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Johannes Brahms's Ein Deutsches Requiem, Opus 45." Doctoral Dissertation

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Johannes Brahms's Ein Deutsches Requiem, Opus 45. 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 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 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. Copyright 2016 By Michael Aaron Hawley ii 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. iii 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 iv 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 7 Johannes Brahms, Ein deutsches Requiem, for 2 solo voices, choir and orchestra, Mvt. 3, mm. 11-14 ........................................................................................................................ 16 Example 8 Johannes Brahms, Ein deutsches Requiem, arranged for chamber ensemble, Mvt. 3, mm. 11-14 ..................................................................................................................................... 16 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 11 Johannes Brahms, Ein deutsches Requiem, arranged for chamber ensemble, Mvt. 4, mm. 48-56 ..................................................................................................................................... 18 Example 12 Johannes Brahms, Ein deutsches Requiem, for 2 solo voices, choir and orchestra, Mvt. 2, mm. 54-63 ........................................................................................................................ 19 Example 13 Johannes Brahms, Ein deutsches Requiem, arranged for chamber ensemble, Mvt. 2, mm. 54-61 ..................................................................................................................................... 19 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 Example 17 Johannes Brahms, Ein deutsches Requiem, for 2 solo voices, choir and orchestra, Mvt. 5, mm. 18-23 ........................................................................................................................ 23 v Example 18 Johannes Brahms, Ein deutsches Requiem, arranged for chamber ensemble, Mvt. 5, mm. 18-23 ..................................................................................................................................... 23 Example 19 Johannes Brahms, Ein deutsches Requiem, for 2 pianos, Mvt. 2, mm. 18-23 ......... 24 Example 20 Johannes Brahms, Ein deutsches Requiem, for 2 solo voices, choir and orchestra, Mvt. 7, mm. 117-121 ...................................................................................................................
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