction

Insignificant

m. 74-76 In CS, the original Viola part is played by the Violin 1. The Viola plays the original Cello 1 part.


m. 84-87 (beat 1)

In CS, the Viola plays the original Horn 2 material.


251

m. 146 (beat 3) - 147



m. 162-163 In CS, the Viola plays the original Harp material. In m. 162, the pitches are doublings of pitch material played by the Cello.


Viola 2


Mvt. 1 m. 9-13 In CS, the original Viola 2 part is played

by the Violin 2. Reorganize Minimally

Significant MINIMALLY SIGNIFICANT BECAUSE OF TIMBRE CHANGE - NOT RELEVANT TO COMPARISON

m. 13-14 (beat 1)

In CS, the original Viola 2 part is played by the Cello.


m. 17 & 19 In CS, the original Viola 2 part is played / doubled by the Horn, one octave lower.

Reorganize /

Reduction


m. 18 In OS, the original Viola 2 part was doubled by the Horn 1. Both parts have been eliminated in CS.

Elimination Significant In BR, the original pitch material is not eliminated.

m. 27-29 (beat 1)

In CS, the original Viola 2 part is played by the Horn.


m. 30-31 In OS, the Viola 2 part doubles the Flute 2 part one octave lower. In CS, the Violin 1 plays the original Viola 2 material and the Flute doubling is removed.

Reorganize /

Reduction


SIMILAR REDUCTION in Brahms. This passage also demonstrates slight alterations to parts when reorganized. The downbeat of m. 31 has been changed, but the pitch material is still present at a different register.





m. 53 (beat 3)-62





m. 77 In CS, the original Viola 2 material is played by the Cello.


m. 80 & 82 In CS, the original Viola 2 part is played by the Violin 2.


m. 84-87 (beat 2)



m. 87 (beats 3 & 4)





m. 115-117 (beat 2)


Reorganize Insignificant Example of reduction in Brahms. In OS, the Viola 2, Oboe 1, and Flute 1 all play the same material in 3 octaves. In the BR, this has been

252

reduced to only the middle octave played by both right hands.

m. 119 (beat 1)

In CS, the Viola 2 part is doubled / played by the Violin 1.

Reorganize /

Reduction

Insignificant







m. 141-144 (beat 1)



m. 145-153 (beat 2)



m. 153 (beat 4) - 154



Mvt. 2 m. 2-8 (beat 2) / 126-132 (beat 2)

In OS, the Violin 2 (1) doubles the Viola 2 one octave higher. In CS, this has been reduced to only the Violin 2 at the upper octave. The original Viola 2 material differs at beat 3 of m. 7 and beat 2 of m. 8. It is eliminated for these beats.

Reduction /

Elimination


No significant change

m. 22-33 / 146-157


Reorganize Significant Reorganize / Partial Elimination - In OS, the woodwinds double much of the original pitch material of the violas but not with enough consistency to state that one instrument is paired with another. Brahms uses the Piano 1, RH to play this material. However, the range and pitch material demonstrate that he is focused on the original woodwinds not the violas. Since so much of the pitch material is the same, this should not be considered a full elimination. Good example of making choices to Eliminate due to instrumental demands/limitations.

m. 42-48 (beat 2)

In OS, the Viola 2 doubles the Violin 2 (1) for a majority of the time one octave lower. In CS, this has been reduced to the Violin 2 (1) at the higher octave. Portions of the original Viola 2 material may also be found in the Viola line.



m. 49-54 (beat 2)

In CS, the original Viola 2 material is divided between the Viola and Cello. The first beat (except m. 51 & 52) is provided by the Viola and the 2-3 beats are provided by the Cello.

Reorganize Insignificant No significant change

m. 54 - 62 / m. 178-186

In this passage, Linckelmann combines a variety of pitch and rhythmic material to create a new layer. The Viola provides portions of the Viola 1, 2, 3

Reorganize Significant Diffference - In BR, the original pitch material for the strings is presented very close to the original score. The harp part is Eliminated.

253

and Violin 2, Violin 2 (2) original material.

Mvt. 3 m. 3-16 In OS, there are 5 string parts - Viola I,

Viola II, Cello 1, Cello 2, and Bass. In CS, the top four parts are integrated into the Violin I, Viola, and Cello parts. Since there are only 3 parts at any one time, the doubled pitches are removed.

Reorganize /

Reduction



m. 86, 88 (beats 3-4), 90

In CS, the original Viola 2 material is eliminated. All pitch material is played by other instruments but in a different rhythm.


In BR, Brahms reduces multiple string parts. Portions of the Viola 1 material remain.

Mvt. 4 m. 63 (beat 3)

In CS, the original Viola 2 material is doubled by both the Clarinet and Violin 2.


Mvt. 5 m. 72-74 (beat 2)

In CS, the Cello 1 plays the original Viola 2 part. This part doubles the Bass voice part. The original Cello 1 material doubled the Bass at the higher octave. These pitches have been eliminated.

Reorganize /

Elimination



Mvt. 6 m. 282-286 In CS, the original Viola 2 material is

eliminated. In m. 282 the pitch material is unique to the Viola 2. In m. 283, the original pitch material is doubled partially by the Violin 2. In m. 284, the pitch material is unique to the Viola 2. In m. 285, on the third beat, the original Viola 1 material doubles the Violin at the lower octave. Therefore it is eliminated for the final beat of m. 285 and the first three beats of m. 286. The original Viola 2 material is played for these beats.

Elimination Significant No significant change

Mvt. 7 m. 6 / 107 In OS, the original Viola 2 material

doubled the Violin 2 part one octave lower. In CS, the Viola 2 material has been eliminated, reducing the part to only the Violin 2.

Reduction /

Elimination

Insignificant

m. 7 - 9 (beat 1)/ m. 108-110 (beat 1)

In CS, the original Viola 2 pitch material is provided by a variety of instruments - Bassoon, Viola, Violin 2. This content is provided in a variety of octaves other than the original. The only missing pitch content is the third beat of m. 8 / 109.

Elimination /

Reorganize



254

Viola 3


Mvt. 1 TACET Mvt. 2 m. 2-8 / 126-132

In OS the Violin 2(2) doubles the Viola 3 one octave higher. In CS, this has been reduced to the lower octave and is played by the Viola.



m. 22-33 / 146-157


Reorganize Significant Reorganize / Partial Elimination - In OS, the woodwinds double much of the original pitch material of the violas but not with enough consistency to state that one instrument is paired with another. Brahms uses the Piano 1, RH to play this material. However, the range and pitch material demonstrate that he is focused on the original woodwinds not the violas. Since so much of the pitch material is the same, this should not be considered a full elimination. Good example of making choices to eliminate due to instrumental demands/limitations.

m. 42-44 (beat 2) / 166- 168 (beat 2)

In CS, the Viola plays the original Viola 3 material.


m. 44 (beat 3 ) / 168

In CS, the original Viola 3 material is omitted for this one beat. However, the pitch is doubled by the Violin 1 original material two octaves higher.

Elimination /

Reduction

Insignificant

m. 45-48 / 169-172

In CS, the Viola 3 material is played by the Viola for the 1st beat and by the Cello for the 2nd and 3rd beats.


m. 54 - 62 / m. 178-186

In this passage, Linckelmann combines a variety of pitch and rhythmic material to create a new layer. The Viola provides portions of the Viola 1, 2, 3 and Violin 2, Violin 2 (2) original material.

Reorganize Significant Diffference - In BR, the original pitch material for the strings is presented very close to the original score. The harp part is eliminated.

m. 54 (beat 3) - m. 55 (beat 1), m. 56 (beat 1) / Corresponding 178, 179, 180

In CS, the Viola 3 original material is played / doubled by the Violin 1 at the higher octave. (Rhythm is different, so a tenuto is indicated).



m. 55, 56, 57 (beats 2 & 3) & m. 58 (beat 1) / 179, 180, 181, 182

In CS, the Viola 3 original material is played by the Cello.


m. 58 (beat 2) / 182

In CS, the Viola 3 original material is played by the Violin 2.


255

Mvt. 3 TACET Mvt. 4 TACET Mvt. 5 TACET Mvt. 6 TACET Mvt. 7 TACET

Cello 1


Mvt. 1 m. 13 (beat 2) -14 (beat 1)

In CS, the original Cello 1 material is eliminated. The original pitch material is presented in other instruments but with different rhythms.

Elimination Significant SIMILAR - Brahms also elects to eliminate the original Cello 1 material for these beats. The original pitch material, however, is not present.

m. 17-19 In OS, the Cello 1 and the Viola 1 double parts. In CS, these two parts have been reduced to only the Viola 1.


m. 27 In CS, the original Cello 1 material is played by the Bassoon 1.


m. 30-33 In CS, the original Cello 1 material is played by the Clarinet.




m. 51-53 (beat 2)



m. 53 (beat 3) - 63

In CS, the original Cello 1 & 2 material is played by the Viola. In m. 57, the first beat of the original Cello 1 material is doubled/played by the Violin 1 at the octave.


m. 72 (beat 3) -75

In CS, the original Cello 1 material is played by the Bassoon 1. Beats 3 & 4 of m. 75 are doubled/played by the Horn.




m. 77 In CS, the original Viola 2 material is played by the Cello.


m. 81 & 83 In CS, the original Cello 1 material is played by the Violin 2.


m. 87 (beat 3) - 88 (beat 1)



m. 87 (beats 3 & 4)



m. 89 - 96 In CS, the original Cello 1 & 2 material is played by the Viola. In m. 90, the


256

first beat of the original Cello 1 material is doubled/played by the Violin 1 at the octave.

m. 98-100 (beat 1)



m. 102-104 (beat 1)

In CS, the original Cello 1 material is played by the Horn.


m. 118 In CS, the original Cello 1 material is played/doubled by the Horn for the first two beats of m. 118.






m. 134-135 In CS, the original Cello 1 & 2 material is played by the Violin 2.



Reorganize Insignificant ELIMINATION - In the BR, the necessity to present the vocal material causes elimination. In m. 140, the original Cello 1 and Viola 1 material (doubling a sustained pitch of G) is eliminated. This material is not present in any other part. The vocal line ascends to a G, but for only one beat.







Reorganize - Brahms chooses to Reorganize parts of the original Cello 1 to play the original harp material (m. 150-151). The pitch material is present but at different octaves.

m. 153 (beat 4) -154 (beat 1)



m. 156-158 In CS, the original Cello 1 material is played by the Violin 1 and Violin 2 but at the higher octave.


Mvt. 2 m. 41 (beat 3) - m. 42 / m. 165 (beat 3) - m. 166

In OS, the Bass doubles the Cello at the octave. In CS, the original Bass material is omitted and the Bass plays the original Cello part.



m. 45-58 / m. 169 - 182

In OS, the original Cello part doubles the Bass at the higher octave. In CS, the Cello part plays the first beat of the original material for each measure then plays the second and third beats of the Viola 2 or 3 original material.


m. 60-62 / m. 184-186

In CS, the Cello part plays a unique melodic pattern for these two measures that does not exist exactly in any other part from the OS. A few of the original pitches are retained with a new rhythm. The fourth beat

Reduction Significant ELIMINATION - Brahms chooses to eliminate the original harp material. The cello part is very similar, but the timpani rhythm has been added (same pitch material).

257

consists of two eighth notes. The only other part to play on the second half of the fourth beat in OS is the harp. Is this possibly two measures of only a portion of the Harp original material? Is this just new material added that matches the chord structure? - ASK

Mvt. 3 m. 3-16 In OS, there are 5 lower string parts -

Viola I, Viola II, Cello 1, Cello 2, and Bass. In CS, the top four parts are integrated into the Violin I, Viola, and Cello parts. Since there are only 3 parts at any one time, the doubled pitches are removed.




m. 5 (beats 3&4)

In CS, the original Cello 1 material is played / doubled by the Horn.


m. 6 In CS, the original Cello 1 material is played by the Viola.


m. 8 In CS, the original Cello 1 material is played by the Bassoon.


m. 9-11 (beat 2)



m. 13 (beat 3) - 14 (beat 2)

In CS, the original Cello 1 material is played by the Bassoon.


m. 14 (beat 3) - 15

In CS, the original Cello 1 material is played by the Violin one octave higher.


m. 16 In CS, the original Cello 1 material is played by the Viola.


m. 65 In OS, the original Cello 1 material plays an A2 and a Bb2. In the CS, the Cello plays only the Bb2. The A2 is still provided by the Bass but at the lower octave (A1).


SIMILAR - Brahms likewise eliminates the A from the original cello pattern. The A2 is still provided in a sustained pitch that is the original Bass part. The Cello pitch of Bb2 is played one octave higher (original Violin 2).

m. 113 In CS, the Cello 1 plays the original Horn 2 part for one measure. In OS, the original Cello 1 material is a quarter note on A2. In CS, the Cello now plays the same pitch for 4 beats.



m. 124-125 (beat 1)

In CS, the Cello 1 plays the original Viola 1 part.


m. 163-169 In OS, the original Cello 1 doubles the Bass at the higher octave. In CS, the Cello plays the original Trombone 2 material. This content doubles/supports the Bass Voice.

Reorganize Significant Brahms is able to maintain the octave doubling and also provide the Trombone 2 material.

m. 170 (beats 3&4)

In CS, the Cello 1 plays the original Bassoon 1 material.


m. 171 In CS, the Cello 1 plays the pitch of A3. This pitch is played by multiple instruments in OS. The rhythm is most consistent with the original Horn 1 part or the original Cello 1 material at the higher octave.


258

Mvt. 4 NO CHANGES

Mvt. 5 m. 52-53 (beat 1)

In CS, the Cello plays the original Bassoon 2 material.


m. 66 (beat 4) - 67

In CS, the Cello 1 plays the original Bassoon 2 part. These are the same pitches one octave higher than the original Cello part.


m. 72-74 (beat 2)

In CS, the Cello 1 plays the original Viola 2 part. This part doubles the Bass voice part. The original Cello 1 material doubled the Bass at the higher octave. This doubling has been eliminated.

Reorganize /

Elimination



Mvt. 6 m. 32 In CS, the original Cello 1 material is

played up one octave Reorganize Insignificant

m. 61 In CS, the Cello plays the original Cello 2 material on beat 1, the original Cello 3 material on beat 3, and the original Cello 2 material on beat 4.


m. 85 / m. 131

In CS, the original Cello 1 material is played down the octave for 1/2 of the measure


m. 116-117 In OS, the original Cello 1 material for this measure is doubled by Bass (one beat). In CS, the Cello 1 omits this pitch and plays the original Flute 2 material two octaves lower.



m. 120-121 In OS, the original Cello 1 material for this measure is doubled by Bass. In CS, this is reduced to only the Bass.


DIFFERENCE - In OS, all of the strings play a quarter note on the downbeat of m. 120. In BR, this has been eliminated. Both piano parts play the woodwind parts.





m. 270 In CS, the Cello 1 plays the original Bassoon 2 part for the final beat of this measure.


Mvt. 7 DONE m. 74-76 In CS, the Cello 2 part is played by the

Cello 1. The original Cello 1 part is played by the Viola.


m. 118 In CS, the Cello plays the 3rd and 4th beats of the original Bassoon 2 part. This extra note is just a reiteration of what the Cello was already playing for this measure.


m. 162-163 In CS, the Cello plays the original Harp material.

Reorganizes Minimally Significant


259

Cello 2


Mvt. 1 m.2-15 In CS, the original Cello 2 material is

played by the Bassoon 1. Reorganize Insignificant

m. 28-36 In CS, the original Cello 2 material is played by the Bassoon. One pitch is added on the first two beats of m. 34. This material is from the Trombone 3 part.


In BR, the addition of the first two beats of m. 34 also occurs.



m. 51-53 (beat 2)



m. 53 (beat 3) - 55







m. 63 In OS, the original Cello 2 part plays a half-note Db2. In CS, the Cello plays the original Cello 3 material which only has a Db2 for a quarter note. The only other part that has a half note on this pitch is the Voice Bass part.

Elimination Insignificant In BR, the Piano 1 part sustains the Db2 for a half-note.

m.66-72 In CS, the Bassoon 1 part plays the original Cello 2 part. For the second half of m. 72, the Bassoon 1 plays the Cello 1 part which is a doubling of the Cello 2 part at the higher octave.






m. 80 & 82 In CS, the original Cello 2 material is played by the Viola.












260

m. 139 In OS, the Cello 2 plays a half-note on the second beat. In CS, the Cello plays the original Cello 3 part which includes the same pitches as the Cello 2, but adds a pitch on the third beat.


m. 151 In CS, the original Cello 2 material is played by the Bassoon but at the lower octave.


m. 156-158 In CS, the original Cello 2 material is played by the Violin 1 and Violin 2 but at the higher octave. This pitch material could also be considered a doubling of the original Oboe material.


Mvt. 2 TACET Mvt. 3 m. 3-5 & 7 In CS, the original Cello 2 is played by

the Bassoon. The second beat of m. 5 is omitted.


m. 3-16 In OS, there are 5 string parts - Viola I, Viola II, Cello 1, Cello 2, and Bass. In CS, the top four parts are integrated into the Violin I, Viola, and Cello parts. Since there are only 3 parts at any one time, the doubled pitches are removed.

Reorganize /

Reduction



m. 12-13 In CS, the original Cello 2 material of two whole notes on the pitch of A1 has been Eliminated. The pitch material remains in a variety of voices (Bassoon, Violin 1, Viola)


SIMILAR - Brahms also removes the original Cello 2 material, but maintains pitch content in other parts.

Mvt. 4 TACET Mvt. m. 49-50 In OS, the original Cello 2 part doubled

the Bass on the same pitch. In CS, this has been reduced/Eliminated to only the Bass.

Reduction /

Elimination

Insignificant

m. 78-79 In OS, the original Cello 2 part doubled the Bass on the same pitch. In CS, this has been reduced/Eliminated to only the Bass.

Reduction /

Elimination

Insignificant

m. 80-81 In CS, the Bass plays the original cello 2 material.


Mvt. 6 TACET Mvt. 7 m. 74-76 In CS, the Cello 2 part is played by the

Cello 1. The original Cello 1 part is played by the Viola.


m. 146-147 In CS, the Bass plays the original Cello 2 material.


m. 157 (beats 3&4)

In CS, the Bass plays the original Cello 2 material.


261

Cello 3


Mvt. 1 m. 1-19 In OS, the Cello 3 doubles the Bass one

octave higher. In CS, this is reduced to only the Bass at the lower octave. For 2 measures (m. 11-12), in the OS, the Cello 3 plays the same pitches as the Bass.


DIFFERENCE - In BR, the doubling is present.

m. 28-36 In OS, the Cello 3 doubles the Bass one octave higher. In CS, this is reduced to only the Bass at the lower octave. For m. 30-33, similar pitch material is presented but with a different rhythm.



m. 41-42 In OS, the Cello 3 doubles the Bass one octave higher. In CS, this is reduced to only the Bass at the lower octave.



mm. 47-51 In OS, the Bass doubles the Cello 3 one octave lower. In CS, this is reduced to the only the Bass but at the higher octave. WHY Eliminate the lower octave?

Reduction /

Reorganize





m. 62 In OS, the Cello 3 doubles the Bass one octave higher. In CS, this is reduced to only the Bass at the lower octave.






mm. 80-81 / m. 83

In OS, the Bass doubles the Cello 3 one octave lower. In CS, this is reduced to the only the Bass but at the higher octave. WHY Eliminate the lower octave?

Reduction /

Reorganize



m. 84-88 (beat 1)

In OS, the Cello 3 doubles the Bass one octave higher. In CS, this is reduced to only the Bass at the lower octave.


In BR, the doubling is present. However, for the first time the doubling is presented as octaves between the two Piano parts. Normally, it was one player playing in octaves with the same hand.



m. 140 In OS, the Cello 3 doubles the Bass one octave higher. In CS, this is reduced to only the Bass at the lower octave.



262




Mvt. 2 TACET Mvt. 3 TACET Mvt. 4 TACET Mvt. 5 TACET Mvt. 6 TACET Mvt. 7 TACET

Bass


Mvt. 1 mm. 47-51 In OS, the Bass doubles the Cello 3 one

octave lower. In CS, this is reduced to the only the Bass but at the higher octave. WHY Eliminate the lower octave?

Reduction /

Reorganize



mm. 80-81 / m. 83

In OS, the Bass doubles the Cello 3 one octave lower. In CS, this is reduced to the only the Bass but at the higher octave.

Reduction /

Reorganize



Mvt. 2 m. 41 (beat 3) - m. 42 / m. 165 (beat 3) - m. 166

In OS, the Bass doubles the Cello at the octave. In CS, the original Bass material is eliminated and the Bass plays the original Cello part.



m. 333-335 (beat 1)

In CS, the Bass plays the original Bassoon 2 material.


Mvt. 3 m. 173 - 208 In OS, the Bass part is divided into two

parts an octave apart, playing alternating whole notes (4/2 time) on the pitch of D. In CS, Linckelmann reduces this pattern to repeating half notes on the lower octave.


Elimination - Brahms only focuses on the Bass and reproduces it without change. The original Cello material is Eliminated in BR.

Mvt. 4 m. 3 In OS, the Bass plays a single Bb quarter

note. In CS, this pitch has been Eliminated - POSSIBLE MISTAKE (no apparent reason for Elimination)



263

m. 177-179 In OS, the Bass plays in unison with Cello on E2. In CS, Linckelmann has the bass play in octaves with cello on E1. (Possibly an edition issue)


Similar Doubling in BR

Mvt. 5 m. 1-3 (beat 1)

In OS, the Bass doubles the cello at the octave. In CS, Linckelmann instructs each of the strings to play a solo. The bass is eliminated from the texture, and the cello plays original material alone without the doubling.



m. 16-18 In OS, the Bass doubles the cello at the octave. In CS, the bass part is eliminated removing the doubling. WHY? At m. 62-69, this elimination does not occur!



m. 28-32 (beat 3)

In OS, the Bass doubles the cello at the octave. In CS, the bass part is eliminated removing the doubling.



m. 39-43 (beat 1)

In OS, the Bass doubles the cello at the octave. In CS, the bass part is eliminated removing the doubling.



m. 46 In OS, the Bass plays a single D2 quarter note. In CS, this pitch has been eliminated.

Elimination Insignificant Similar - In BR, this pitch is also eliminated because the left hand of the Piano II is continuing to play the cello material.

m. 80-81 In CS, the Bass plays the original Cello 2 part.


Mvt. 6 m. 174 In OS, the Bass plays in unison with

Cello. In CS, Linckelmann doubles the Cello at the octave.


m. 215 (beat 4) - m. 223

In OS, the Bass doubles the Cello at the octave. In CS, the Bass part is eliminated removing the doubling.



Mvt. 7 NO CHANGES

264

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