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 ...... 24
Example 21 Johannes Brahms, Ein deutsches Requiem, arranged for chamber ensemble, Mvt. 7, mm. 117-123 ...... 25
Example 22 Johannes Brahms, Ein deutsches Requiem, for 2 pianos, Mvt. 7, mm. 117-123..... 26
Example 23 Johannes Brahms, Ein deutsches Requiem, for 2 solo voices, choir and orchestra, Mvt. 6, mm. 82-87 ...... 28
Example 24 Johannes Brahms, Ein deutsches Requiem, arranged for chamber ensemble, Mvt. 6, mm. 82-87 ...... 28
Example 25 Johannes Brahms, Ein deutsches Requiem, for 2 pianos, Mvt. 6, mm. 82-87 ...... 28
Example 26 Johannes Brahms, Ein deutsches Requiem, for 2 solo voices, choir and orchestra, Mvt. 2, mm. 179-185 ...... 29
Example 27 Johannes Brahms, Ein deutsches Requiem, for 2 solo voices, choir and orchestra, Mvt. 3, mm. 191-193 ...... 30
Example 28 Johannes Brahms, Ein deutsches Requiem, arranged for chamber ensemble, Mvt. 3, mm. 191-193 ...... 30
Example 29 Johannes Brahms, Ein deutsches Requiem, for 2 pianos, Mvt. 2, mm. 191-193 ..... 31
vi 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
1 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.
2 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.
3 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.
4 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.
5 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.
6 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
7 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
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
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
10 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.
Example 4 Johannes Brahms, Ein deutsches Requiem, for 2 solo voices, choir and orchestra, Mvt. 1, mm. 52-61
Example 5 Johannes Brahms, Ein deutsches Requiem, arranged for chamber ensemble, Mvt. 1, mm. 51-58
Clarinet
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.
11 Example 6 Johannes Brahms, Ein deutsches Requiem, for 2 pianos, Mvt. 1, mm. 51-58
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
12 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.
13 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.
14 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
15 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.
Example 7 Johannes Brahms, Ein deutsches Requiem, for 2 solo voices, choir and orchestra, Mvt. 3, mm. 11-14
Example 8 Johannes Brahms, Ein deutsches Requiem, arranged for chamber ensemble, Mvt. 3, mm. 11-14
Viola
Cello
16 Joachim Linckelmann, email correspondence, June 22, 2016.
16 Example 9 Johannes Brahms, Ein deutsches Requiem, for 2 pianos, Mvt. 3, mm. 11-14
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.
Example 10 Johannes Brahms, Ein deutsches Requiem, for 2 pianos, Mvt. 4, mm. 51-57
17 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.
Example 11 Johannes Brahms, Ein deutsches Requiem, arranged for chamber ensemble, Mvt. 4, mm. 48-56
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.
18 Example 12 Johannes Brahms, Ein deutsches Requiem, for 2 solo voices, choir and orchestra, Mvt. 2, mm. 54-63
Example 13 Johannes Brahms, Ein deutsches Requiem, arranged for chamber ensemble, Mvt. 2, mm. 54-61
19 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.
20 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.
Example 14 Johannes Brahms, Ein deutsches Requiem, for 2 solo voices, choir and orchestra, Mvt. 2, mm. 219-225
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
21 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).
Example 15 Johannes Brahms, Ein deutsches Requiem, arranged for chamber ensemble, Mvt. 2, mm. 219-224
Flute
Oboe
Clarinet
Example 16 Johannes Brahms, Ein deutsches Requiem, for 2 pianos, Mvt. 2, mm. 219-224
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).
22 Example 17 Johannes Brahms, Ein deutsches Requiem, for 2 solo voices, choir and orchestra, Mvt. 5, mm. 18-23
Example 18 Johannes Brahms, Ein deutsches Requiem, arranged for chamber ensemble, Mvt. 5, mm. 18-23
Flute
Oboe
Clarinet
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.
23 Example 19 Johannes Brahms, Ein deutsches Requiem, for 2 pianos, Mvt. 2, mm. 18-23
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.
Example 20 Johannes Brahms, Ein deutsches Requiem, for 2 solo voices, choir and orchestra, Mvt. 7, mm. 117-121
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
24 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.
Example 21 Johannes Brahms, Ein deutsches Requiem, arranged for chamber ensemble, Mvt. 7, mm. 117-123
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,
25 there are small portions of the oboe 2 material that remain. However, even this material is often presented in a different rhythmic pattern.
Example 22 Johannes Brahms, Ein deutsches Requiem, for 2 pianos, Mvt. 7, mm. 117-123
26 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.
27 this passage, Linckelmann reduces horn 1 & 2 and trumpet 1 & 2, which play the same pitch in octaves, to only the horn (example 24).
Example 23 Johannes Brahms, Ein deutsches Requiem, for 2 solo voices, choir and orchestra, Mvt. 6, mm. 82-87
Example 24 Johannes Brahms, Ein deutsches Requiem, arranged for chamber ensemble, Mvt. 6, mm. 82-87
Horn in F
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).
Example 25 Johannes Brahms, Ein deutsches Requiem, for 2 pianos, Mvt. 6, mm. 82-87
28 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).
Example 26 Johannes Brahms, Ein deutsches Requiem, for 2 solo voices, choir and orchestra, Mvt. 2, mm. 179-185
29 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.
Example 27 Johannes Brahms, Ein deutsches Requiem, for 2 solo voices, choir and orchestra, Mvt. 3, mm. 191-193
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.
Example 28 Johannes Brahms, Ein deutsches Requiem, arranged for chamber ensemble, Mvt. 3, mm. 191-193
Horn
in F
30
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).
Example 29 Johannes Brahms, Ein deutsches Requiem, for 2 pianos, Mvt. 2, mm. 191-193
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.
31 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.
32 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.
33 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.
34 APPENDIX A
TRANSCRIPT OF INTERVIEW WITH JOACHIM LINCKELMANN
35 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
36 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
37 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
38 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,
39 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
40 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
41 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.
42 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.
43 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).
44 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
45 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
46 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
47 APPENDIX B
LIST OF REORGANIZATION BY INSTRUMENT
48 Linckelmann Typically Reorganized to Play Original May Also Play Original Instrumentation Piccolo/Flute Clarinet 1,2 / Oboe 1,2 / Horn Harp, Trombone Piccolo / Flute 1, 2 / Clarinet 1, 2 / Horn 1 / Oboe Trombone Trumpet 1,2 Piccolo / Flute 2 / Bassoon 1, 2 / Horn 1,2,3,4 / Clarinet Harp, Violin 2, Viola Trumpet 1,2 / Trombone 1 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
49 APPENDIX C
SCORE MARKING GUIDE
50 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
51 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
52 APPENDIX D
LIST OF CHANGES BY INSTRUMENT
53 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 / In OS, the original Piccolo material Reduction Insignificant No significant difference - keeps m. 139-145 doubled the Oboe one octave higher. upper octave In CS, this has been reduced to the lower octave (Oboe). m. 54-58 / In CS, the original Piccolo material is Reorganize Insignificant m. 178-182 played by the Flute. Mvt. 3 TACET Mvt. 4 TACET Mvt. 5 TACET Mvt. 6 m. 32-34 In OS, the original Piccolo material Reduction Insignificant Pitch material is present in a doubled the Clarinet. In CS, this has slightly different rhythm. been reduced only the Clarinet. m. 42-45 In CS, the original Piccolo material is Reorganize Insignificant played by the Flute. m. 58-59 In OS, the original Piccolo material Reduction Minimally Similar Reduction in BR (beat 3) doubled the Flute one octave higher. Significant In CS, this has been reduced to the Flute at the lower octave. m. 59 (beat In CS, the Piccolo original material is Reorganize Insignificant Difference - Linckelmann plays 4) - m. 61 played/doubled by the Flute. the higher octave of the Flute (beat 1) 1/Piccolo. Brahms plays the lower octave of the Flute 2. - INSIGNIFICANT m. 75-78 In OS, the Piccolo doubles the Oboe Reduction Minimally No significant difference- keeps one octave higher. In CS, this is Significant Piccolo as the top sounding reduced to the Oboe at the lower instrument/pitch octave. The final pitch of G5 is played by the Flute in the correct octave. This reduction changes the top sounding pitch. m. 82-108 In CS, the Piccolo original material is Reorganize Insignificant played/doubled by the Flute.
54 m. 116-136 In CS, the Piccolo original material is Reorganize Insignificant played by the Flute. M. 120 is played at the lower octave. m. 137-150 In OS, the Piccolo doubled the Flute Reduction Insignificant (beat 1) one octave higher. In CS, this has been reduced to the Flute at the lower octave. m. 151-160 In OS, the Piccolo original material Reduction / Minimally A majority of the original Piccolo closely mirrors the both of the Horn Reorganization Significant material is retained at the correct parts. In CS, the original Piccolo / Elimination octave. There is not one material is eliminated/reduced to the particular part the plays the original Horn part which is partially original material, and the played by the Clarinet. rhythms have changed slightly. m. 168-170 In CS, the Piccolo original material is Reorganize Insignificant played by the Oboe one octave lower. m. 178-186 In CS, the Piccolo original material is Reorganize Insignificant played by the Flute. m. 190-193 In CS, the Piccolo original material is Reorganize Insignificant DIFFERENCE - In BR, the original played two octaves lower by the Piccolo material is eliminated. Oboe. The final note of m. 191 is The pitch material is retained but omitted. Then, m. 192-193 is played with a different rhythm and at a at original pitch by the Flute. different octave. m. 194-207 In CS, the Piccolo original material is Reorganize Insignificant played by the Flute. Mvt. 7 TACET
Flute 1
Measures Chamber Ensemble Notes Classification / Relevance Brahms Reduction Notes
Mvt. 1 m. 53-55 In CS, the original Oboe 2 material is Reorganize Insignificant No significant difference. (beat 2) played by the Flute. m. 119-124 In OS, the Flute 1 doubles the Oboe 1. Reduction Insignificant No significant difference. In CS, this has been reduced to only the Oboe. m. 119-124 In OS, the Flute 2 doubles the Oboe 2. Reduction Insignificant No significant difference. In CS, this has been reduced to only the Flute.
m. 151-153 In the CS, the Flute plays the original Reorganize Insignificant Harp material m. 157 In the CS, the Flute plays only the first Elimination Minimally No significant difference. beat of the original Flute 1 material. Significant Then, it plays the original Harp material for beats 2-4 of m. 157. Mvt. 2
55 m. 2-6 (beat In OS, the Violin 2 part doubles the Reduction Minimally No significant difference. 2) Flute part and the Viola 1 part one Significant octave higher. In CS, this has been reduced to only the Violin 2. m. 6 (beat 3) In CS, the original Flute 1 material is Reorganize Insignificant - m. 9 (beat played/doubled by the Violin I and 1) Oboe. m. 22-24 In CS, the original Flute 1 material is Reorganize Insignificant (beat 2) played by the Violin 1 one octave lower. m. 24 (beat In CS, the original Flute 1 material is Reorganize Insignificant 3) played/doubled by the Viola one octave lower. m. 25 (beat In CS, the original Flute 1 material is Elimination Minimally No significant difference. 1) eliminated. This pitch material is not Significant provided by another instrument. m. 25 (beat In CS, the original Flute 1 material is Reorganize Insignificant 2) - 26 (beat played by the Violin 1. 2) m. 26 (beat In CS, the original Flute 1 material is Reorganize Insignificant 3) - 29 (beat played/doubled by the Oboe. 1) m. 35-41 In CS, the original Flute 1 material is Reorganize Insignificant Elimination - In BR, the original played by the Violin 1. Flute 1 material is eliminated. The original pitch material is occasionally present in other instruments but not at the same octave. m. 52 (beat In CS, the original Flute 1 material is Elimination Minimally Similar Elimination in BR - 3) -54 (beat eliminated. The Oboe plays the same Significant Brahms's treatment of this content 2) pitch content but with added content is identical to Linckelmann on the second beat. m. 54 (beat In CS, the original Flute 1 material is Reorganize Insignificant 3) - 55 played/doubled by the Clarinet 1. m. 56-58 In CS, the original Flute 1 material is Elimination Minimally Similar Elimination in BR - Several (beat 2) eliminated. The pitch material is Significant of the original pitches remain, but provided by a variety of other most provided at a different instruments. register. m. 58 (beat In CS, the original Flute 1 material is Reorganize Insignificant 3) -60 (beat doubled/played by the Oboe 1. 2) m. 54-58 In CS, the Piccolo original material is Reorganize Minimally No significant difference. played by the Flute. Significant m. 60 (beat In CS, the Flute plays the original Reorganize Insignificant 3) - 61 (beat Clarinet 1 material. 1) m. 65-66 In CS, the original Flute 1 material is Reorganize Insignificant played by the Clarinet.
56 m. 67-73 In OS, the Piccolo doubles the Flute 1 Reduction Insignificant No significant difference. one octave higher. In CS, this has been reduced to only the Piccolo at the higher octave. m. 126-130 In CS, the original Flute 1 material is Reorganize Insignificant (beat 2) doubled/played by the Violin 2. m. 130 (beat In CS, the original Flute 1 material is Reorganize Insignificant 3) - 133 played by the Oboe. (beat 1) m. 146-148 In CS, the original Flute 1 material is Reorganize Insignificant (beat 2) played by the Violin 1 one octave lower. m. 148 (beat In CS, the original Flute 1 material is Reorganize Insignificant 3) played/doubled by the Viola one octave lower. m. 149 (beat In CS, the original Flute 1 material is Elimination Minimally No significant difference. 1) eliminated. This pitch material is not Significant provided by another instrument. m. 149 (beat In CS, the original Flute 1 material is Reorganize Insignificant 2) - 150 played by the Violin 1. (beat 2) m. 150 (beat In CS, the original Flute 1 material is Reorganize Insignificant 3) - 153 played/doubled by the Oboe. (beat 1) m. 159-165 In CS, the original Flute 1 material is Reorganize Insignificant played by the Violin 1. m. 174 (beat In CS, the Flute plays the original Reorganize Minimally No significant difference. 3) - 176 Clarinet 1 material. This material is / Significant (beat 2) similar to the original Flute 1 material, Elimination but contains one additional pitch on the second beat. The original second beat from the Flute 1 is eliminated. m. 176 (beat In CS, the original Flute 1 material is Elimination Minimally Similar Elimination in BR - 3) -178 (beat eliminated. The Oboe plays the same Significant Brahms's treatment of this content 2) pitch content but with added content is identical to Linckelmann on the second beat. m. 178-182 In CS, the Piccolo original material is Reorganize Minimally No significant difference. played by the Flute. Significant m. 178 (beat In CS, the original Flute 1 material is Reorganize Insignificant 3) - 179 played/doubled by the Clarinet 1. m. 180-182 In CS, the original Flute 1 material is Elimination Minimally Similar Elimination in BR - Several (beat 2) eliminated. The pitch material is Significant of the original pitches remain, but provided by a variety of other most provided at a different instruments. register. m. 182 (beat In CS, the original Flute 1 material is Reorganize Insignificant 3) -184 (beat doubled/played by the Oboe 1. 2) m. 184 (beat In CS, the Flute plays the original Reorganize Insignificant 3) - 185 Clarinet 1 material. (beat 1)
57 m. 189-190 In CS, the original Flute 1 material is Reorganize Insignificant played by the Clarinet. m. 191-197 In OS, the Piccolo doubles the Flute 1 Reduction Insignificant No significant difference. 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 Reorganize Insignificant Clarinet 2 material. m. 214-218 In CS, the Flute plays the original Reorganize Insignificant Clarinet material (1 &2) m. 236-237 In CS, the Flute plays the original Oboe Reorganize Insignificant 2 material. m. 241-242 In CS, the Flute plays the original Reorganize Insignificant Clarinet 2 material. m. 259-260 In CS, the Flute plays the original Reorganize Insignificant Trombone 1 material. m. 320-322 In CS, the Flute plays the original Violin Reorganize Insignificant 2 (2nd part) Mvt. 3 m. 77 (beat In CS, the original Horn 1 material is Reorganize Insignificant 4) - 84 played by the Flute. m. 86 (beats In CS, the Flute plays the original Reorganize Insignificant 3-4) Clarinet 1 material one octave higher. m. 86 (beats In CS, the original Flute 1 material is Reorganize Insignificant 3-4) played/doubled by the Clarinet one octave lower. m. 93-94 In CS, the original Flute 1 material is Reorganize Insignificant played/doubled by the Oboe. m. 93-94 In CS, the Flute plays the original Oboe Reorganize Insignificant 2 material. m. 108 In CS, the Flute doubles the Oboe 1 New Minimally Same new doubling in BR! material one octave higher. Material Significant m. 113 In CS, the Flute plays the original Reorganize Insignificant (beats 2-3) Clarinet 2 material. m. 130-131 In CS, the original Flute material is Reorganize Insignificant doubled/played by the Oboe. m. 130-131 In CS, the original Clarinet 2 material is Reorganize Insignificant (beat 3) played by the Flute. m. 131 (beat In CS, the original Clarinet 1 material is Reorganize Insignificant 4) played by the Flute for this one beat. m. 138-139 In OS, the Flute 1 doubles the Oboe 1 Reduction Minimally No significant difference. one octave higher. In CS, this has been Significant reduced to the Oboe at the lower octave. m. 142 (beat In CS, the Flute plays the original Flute Reorganize Insignificant 1) 2 material. The original Flute 1 material is doubled/played by the Oboe. m. 165-169 In CS, the original Horn 1 material is Reorganize Insignificant played by the Flute.
58 m. 170 In CS, the original Oboe 1 material is Reorganize Insignificant played by the Flute m. 175-176 In CS, the original Horn 1 material is Reorganize Insignificant played by the Flute. m. 185-187 In CS, the original Clarinet 2 material is Reorganize Insignificant (beat 2) played by the Flute. m. 196 (beat In CS, the original Horn 1 material is Reorganize Insignificant 2) - 197 played by the Flute. (beat 1) m. 199 (beat In CS, the original Clarinet 2 material is Reorganize Insignificant 3&4) played by the Flute. m. 201 (beat In OS, on the second half of the fourth Reorganize Minimally DIFFERENCE - Brahms plays the 4)-202 beat the Flute 1,2 and Oboe 1,2 divide. / Significant upper portion of the divisi at the In CS, the Flute plays the original Flute Reduction lower octave (Oboe) and eliminates 1 and Oboe 1 at the upper octave. The the Flute 2 / Oboe 2 pattern. The Oboe plays the original Flute 2 and pitches are still present but with a Oboe 2 also at the upper octave. different rhythm.
Mvt. 4 m. 7-11 In CS, the Flute plays the original Reorganize Insignificant Clarinet 2 material. m. 17-21 In CS, the Flute plays the original Reorganize Insignificant 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 Reduction Minimally DIFFERENCE - Brahms provides one octave higher. In CS, this has been / Significant these pitches but a full octave/two reduced to the Flute at the higher Reorganize octaves lower as part of the voice octave. layer. Essentially, the Flute and Oboe parts are eliminated. m. 59-62 In OS, the Flute 1 and Clarinet 1 double Reduction Minimally Similar Reduction in BR - Brahms (beat 1) each other at the octave. In CS, this is / Significant chooses to reduce to the original reduced to only the Flute playing at the Reorganize Clarinet register. higher octave. m. 70-73 In CS, the Flute plays the original Oboe Reorganize Insignificant 2 material. m. 92-96 In CS, the Flute plays the original Reorganize Insignificant Clarinet 2 material. m. 102-104 In CS, the Flute plays the original Reorganize Insignificant Clarinet 2 material. The fourth beat of m. 103 has been changed. m. 160-162 In OS, the Flute 1 doubles the Oboe 1 Reduction Minimally No significant difference. (beat 2) one octave higher. In CS, this doubling Significant is removed and only the Oboe plays the material. m. 173 (beat In CS, the Flute plays the original Reorganize Insignificant 2) - 174 Clarinet 2 material. (beat 1) m. 174 (beat In CS, the Flute plays the original Horn Reorganize Insignificant 2) – 175 1 material. This is also a doubling of the Oboe 1 material one octave lower.
59 Mvt. 5 m. 5 In CS, the Flute 1 original material Elimination Minimally No significant difference. (whole note C5) is eliminated. The Significant 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 Elimination Minimally Elimination - Brahms eliminates the incorporated partially into the Clarinet / Significant original Clarinet 2 material in m. 6 and Flute parts. The pitch content is Reduction and portions of the original Flute 1 present but the rhythms are not material in m. 7 in order to provide sustained. the Clarinet part. m. 9 - 10 In CS, the original Clarinet 2 part is Reorganize Insignificant (beat 1) played by the Flute. m. 14-16 In OS, the Bassoon 1, Clarinet 1, and Reduction Minimally Similar Reduction in BR - Brahms Flute 1 play the same pitch material in Significant reduces this material to the bottom octaves. In CS, this has been reduced two octaves as opposed to the top to only the Flute 1 at the higher octave. octave as in CS. m. 27-28 In OS, the Bassoon 1&2, Clarinet 1&2, Reduction Minimally No significant difference and Flute 1&2 play the same pitch Significant material in octaves. In CS, this has been reduced to the Flute, Clarinet, Bassoon. m. 37 In OS, the Bassoon 1 doubles the Flute Reduction Minimally No significant difference. 1 one octave lower. In CS, the lower / Significant octave is removed and the Oboe plays Reorganize the original pitch material of the Flute 1. m. 37 In CS, the Flute plays the original Reorganize Insignificant Clarinet material. m. 38-39 In CS, the Flute plays the original Reorganize Insignificant 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 Reorganize Insignificant 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 Reduction Minimally Similar Reduction in BR Flute 1 play the same pitch material in Significant octaves. In CS, this has been reduced to only the Flute and Clarinet in octaves. m. 73-74 In OS, the Bassoon 1, Clarinet 1, and Reduction Minimally Similar Reduction in BR - In CS, Flute 1 play the same pitch material in Significant Linckelmann chooses to reduce to octaves. In CS, this has been reduced the upper two octaves. In BR, to only the Flute and Clarinet in Brahms chooses to reduce to the octaves. bottom two octaves. Mvt. 6 m. 20-22 In CS, the Flute plays the original Reorganize Insignificant (beat 1) Clarinet 2 material.
60 m. 22 In CS, the Flute plays the original Oboe Reorganize Insignificant 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 Reduction Significant No significant difference. 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. 116-118 In CS, the Flute plays the original Reorganize Insignificant Piccolo material. m. 120-121 In OS, several instruments have the Reorganize Minimally No significant difference. pitch of C (Flute 1, Oboe 2, and Horn 1 / Significant &2) over multiple octaves. In CS, this Reduction pitch material is played by the Cello. m. 121-126 In CS, the Flute plays the original Reorganize Insignificant Piccolo material. m. 122-123 In OS, the Flute 1, Oboe 2, and Clarinet Reduction Significant No significant difference. 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 & In CS, the Flute plays the original Reorganize Insignificant 125 (beat 3) 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 Reorganize Insignificant No significant difference. 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 Reduction Insignificant In BR, the same pitch material is 1 one octave higher. In CS, this has present but another octave lower been reduced to only the Clarinet at than the original Clarinet 1. the lower octave. m. 182 In OS, the Flute 1 doubles the Oboe 1 Reduction Insignificant 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 Reorganize Minimally No significant difference. Clarinet 1 one octave lower. WHY is Significant 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 CS, the Flute plays the original Reorganize Insignificant Piccolo material. m. 184-186 In OS, the Flute 1, Oboe 2, Clarinet 1, Reduction Minimally Similar Reduction in BR and Bassoon 1 all play the same pitch Significant material in three octaves. In CS, this has been reduced to only the Clarinet in the middle octave.
61 m. 188-189 In OS, the Flute 1, Oboe 1, and Clarinet Reduction Minimally No significant difference. 1 all play the same pitch material in Significant two octaves. In CS, this has been reduced to only the Oboe at the lower octave. m. 194-195 In CS, the Flute plays the original Reorganize Insignificant Piccolo material. m. 194-195 In OS, the Flute 1, Bassoon 1, Reduction Minimally No significant difference. Trombone 3, and Tuba all play the Significant same pitch material over four octaves. In CS, this has been reduced to only the Bassoon at the lowest octave. m. 203-208 In CS, the Flute plays the original Reorganize Insignificant Piccolo material. m. 203 In CS, the original Flute material is Reorganize Insignificant doubled/played by the Clarinet two octaves lower. m. 204-208 In OS, the Flute 1, Clarinet 1, Bassoon Reduction Minimally No significant difference. 1, Trumpet 1, and Horn 4 all play the Significant same pitch material over three octaves. In CS, this has been reduced to only the Oboe in the middle octave. m. 246 (beat In CS, the Flute plays the original Reorganize Insignificant 2) -247 Clarinet 1 material. m. 269-274 In OS, the Oboe 1 doubles the Flute 1 Reduction Minimally No significant difference. one octave lower. In CS, this has been Significant reduced to only the Oboe at the lower octave. m. 291-292 In CS, the Flute plays the original Reorganize Insignificant (beat 2) Clarinet 2 and Bassoon 2. m. 305-306 In OS, the Flute 1&2 and Oboe 1&2 all Reorganize Insignificant play the same pitch. In CS, the Oboe plays this material. m. 316 In OS, the Clarinet 1, Horn 1, and Horn Reorganize Insignificant 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 Reorganize Insignificant play the same pitch material. This material is played by the Flute. m. 318-319 In OS, the Clarinet 2 and Bassoon 2 Reorganize Insignificant play the same pitch material. This material is played by the Flute. m. 334-335 In CS, the Flute plays the original Oboe Reorganize Insignificant 1 material. Mvt. 7 m. 20-21 In CS, the Flute plays the original Reorganize Insignificant Bassoon 1 material. m. 34-36 In OS, the Flute 1 doubles the Oboe 1. Reduction Insignificant In CS, this has been reduced to only the Oboe. m. 34-36 In OS, the Flute 2 doubles the Oboe 2. Reduction Insignificant In CS, this has been reduced to only the Flute.
62 m. 40-41 In CS, the Flute plays the original Reorganize Insignificant Trombone 1 material. m. 66-67 In CS, the Flute plays the original Horn Reorganize Insignificant 3 material. m. 76-79 In CS, the Flute plays the original Reorganize Insignificant Trombone 1 material. m. 81-83 In CS, the Flute plays the original Reorganize Insignificant Trombone 1 material. The final pitch (downbeat of 84) is played by the Clarinet 1 one octave higher. m. 84-85 In CS, the Flute plays the Clarinet 2 Reorganize Insignificant (beat 3) material. m. 113 In CS, the Flute plays the Clarinet 1 Reorganize Insignificant material. m. 131 In CS, the Flute plays the Clarinet 1 Reorganize Insignificant pitch material. The rhythm is slightly different because the Flute plays its original material on the first beat. m. 143 In CS, the Flute plays the Clarinet 2 Reorganize Insignificant (beats 1-3) pitch material. The rhythm is slightly different because the Flute plays its original material on the fourth beat. m. 159 (beat In the CS, the Flute plays the original Reorganize Insignificant 4) - 160 Harp material m. 165 In the CS, the Flute plays only the first Elimination Minimally No significant difference. beat of the original Flute 1 material. Significant Then, it plays the original Harp material for beats 2-4 of m. 157.
Flute 2
Measures Chamber Ensemble Notes Classification / Relevance Brahms Reduction Notes
Mvt. 1 m. 30-31 In OS, the Viola 2 part doubles the Reorganize / Insignificant Flute 2 part one octave lower. In CS, Reduction the Violin 1 plays the original Viola 2 part and the Flute doubling is removed. m. 32-33 In OS, the Flute 2 doubles the Viola 1. Reduction Insignificant In CS, this has been reduced to only the Viola. m. 34-37 In CS, the original Flute 2 part is Elimination Minimally No significant difference. eliminated. All original pitch material Significant and rhythm has been provided by other instruments in a variety of registers. m. 39-42 / In CS, the original Flute 2 is played by Reorganize Insignificant Similar portions of the original 129-132 the Clarinet. Beats 1-2 of m. 40 have material have been eliminated in been eliminated, and the remainder BR. is played one octave lower.
63 m. 45-47 In CS, the original Flute 2 is played by Reorganize Insignificant the Horn one octave lower. m. 57-60 / In CS, the original Flute 2 part is Elimination Minimally Similar Elimination in BR 90-93 eliminated. All original pitch material Significant and rhythm has been provided by other instruments in a variety of registers. m. 65 (beat In CS, the Violin 2 plays the original Reorganize Insignificant 3) - 66 Flute 2 material. m. 80-83 In CS, the Flute 2 original material is Reorganize Insignificant played by the Clarinet m. 86-88 In CS, the original Flute 2 material is Reorganize Insignificant played/doubled by the Oboe one octave lower. m. 106 -109 In CS, Linckelmann composes new Reorganize Minimally No significant difference. (beat 2) material for the Clarinet and Oboe. Significant 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 Elimination Minimally No significant difference. Portions eliminated. All original pitch material Significant of the rhythm are slightly different. and rhythm has been provided by other instruments. m. 108-109 In CS, the original Flute 2 material is Reorganize Insignificant (beat 2) played/doubled by the Oboe. m. 115 In CS, the original Flute 2 material is Reorganize Insignificant (beats 2-3) played/doubled by the Oboe. m. 115 In CS, the original Flute 2 material is Reorganize Insignificant (beat 4) - played/doubled by the Clarinet one 117 octave lower. m. 119-124 In OS, the Flute 2 doubles the Oboe Reduction Insignificant 2. In CS, this has been reduced to only the Flute. m. 125-127 In CS, the Flute 2 original material is Reorganize Insignificant played by the Clarinet m. 136-142 In CS, the original Flute 2 material is Reorganize Insignificant played/doubled by the Clarinet one octave lower. m. 148-150 In CS, the original Flute 2 material is Reorganize Insignificant (beat 2) played/doubled by the Viola one octave lower. m. 150 In CS, the original Flute 2 material is Reorganize Insignificant (beat 3) - played/doubled by the Oboe. 151 m. 155-156 In CS, the original Flute 2 material is Reorganize Insignificant & 158 played/doubled by the Oboe. m. 157 In CS, the original Flute 2 material is Reorganize Insignificant played/doubled by the Horn two octaves lower.
64 Mvt. 2 m. 2-9 / In CS, the Flute 2 original material is Elimination Minimally No significant difference. 126-133 eliminated. A majority of the original Significant material is present in other instruments but with a different rhythm. m. 13-21 / In CS, the original Flute 2 material is Reorganize Insignificant 137-145 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 In CS, the Flute 2 original material is Elimination Minimally No significant difference. (beat 2) / eliminated. A majority of the original Significant 146-150 material is present in other instruments but with a different rhythm. m. 26 (beat In CS, the original Flute 2 material is Reorganize Insignificant 3) - 28 played/doubled by the Clarinet. (beat 1) / 150-152 m. 28 (beat In CS, the original Flute 2 material is Reorganize Insignificant 2) - 29 played/doubled by the Oboe. (beat 1) / 152-153 m. 33-34 / In CS, the original Flute 2 material is Reorganize Insignificant 157-158 played/doubled by the Clarinet. m. 35-41 / In CS, the Violin 2 plays the original Reorganize Insignificant Elimination - In BR, the original 159-165 Flute 2 material. Flute 2 material is eliminated. The original pitch material is occasionally present in other instruments but not at the same octave. m. 42-52 In CS, the original Flute 2 material is Reorganize Insignificant (beat 2) / played/doubled by the Clarinet. 166-176 m. 48 (beat In CS, the Clarinet plays the original Reorganize Insignificant 3) - 49 Flute 2 material. (beat 2) m. 54 (beat In CS, the Flute 2 original material is Elimination Minimally Similar Elimination in BR - Over 3) - 58 eliminated. A majority of the original Significant half of the original material is (beat 2) / material is present in other eliminated. Portions remain. 178-182 instruments but with a different rhythm. m. 65 (beat In CS, the Violin 2 plays the original Reorganize Insignificant 3) - 66 / Flute 2 material. 189-190 m. 82 (beat In CS, the original Flute 2 material is Reorganize Insignificant 3) - 90 played by the Clarinet. m. 198-200 In CS, the original Flute 2 material is Reorganize Insignificant played by the Clarinet one octave lower. m. 201-202 In CS, the original Flute 2 material is Reorganize Insignificant played/doubled by the Oboe.
65 m. 204 In CS, the original Flute 2 material is Reorganize Insignificant played/doubled by the Oboe. m. 205-206 In CS, the Oboe plays the original Reorganize Insignificant Flute 2 material at the higher octave. This is also a doubling for the Bassoon 1 part two octaves higher. m. 219-225 In OS, the Flute 2 doubles the Oboe 2 Reduction Minimally Similar Reduction - In BR, Brahms (beat 1) one octave higher. In CS, this has Significant reduces this to the higher octave. been reduced to the Oboe at the lower octave. m. 225 In CS, the original Flute 2 material is Reorganize Insignificant (beat 3) - played/doubled by the Clarinet. 226 m. 227-231 In CS, the Flute 2 original material is Elimination Minimally In BR, this material is played by the eliminated. A majority of the original Significant left hand of Piano 2 two octaves material is present in other lower than original. instruments but with a different rhythm. m. 253 In CS, the original Flute 2 material is Reorganize Insignificant played/doubled by the Clarinet. m. 269-270 In CS, the original Flute 2 material is Reorganize Insignificant played/doubled by the Oboe. m. 271 In CS, the original Flute 2 material is Reorganize Insignificant played/doubled by the Clarinet. m. 272-275 In CS, the Flute 2 original material is Elimination Insignificant eliminated. The original pitch material is played by the Clarinet an octave lower but with a different rhythm. m. 276-283 In CS, the original Flute 2 material is Reorganize Insignificant played/doubled by the Clarinet. m. 284-290 In OS, the Flute 2 doubles the Oboe 2 Reduction Minimally No significant difference. one octave higher. In CS, this has Significant been reduced to the Oboe at the lower octave. m. 291-295 In OS, the Flute 2 doubles the Oboe Reorganize Insignificant 2. In CS, this material is played by the Oboe. m. 296-298 In OS, the Flute 2 doubles the Oboe 2 Reduction Minimally No significant difference. one octave higher. In CS, this has Significant been reduced to the Oboe at the lower octave. m. 299-303 In CS, the Flute 2 original material is Elimination Minimally Similar Elimination in BR eliminated. All original material is Significant present in other instruments but with a different rhythm. m. 330-336 In CS, the original Flute 2 material is Reorganize Insignificant played/doubled by the Oboe. m. 337 In CS, the original Flute 2 material is Reorganize Insignificant played/doubled by the Horn one octave lower.
66 Mvt. 3 m. 33-39 In OS, the original Flute 1 doubles Reduction Minimally No significant difference. the Flute 2 one octave higher. In CS, Significant this has been reduced to only the Flute 1 at the higher octave. m. 40 In CS, the original Flute 2 material is Elimination Minimally Similar Elimination in BR eliminated. All original pitch material Significant is present in other instruments but in a different rhythm. m. 41-47 In OS, the original Flute 1 doubles Reduction Minimally No significant difference. the Flute 2 one octave higher. In CS, Significant this has been reduced to only the Flute 1 at the higher octave. m. 62 In OS, the original Flute 1 doubles Reduction Minimally Difference - In BR, this material the Flute 2 one octave higher. In CS, Significant has been reduced to the lower this has been reduced to only the octave. Flute 1 at the higher octave. m. 85 (beat In CS, the original Flute 2 material is Reorganize Insignificant 3) - 86 played/doubled by the Clarinet one (beat 2) octave lower. m. 86 In CS, the original Flute 2 material is Reorganize Insignificant (beats 3-4) played/doubled by the Oboe. m. 93-94 In CS, the original Flute 1 material is Reorganize Insignificant played/doubled by the Oboe. m. 111-116 In OS, the original Flute 2, Oboe 2, Reduction Minimally In BR, this has been reduced to the (beat 1) and Bassoon 2 play the same pitch Significant top two octaves. material in three octaves. In CS, this has been reduced to only the Bassoon at the lowest octave. m. 121-122 In OS, the Horn 1 doubles the Flute 2 Reduction / Insignificant / 125-126 one octave lower. In CS, this has Reorganize been reduced to only the higher octave (Flute 2). This material is played by the Oboe. m. 128-129 In OS, the original Flute 2, Oboe 2, Reduction Minimally In BR, this has been reduced to the and Bassoon 2 play the same pitch Significant top and bottom octaves. material in three octaves. In CS, this has been reduced two the two lower octaves and doubled by the Clarinet (an additional doubling). m. 130-131 In CS, the original Flute 2 material is Reorganize Insignificant doubled/played by the Oboe. m. 140-141 In OS, the Flute 2 doubles the Reduction Minimally No significant difference. Bassoon 2 one octave higher. In CS, Significant this has been reduced to the Bassoon at the lower octave. m. 142 In CS, the Flute plays the original Reorganize Insignificant (beat 1) Flute 2 material. The original Flute 1 material is doubled/played by the Oboe.
67 m. 143-146 In CS, the original Flute 2 material is Reorganize Insignificant doubled/played by the Horn one octave lower. m. 147 In CS, the original Flute 2 material is Elimination Minimally In BR, the original pitch material is eliminated. All original pitch material Significant retained but played in a different is present in other instruments but in rhythm. a different rhythm. m. 156 In OS, the Flute 2 doubles the Oboe 2 Reduction Minimally No significant difference (beat 3)- one octave higher. In CS, this has Significant 163 been reduced to the Oboe at the lower octave. m. 171-173 In CS, the original Flute 2 material is Elimination Minimally Similar Elimination in BR eliminated. All original pitch material Significant is present in other instruments but in a different rhythm. m. 201 In OS, on the second half of the Reorganize / Minimally DIFFERENCE - Brahms plays the (beat 4)- fourth beat the Flute 1,2 and Oboe Reduction Significant upper portion of the divisi at the 202 1,2 divide. In CS, the Flute plays the lower octave (Oboe) and original Flute 1 and Oboe 1 at the eliminates the Flute 2 / Oboe 2 upper octave. The Oboe plays the pattern. The pitches are still original Flute 2 and Oboe 2 also at present but with a different the upper octave. rhythm. m. 203 In OS, the Flute 2 doubles the Oboe 2 Reduction Minimally Elimination - The original pitch (beat 3) - one octave higher. In CS, this has Significant material is presented but in a 204 been reduced to the Oboe at the different rhythm. lower octave. m. 205 In CS, the original Flute 2 material Elimination Minimally Elimination - The original pitch has been eliminated. All original Significant material is presented but in a pitch material is presented by other different rhythm. instruments but with a different rhythm. m. 206 In OS, the Flute 2 doubles the Oboe 2 Reduction Minimally Elimination - The original pitch one octave higher. In CS, this has Significant material is presented but in a been reduced to the Oboe at the different rhythm. lower octave. m. 207-208 In OS, the Flute 2 doubles the Oboe 2 Reorganize / Minimally Reduction - In BR, this material is one octave higher. In CS, this has Reduction Significant reduced to the Oboe register been reduced to the higher octave rather than the Flute. (Flute), and it is played by the Oboe. Mvt. 4 m. 13-16 In OS, the Flute 2 and the Oboe 2 Reduction / Minimally No significant difference. double each other at the octave. In Reorganize Significant CS, the Clarinet plays this material at the lower (Oboe 2) octave. m. 21-23 In CS, the Oboe plays the original Reorganize Insignificant Flute 2 material. m. 47-48 In OS, the Flute 2 and the Oboe 2 Reduction / Minimally Reduction - In BR, this material is double each other at the octave. In Reorganize Significant reduced to the Oboe register CS, the Oboe plays this material but rather than the Flute. at the upper octave (original Flute 2).
68 m. 54-56 In OS, the Flute 2 and the Oboe 2 Reduction / Minimally Similar Reduction in BR double each other at the octave. In Reorganize Significant CS, the Oboe plays this material at the lower (Oboe 2) octave. m. 58 In CS, the Oboe plays the original Reorganize Insignificant Flute 2 material one octave lower. m. 59-62 In OS, the Flute 2 and Clarinet 2 Reduction / Minimally Similar Reduction in BR (beat 1) double each other at the octave. In Reorganize Significant 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 Reduction / Minimally No significant difference. double each other at the octave. In Reorganize Significant 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 In OS, the Flute 2 and the Oboe 2 Reduction / Minimally Reduction - In BR, this material is 4) - 101 double each other at the octave. In Reorganize Significant reduced to the Flute register CS, the Oboe plays this material at rather than the Oboe. the lower (Oboe 2) octave. m. 106-107 In CS, the original Flute 2 material is Reorganize Insignificant played by the Oboe one octave lower. m. 116-119 In OS, the Clarinet doubles the Flute Reduction Minimally Reduction - In BR, this material has 2 part one octave lower with a Significant been reduced to only the lowest slightly different rhythm at the end octave. 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. m. 141-148 In OS, the Flute 2 and the Oboe 2 Reduction / Minimally Elimination - In BR, all original double each other at the octave. In Reorganize Significant pitch material is present but not as CS, the Oboe plays this material at a complete melodic concept. The the lower (Oboe 2) octave. material changes registers and rhythms regularly. m. 153-156 In CS, the original Flute 2 material is Reorganize Insignificant played by the Oboe. m. 165 In OS, the Flute 2 and the Clarinet 2 Reduction / Minimally No significant difference. (beat 2) - double each other at the octave. In Reorganize Significant 173 CS, this doubling is reduced to only the Clarinet at the lower octave. m. 174 In CS, the original Flute 2 material is Elimination Significant In BR, this material is played one eliminated. No other part plays this octave lower. pitch material. m. 175-179 In CS, the original Flute 2 material is Reorganize Insignificant played by the Oboe.
69 Mvt. 5 m. 4 In CS, the original Flute 2 material is Elimination Significant No significant difference. eliminated. No other part plays this pitch material. m. 6-8 In OS, the Oboe material Reduction / Minimally In BR, the original material is complements/doubles the original Reorganize Significant presented almost identically but it Flute 1 material one octave lower. In begins one beat later. CS, this doubling is eliminated and the Oboe plays the original Flute 2 part at pitch. m. 11-12 In OS, the Clarinet 2 doubles the Reduction Insignificant (beat 1) Flute 2 in octaves. In CS, this is reduced to only the lower octave in the Clarinet. m. 12-14 In CS, the original Flute 2 material is Reorganize Insignificant played by the Clarinet. m. 14-16 In OS, the Bassoon 2, Clarinet 2, and Reduction Minimally Reduction - In BR, this has been Flute 2 play the same pitch material Significant reduced to the bottom two in octaves. In CS, this has been octaves. reduced to only the Bassoon at the lower octave. m. 18-20 In CS, the Oboe plays the original Reorganize Insignificant Flute 2 material. m. 23 In CS, the Oboe plays the original Reorganize Insignificant Flute 2 material. m. 27-28 In OS, the Bassoon 1&2, Clarinet Reduction Minimally No significant difference. 1&2, and Flute 1&2 play the same Significant pitch material in octaves. In CS, this has been reduced to the Flute, Clarinet, Bassoon. m. 28 In CS, the Clarinet plays the original Reduction Insignificant 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 Reorganize Insignificant Flute 2 material. m. 32-35 In CS, the original Flute 2 material is Reorganize Insignificant (beat 1) 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 Elimination Insignificant eliminated. However, the Viola 1 material is the exact same pitches with a shortened rhythm.
70 m. 45-48 In CS, the original Flute 2 material is Reorganize Insignificant 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 Reorganize Insignificant 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 Elimination Minimally In BR, this material is played one eliminated. No other part plays this Significant octave lower. pitch material. m. 51 In CS, the Oboe plays the original Reorganize Insignificant Flute 2 material. m. 52 In CS, the Clarinet plays the original Reorganize Insignificant Flute 2 material. m. 60-62 In OS, the Bassoon 2, Clarinet 2, and Reduction Minimally Reduction - In BR, this has been Flute 2 play the same pitch material Significant reduced to the highest and the in octaves. In CS, this has been lowest octaves. reduced to only the Bassoon at the lower octave. m. 64-66 In CS, the first pitch of the original Reorganize Insignificant (beat 3) 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 In CS, the original Flute 2 material is Reorganize Insignificant 4) - m. 68 played/doubled by the Clarinet one octave lower. m. 69 In CS, the original Flute 2 material is Reorganize Insignificant played/doubled by the Oboe. m. 73-74 In OS, the Bassoon 2, Clarinet 2, and Reduction Minimally Reduction - In BR, this has been Flute 2 play the same pitch material Significant reduced to only the top octave. in octaves. In CS, this has been reduced to only the Bassoon at the lower octave. m. 81-82 In OS, the Oboe 1 and Flute 2 play Reduction / Insignificant the same pitch in octaves. In CS, the Reorganize original Oboe is eliminated and the Oboe plays the original Flute 2 pitch. Mvt. 6 m. 2-3 In CS, the Flute 2 doubles the Oboe Reduction Minimally No significant difference. one octave higher. In CS, this has Significant been reduced to the lower octave and is played by the Oboe. m. 23 In CS, the original Flute 2 material is Reorganize Insignificant doubled/played by the Bassoon two octaves lower.
71 m. 24-25 In CS, the original Flute 2 material is Reorganize Insignificant (beat 1) played/doubled by the Clarinet one octave lower. m. 25 (beat In CS, the original Flute 2 material is Reorganize Insignificant 2) - 26 played by the Oboe. (beat 1) m. 32-34 In CS, the Flute 2 doubles the Oboe Reduction Minimally Similar Reduction in BR one octave higher. In CS, this has Significant been reduced to the lower octave and is played by the Oboe. m. 42-43 In CS, the original Flute 2 material is Reorganize Insignificant (beat 2) played/doubled by the Oboe. m. 58-60 In CS, the original Flute 2 material is Reorganize Insignificant (beat 1) played/doubled by the Oboe. m. 60 (beat In CS, the original Flute 2 material is Reorganize Insignificant 2)-61 (beat played/doubled by the Clarinet. 3) m. 78 (beat In CS, the Oboe plays the original Reorganize Insignificant 3) - 79 Flute 2 material. (beat 1) m. 82-84 / In CS, the original Flute 2 material is Reorganize Insignificant 87 (beat 2) played/doubled by the Clarinet one - 90 octave lower. m. 91-92 In CS, the original Flute 2 material is Reorganize Insignificant played/doubled by the Oboe. m. 93-104 In OS, the Flute 2 doubles the Oboe 2 Reduction Minimally Similar Reduction in BR (beat 2) one octave higher. In CS, Significant 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 In OS, the original Oboe 2 material Reduction Minimally Similar Reduction in BR - Brahms (beat 3) - doubles the Flute 2 one octave Significant demonstrates a technique that 108 lower. In CS, this has been reduced Linckelmann employs regularly. to the Oboe at the lower octave. He alternates between the higher and lower octaves. m. 116-117 In OS, the original Cello 1 material for Reorganize Insignificant 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 Reorganize Insignificant played/doubled by the Viola two octaves lower. m. 120-121 In CS, the original Flute 2 material is Reorganize Insignificant played/doubled by the Cello two octaves lower. m. 122-123 In CS, the original Flute 2 material is Reorganize Insignificant played/doubled by the Oboe one octave lower. m. 124-126 In CS, the original Flute 2 material is Reorganize Insignificant played/doubled by the Oboe.
72 m. 127-130 In CS, the original Flute 2 material is Reorganize Insignificant / 133 (beat played/doubled by the Clarinet one 2) - 136 octave lower. (beat 2) m. 139 In CS, the original Flute 2 material is Elimination Insignificant (beats 2-3) eliminated. All pitch material is present in other woodwinds with the same rhythm. m. 140-145 In this passage, Linckelmann Reorganize Significant No significant difference 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. m. 146-150 In OS, the original Oboe 2 material Reduction Minimally No significant difference doubles the Flute 2 one octave Significant lower. In CS, this has been reduced to the Oboe at the higher octave. m. 150 In CS, the original Flute 2 material is Reorganize Insignificant (beat 3) - played by the Oboe. There is a 154 (beat random rest on the second beat of 1) m. 151. Possible mistake? m. 155-157 In CS, the original Flute 2 material is Reorganize Insignificant (beat 2) played/doubled by the Oboe. m. 157 In CS, the original Flute 2 material is Reorganize Insignificant (beat 3) - played/doubled by the Bassoon 2 158 (beat octaves lower. 1) m. 158-160 In CS, the original Flute 2 material is Elimination Minimally Material is present but at a lower (beat 1) eliminated. A portion of the material Significant octave. is not played by any other woodwind. m. 160 In CS, the original Flute 2 material is Reorganize Insignificant (beat 2) - played/doubled by the Oboe. 166 (beat 1) m. 168 - In CS, the original Flute 2 material is Reorganize Insignificant 171 played/doubled by the Bassoon 2 octaves lower. m. 171 In CS, the Oboe plays the original Reorganize Insignificant (beat 2) - Flute 2 material. 176 (beat 1) & 177 (beat 1) m. 178-180 In CS, the Oboe plays the original Reorganize Insignificant Flute 2 material. m. 182-183 In CS, the original Flute 2 material is Reorganize Insignificant played/doubled by the Clarinet one octave lower. m. 184-186 In CS, the original Flute 2 material is Reorganize Insignificant played by the Oboe. m. 188-189 In CS, the original Flute 2 material is Elimination Minimally No significant difference. eliminated. All pitch material is Significant present but not in the same rhythm.
73 m. 192-200 In CS, the original Flute 2 material is Reorganize Insignificant played/doubled by the Oboe one octave lower. m. 201-203 In OS, the Oboe 2 doubles the Flute 2 Reduction / Minimally Similar Reduction in BR one octave lower. In CS, this has Reorganization Significant 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, Reduction / Minimally In BR, this has been reduced to Trumpet 2, and Trombone 3 all play Reorganization Significant two octaves (highest and lowest). the pitch of C in three octaves. In CS, this has been reduced to the lowest octave and is played by the Horn. m. 232 In CS, the original Flute 2 material is Reorganize Insignificant (beats 1-2) played/doubled by the Oboe. m. 233 In CS, the original Flute 2 material is Reorganize Insignificant (beat 4) played/doubled by the Oboe one octave lower. m. 234 In CS, the original Flute 2 material is Reorganize Insignificant played/doubled by the Oboe. m. 249 In CS, the original Flute 2 material is Reorganize Insignificant (beat 4) - played by the Clarinet one octave 259 lower. m. 260-262 In CS, the original Flute 2 material is Elimination Insignificant (beat 1) eliminated. All pitch material is presented in other woodwinds with the same rhythm. m. 264-266 In CS, the original Flute 2 material is Reorganize Insignificant (beat 1) doubled/played by the Clarinet one octave lower. m. 271-274 In OS, the Oboe 1 doubles the Flute Reduction Minimally No significant difference. one octave lower. In CS, this has Significant 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 Elimination Significant DIFFERENCE - In OS, the eliminated. A majority of the original woodwinds and violins echoed pitch material is presented in other each other. In BR, the entire woodwinds with the same rhythm. woodwind pattern has been eliminated. m. 282-286 In CS, the original Flute 2 material is Reorganize Insignificant (beat 2) doubled/played by the Oboe one octave lower. m. 289-290 In CS, the original Flute 2 material is Reorganize Insignificant doubled/played by the Clarinet one octave lower. m. 292 In CS, the original Flute 2 material is Reorganize Insignificant (beat 3) - doubled/played by the Clarinet one 298 (beat octave lower. 3) m. 298 In CS, the original Flute 2 material is Reorganize Insignificant (beat 4) - played/doubled by the Bassoon 2 303 (beat octaves lower. 3)
74 m. 303 In CS, the original Flute 2 material is Elimination Insignificant (beat 4) - eliminated. All pitch material is 304 presented in other woodwinds with the same rhythm. m. 305-306 In OS, the Flute 1&2 and Oboe 1&2 Reorganize Insignificant all play the same pitch. In CS, the Oboe plays this material. m. 309-313 In CS, the original Flute 2 material is Reorganize Insignificant (beat 3) played/doubled by the Oboe one octave lower. m. 314 In CS, the original Flute 2 material is Reorganize Insignificant (beats 3-4) played/doubled by the Horn two octaves lower. m. 315-316 In CS, the original Flute 2 material is Reorganize Insignificant played/doubled by the Oboe one octave lower. m. 320-324 In CS, the original Flute 2 material is Reorganize Insignificant (beat 3) played/doubled by the Clarinet one octave lower. m. 324 In CS, the original Flute 2 material is Reorganize Insignificant (beat 4) - played/doubled by the Bassoon 2 329 (beat octaves lower. 3) m. 329 In CS, the original Flute 2 material is Reorganize Insignificant (beat 4) - played/doubled by the Clarinet one 330 octave lower. m. 336 In CS, the original Flute 2 material is Reorganize Insignificant (beat 3) - played/doubled by the Oboe one 337 (beat octave lower. 2) m. 337 In CS, the original Flute 2 material is Reorganize Insignificant (beat 3) - played/doubled by the Clarinet one 339 octave lower. m. 340 In CS, the original Flute 2 material is Reorganize Insignificant played/doubled by the Horn two octaves lower. m. 344-349 In CS, the original Oboe 2 & Flute 2 Reorganize Minimally No significant difference. material is presented in the Clarinet Significant part but with a mixture of octaves. Mvt. 7 m. 5-6 In OS, the Flute 2 doubles the Reduction Minimally Elimination - This material is Clarinet 2 one octave higher. In CS, Significant eliminated in BR. this has been reduced to only the Clarinet at the lower octave. m. 10-11 In CS, the original Flute 2 and Reorganize Insignificant (beat 3) Clarinet 2 material (one octave lower) is played by the Clarinet at the higher octave. m. 11 (beat In CS, the original Flute 2 and Reorganize Insignificant 4) - 12 Clarinet 2 material (one octave (beat 1) lower) is played by the Bassoon at the higher octave.
75 m. 13 (beat In CS, the original Flute 2 material is Reorganize Insignificant 4) - 14 played by the Clarinet one octave (beat 1) lower. m. 18-19 In CS, the original Flute 2 material is Reorganize Insignificant played by the Oboe one octave lower. m. 22-26 In OS, the Flute 2 doubles the Oboe 2 Reduction Minimally Similar Reduction in BR (beat 1) one octave higher. In CS, this has Significant been reduced to only the Oboe at the lower octave. m. 34-36 In OS, the Flute 2 doubles the Oboe Reduction Insignificant 2. In CS, this has been reduced to only the Flute. m. 38 In CS, the second beat of the original Reorganize Insignificant 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 Reorganize Insignificant played/doubled by the Oboe one octave lower. m. 87-89 In CS, the original Flute 2 is Reorganize Insignificant played/doubled by the Oboe one octave lower. m. 106-107 In CS, the original Flute 2 is Reorganize Insignificant played/doubled by the Clarinet one octave lower. m. 111-112 In CS, the original Flute 2 is Reorganize Insignificant played/doubled by the Clarinet one octave lower. m. 115-126 In CS, the original Flute 2 is Reorganize Insignificant played/doubled by the Clarinet one octave lower. m. 127-129 In CS, the original Flute 2 is Reorganize Insignificant played/doubled by the Oboe one octave lower. m. 132-134 In CS, the original Flute 2 material is Elimination Minimally No significant difference. eliminated. Portions of the original Significant pitch material are present in other instruments but not consistently. m. 135 In CS, the original Flute 2 material for Reorganize Insignificant 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 Reorganize Insignificant the second beat is doubled by the Clarinet. m. 147-149 In CS, the original Flute 2 material is Elimination Minimally No significant difference. eliminated. Portions of the original Significant pitch material are present in other instruments but not consistently.
76 m. 150 In CS, the original Flute 2 material for Reorganize Insignificant 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 Reorganize Insignificant 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. 163-164 In CS, the original Flute 2 is Reorganize Insignificant played/doubled by the Oboe one octave lower. m. 165-166 In OS, the Oboe 2 doubles the Flute 2 Reduction Insignificant one octave lower. In CS, this is reduced to only the Oboe but at the higher octave.
Oboe 1
Measures Chamber Ensemble Notes Classification / Relevance Brahms Reduction Notes
Mvt. 1 m. 86 (beat In OS, the Flute one doubles the Oboe Reduction Insignificant Reduction - In BR, this material is 4) - 88 1 one octave higher. In CS, this has reduced to the Oboe register been reduced to only the Flute at the rather than the Flute. higher octave. m. 106 -109 In CS, Linckelmann composes new Reorganize Minimally No significant difference. (beat 2) material for the Clarinet and Oboe. Significant 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. 119-124 In OS, the Flute 1 doubles the Oboe 1. Reduction Insignificant In CS, this has been reduced to only the Oboe.
m. 150 In OS, the Flute one doubles the Oboe Reduction Insignificant No significant difference. (beat 3) - 1 one octave higher. In CS, this has 151 been reduced to only the Flute at the higher octave.
Mvt. 2 m. 2-6 (beat In CS, Linckelmann composes new Reorganize / Minimally All pitch material remains the 3) / m. 126 - material for the Oboe. This material is Elimination Significant same, but the rhythm has been 130 (beat 3) comprised of portion of the original changed to match the other Oboe 1& 2. Pitches not provided in woodwinds. new parts Eliminated from the Oboe part, but are covered by other instruments.
77 m. 6 (beat In OS, the original Flute 1 material is Reorganize Insignificant 3) -9 / played by the Oboe. m.130 (beat 3) - 133 m. 6 (beat In OS, the original Oboe 1 material is Elimination Minimally All pitch material remains the 3) -9 / Eliminated. All pitch material is played Significant same, but the rhythm has been m.130 - 133 by other instruments. changed to match the other woodwinds. m. 22-24 In OS, the Piccolo doubles the Oboe Reduction Insignificant Most of the original material has (beat 2) / one octave higher. In CS, this has been doubled in BR, but a few 146-148 been reduced to only the Piccolo at portions have been reduced. (beat 2) the higher octave. m. 29 (beat In OS, the Oboe doubles the Violin. In Reduction Insignificant No significant difference. 4) -31 / 152 CS, this has been reduced to just the (beat 4) - Violin. 155 m. 57 (beat In CS, Linckelmann combines portions Reorganize Minimally No significant difference. 4)-58 (beat of the original Oboe 1 & 2 to create a Significant 2) / 181 new melodic and rhythmic pattern. (beat 4) - 182 (beat 2) m. 198-202 In OS, the Flute 1 doubles the Oboe 1 Reduction Insignificant Reduction - In BR, this material is one octave higher. In CS, this has reduced to the Oboe rather than been reduced to the Flute at the the Flute. higher octave. m. 204-206 In OS, the Flute 1 doubles the Oboe 1 Reduction Insignificant Elimination - In m. 204, Brahms one octave higher. In CS, this has Eliminates the held dotted half been reduced to the Flute at the note. Reduction - In m. 205-206, higher octave. Brahms reduces this material to the Oboe register rather than the Flute. m. 205-206 In CS, the Oboe plays the original Flute Reorganize Insignificant 2 material. This is also a doubling for the Bassoon 1 part two octaves higher. m. 219-231 In OS, the Flute 1 doubles the Oboe 1 Reduction Insignificant Similar Reduction in BR one octave higher. In CS, this has been reduced to the Flute at the higher octave. m. 252 In CS, the original Oboe 1 material is Elimination Minimally (beats 1-3) eliminated. The original pitch content Significant is provided in other instruments at a different register and with a different rhythm. m. 252 In CS, the original Oboe 1 material is Reorganize Insignificant (beat 4) - played/doubled by the Clarinet. 253 m. 272-286 In OS, the Flute 1 doubles the Oboe 1 Reduction Insignificant Elimination - In BR, the original one octave higher. In CS, this has Oboe 1 and Flue 1 material has been reduced to the Flute at the been eliminated for m. 272-273. higher octave. All pitch content is presented in other instruments. M. 274-286 - same as OS
78 m. 271 In OS, the Trumpet 1 & 2 play in Reduction Insignificant No significant difference. (beat 4) - octaves. In CS, this is reduced to the 273 upper octave (Trumpet 1), and the material is played by the Oboe. m. 279-280 In OS, the Horn 1 is doubled by the Reorganize / Minimally DIFFERENCE - Brahms chooses to & 283 Horn 2 one octave lower. In CS, this Reduction Significant eliminate this material. The pitch has been reduced to only the higher is provided but with a different octave (Horn 1). This material is rhythm. played by the Oboe. m. 281-282 In OS, the Horn 3 is doubled by the Reorganize / Minimally DIFFERENCE - Brahms chooses to Horn 4 one octave lower. In CS, this Reduction Significant eliminate this material. The pitch has been reduced to only the higher is provided but with a different octave (Horn 3). This material is rhythm. played by the Oboe. m. 288 In OS, the Flute 1 doubles the Oboe 1 Reduction Insignificant No significant difference. (beat 2) - one octave higher. In CS, this has 290 been reduced to the Flute at the higher octave. m. 291-295 In OS, the Flute 1 doubles the Oboe 1. Reorganize Insignificant In CS, this material is played by the Flute. m. 291-295 In OS, the Flute 2 doubles the Oboe 2. Reorganize Insignificant In CS, this material is played by the Oboe. m. 296-298 In OS, the Flute 1 doubles the Oboe 1 Reduction Insignificant one octave higher. In CS, this has been reduced to the Flute at the higher octave. m. 328-329 In CS, the original Oboe 1 material has Elimination Minimally No significant difference. / 331-332 been eliminated. All original pitch Significant material is presented in other voices. m.333 (beat In OS, the Flute 1 doubles the Oboe 1 Reduction Insignificant Reduction - In BR, this material is 3) - 336 one octave higher. In CS, this has reduced to the Oboe register been reduced to the Flute at the rather than the Flute. higher octave. Mvt. 3 m. 44-47 In CS, the original Oboe 2 part has Elimination Minimally No significant difference. been eliminated. All original pitch Significant 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 Reduction Insignificant No significant difference. 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 Reorganize Insignificant m. 54 is played/doubled by the Horn 2 octaves lower. The original material for m. 55 is doubled/played by the Flute.
79 m. 63-64 In OS, the Trumpet 1,2 and Horn 1,2 Reduction / Minimally No significant difference. play the same pitch material in three Reorganize Significant octaves. In CS, the Oboe plays the top octave (Trumpet 1). m. 121-122 In OS, the Horn 1 doubles the Flute 2 Reduction / Insignificant No significant difference. / 125-126 one octave lower. In CS, this has been Reorganize reduced to only the higher octave (Flute 2). This material is played by the Oboe. m. 128-129 In OS, the Flute 1 doubles the Oboe 1 Reduction Insignificant No significant difference. one octave higher. In CS, this has been reduced to the Flute at the higher octave. m. 129 In CS, the Oboe plays the original Reorganize Insignificant Clarinet 2 material. m. 132-133 In CS, the Oboe plays the original Reorganize Insignificant Clarinet 1 material. m. 142 & In CS, the Oboe plays the original Reorganize Insignificant 144 Trumpet 1 material. m. 148-149 In CS, the original Horn 1 material is Reorganize Insignificant played by the Oboe. m. 156 In OS, the Flute 1 doubles the Oboe 1 Reduction Minimally No significant difference. The (beat 3)-163 one octave higher. In CS, this has Significant pitch drops to the original Oboe been reduced to the Flute at the register in BR at m. 158. higher octave. m. 170 In CS, the original Oboe 1 material is Reorganize Insignificant played by the Flute m. 171 In CS, the original Oboe 1 material is Reorganize Insignificant (beats 1-2) doubled/played by the Clarinet. m. 172 In CS, the original Oboe 1 material is Reorganize Insignificant (beat 3) played/doubled by the Bassoon one octave lower. m. 170-171 In CS, the Oboe plays the original Reorganize Insignificant (beat 2) Trumpet 1 material. m. 178 In CS, the Oboe plays the original Horn Reorganize Insignificant (beat 2) 3 material for this one beat. m. 182 In CS, the Oboe 1 material is Reorganize Insignificant (beat 2) doubled/played by the Flute. m. 183 In CS, the original Horn 1 material is Reorganize Insignificant (beat 2-3) played by the Oboe. The original Oboe material is played/doubled by the Flute. m. 184 In CS, the original Horn 1 material is Reorganize Insignificant (beat 4) - played by the Oboe. The original Oboe 185 (beat 1) material is played/doubled by the Flute. m. 185-186 In CS, the original Horn 1 material is Reorganize Insignificant played by the Oboe. m. 193 In CS, the Oboe plays the original Reorganize Insignificant Trumpet 1 material. The pitch material is the same as the original Oboe part but with a different rhythm.
80 m. 197 In CS, the original Bassoon 1 material Reorganize Insignificant (beat 4) - is played by the Oboe. 198 (beat 1) m. 198 In CS, the original Horn 1 material is Reorganize Insignificant (beat 2) - played by the Oboe. 199 (beat 1) m. 198-199 In CS, the original Oboe 1 material is Reorganize Insignificant doubled/played by the Flute. m. 201 In OS, on the second half of the fourth Reorganize / Minimally DIFFERENCE - Brahms plays the (beat 4)-202 beat the Flute 1,2 and Oboe 1,2 Reduction Significant upper portion of the divisi at the divide. In CS, the Flute plays the lower octave (Oboe) and original Flute 1 and Oboe 1 at the eliminates the Flute 2 / Oboe 2 upper octave. The Oboe plays the pattern. The pitches are still original Flute 2 and Oboe 2 also at the present but with a different upper octave. rhythm. m. 203-208 In OS, the Flute 1 doubles the Oboe 1 Reduction Minimally Reduction - In BR, this material is one octave higher. In CS, this has Significant reduced to the Oboe register been reduced to the Flute at the rather than the Flute. higher octave. m. 205 In CS, a portion of the Clarinet 2 Reorganize Insignificant 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. 207-208 In OS, the Flute 2 doubles the Oboe 2 Reorganize / Minimally Reduction - In BR, this material is one octave higher. In CS, this has Reduction Significant reduced to the Oboe register been reduced to the higher octave rather than the Flute. (Flute), and it is played by the Oboe. Mvt. 4 m. 21-23 In CS, the Oboe plays the original Flute Reorganize Insignificant 2 material. m. 47-48 In OS, the Flute 1 doubles the Oboe 1 Reduction Minimally DIFFERENCE - Brahms provides one octave higher. In CS, this has Significant these pitches but a full been reduced to the Flute at the octave/two octaves lower as part higher octave. of the voice layer. Essentially, the Flute and Oboe parts are eliminated. m. 47-48 In OS, the Flute 2 and the Oboe 2 Reduction Minimally This material is presented an double each other at the octave. In Significant octave lower than the original. CS, the Oboe plays this material but at the upper octave (original Flute 2). m. 54-57 In OS, the Flute 1 doubles the Oboe 1 Reduction Minimally DIFFERENCE - Brahms provides one octave higher. In CS, this has Significant these pitches but a full been reduced to the Flute at the octave/two octaves lower as part higher octave. of the voice layer. Essentially, the Flute and Oboe parts are eliminated. m. 54-56 In OS, the Flute 2 and the Oboe 2 Reduction Minimally No significant difference. double each other at the octave. In Significant CS, the Oboe plays this material at the lower (Oboe 2) octave. m. 57-58 In CS, the Oboe plays the original Reorganize Insignificant Clarinet 2 material.
81 m. 58 In CS, the Oboe plays the original Flute Reorganize Insignificant 2 material one octave lower. m. 80-84 In OS, the Flute 1 doubles the Oboe 1 Reduction Minimally No significant difference. one octave higher. In CS, this has Significant been reduced to the Flute at the higher octave. m. 80-84 In OS, the Flute 2 and the Oboe 2 Reduction Minimally Similar Reduction in BR double each other at the octave. In Significant 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 In OS, the Flute 1 doubles the Oboe 1 Reduction Minimally No significant difference. 3) -101 one octave higher. In CS, this has Significant been reduced to the Flute at the higher octave. m. 105 In CS, the original Clarinet 2 material is Reorganize Insignificant (beats 2 &3) played by the Oboe. m. 106-107 In CS, the original Flute 2 material is Reorganize Insignificant played by the Oboe one octave lower. m. 120-122 In CS, the original Oboe 1 material is Elimination Significant Same as OS - One of the few Eliminated. The pitch content is still eliminations that is substantially provided by a variety of string different. The original Oboe 1 instruments in a variety of registers. It material doubles the Soprano is also supplied by the Soprano voice. voice part. Therefore, Brahms has it figure predominantly in his arrangement. m. 141-148 In OS, the Flute 1 doubles the Oboe 1 Reduction Minimally No significant difference. one octave higher. In CS, this has Significant been reduced to the Flute at the higher octave. m. 153-156 In CS, the original Flute 2 material is Reorganize Insignificant played by the Oboe. m. 153-156 In OS, the Flute 1 doubles the Oboe 1 Reduction Minimally No significant difference one octave higher. In CS, this has Significant been reduced to the Flute at the higher octave. m. 173 In CS, the Oboe plays the original Horn Reorganize Insignificant (beat 2) - 1 material. 174 (beat 1) m. 176-179 In CS, the Oboe plays the original Flute Reorganize Insignificant 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 Reduction / Minimally Similar Reduction in BR - Brahms complements/doubles the original Reorganize Significant places the original Flute material Flute 1 material one octave lower. In in the Oboe register. CS, this doubling is Eliminated and the Oboe plays the original Flute 2 part at pitch.
82 m. 18-20 In CS, the Oboe plays the original Flute Reorganize Insignificant 2 material. m. 23 In CS, the Oboe plays the original Flute Reorganize Insignificant 2 material. m. 37 In OS, the Bassoon 1 doubles the Flute Reduction / Minimally No significant difference. 1 one octave lower. In CS, the Oboe Elimination / Significant plays the original Flute 1 part and the Reorganize Bassoon 1 part is eliminated. m. 38-39 In CS, the Flute plays the original Reorganize Insignificant Clarinet 1 material and the Oboe plays the original Clarinet 2 material. On the second of beat 2 in m. 39, they switch. m. 51 In CS, the Oboe plays the original Flute Reorganize Insignificant 2 material. m. 52-55 In CS, the Oboe plays the original Reorganize Insignificant Clarinet 2 material. m. 65-66 In CS, the Oboe plays the original Reduction / Insignificant Oboe 2 material. The original Oboe 1 Reorganize material is doubled by the Flute one octave higher. This doubling is eliminated in CS. m. 69 In CS, the Oboe plays the original Reduction / Insignificant Oboe 2 material. The original Oboe 1 Reorganize material is doubled by the Flute one octave higher. This doubling is eliminated in CS. m. 81-82 In OS, the Oboe 1 and Flute 2 play the Reduction / Insignificant same pitch in octaves. In CS, the Reorganize original Oboe is Eliminated and the Oboe plays the original Flute 2 pitch. Mvt. 6 m. 2-3 In OS, the Flute 1 doubles the Oboe 1 Reduction Minimally No significant difference one octave higher. In CS, this has Significant been reduced to the Flute at the higher octave. m. 25 (beat In CS, the original Flute 2 material is Reorganize Insignificant 2) - 26 (beat played by the Oboe. 1) m. 32-34 In OS, the Flute 1 doubles the Oboe 1 Reduction Minimally Similar Reduction in BR - Brahms one octave higher. In CS, this has Significant places the original Flute material been reduced to the Flute at the in the Oboe register. higher octave. m. 68--72 In OS, the original Oboe 1 & 2 material Reduction Minimally No significant difference doubles the Flute one octave lower. Significant In CS, this has been reduced to the Flute at the higher octave. m. 68-74 In CS, the Oboe plays the original Reorganize Insignificant Trombone 1 material.
83 m. 78 (beat In CS, the Oboe plays the original Reorganize Insignificant 1) material one octave higher. This is a doubling of the original Flute 1 material. m. 78 (beat In CS, the Oboe plays the original Flute Reorganize Insignificant 3) - 79 (beat 2 material. 1) m. 78 (beat In OS, the original Oboe 1 & 2 material Reduction Minimally Similar Reduction in BR - Brahms 3) - 79 (beat doubles the Flute one octave lower. Significant places the original Flute material 1) In CS, this has been reduced to the in the Oboe register. Flute at the higher octave. m. 79 (beat In CS, the original Clarinet 1 material is Reorganize Insignificant 3) - 80 (beat played by the Oboe. 1) m. 79 (beat In CS, the original Oboe 1 material is Reorganize Insignificant 3) - 80 (beat played/doubled by the Flute. 1) m. 88-89 / In OS, the Horn 1 & 2 and Trumpet 1 & Reduction / Insignificant No significant difference. 134-135 2 play the same pitch material. In CS, Reorganization this has been reduced to the upper octave (Horn 1 and Trumpet 1). This material is played by the Oboe. m. 90 (beats In OS, the Flute 1 doubles the Oboe 1 Reduction Minimally No significant difference 1-2) / 136 one octave higher. In CS, this has Significant been reduced to the Flute at the higher octave. m. 91-95 In CS, the Oboe plays the original Flute Reorganize Insignificant (beat 1) 2 material. m. 91-93 In OS, the Oboe 1, Clarinet 2, and Reduction / Minimally No significant difference (beat 1) Bassoon 2 all play the same pitches in Reorganization Significant two octaves. In OS, this has been reduced to the Clarinet but at the Bassoon 2 lower octave. m. 93 (beat In CS, the original Oboe 1 material is Reorganize Insignificant 2) - 95 played/doubled by the Horn one octave lower. m. 96-108 In OS, the Flute 1 doubles the Oboe 1 Reduction Minimally No significant difference one octave higher. In CS, this has Significant been reduced to the Flute at the higher octave. m. 93-104 In OS, the Flute 2 doubles the Oboe 2 Reduction Minimally Similar Reduction in BR (beat 2) one octave higher. In CS, Linckelmann Significant 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 In OS, the original Oboe 2 material Reduction Minimally Similar Reduction in BR - Brahms (beat 3) - doubles the Flute 2 one octave lower. Significant demonstrates a technique that 108 In CS, this has been reduced to the Linckelmann employs regularly. Oboe at the lower octave. He alternates between the higher and lower octaves.
84 m. 116-118 In OS, the Flute 1 doubles the Oboe 1 Reduction Minimally No significant difference. one octave higher. In CS, this has Significant been reduced to the Flute at the higher octave. m. 120 In CS, the original Oboe 1 material is Reorganize Insignificant played/doubled by the Flute. m. 121-126 In OS, the Flute 1 doubles the Oboe 1 Reduction Minimally No significant difference. one octave higher. In CS, this has Significant been reduced to the Flute at the higher octave. m. 122-123 In CS, the Oboe plays the original Reorganize Insignificant Trumpet 1 & Trombone 1 material. m. 124-126 In OS, the original Oboe 2 material Reduction Minimally Similar Reduction in BR doubles the Flute 2 one octave lower. Significant In CS, this has been reduced to the Oboe at the higher octave. m. 140-145 In this passage, Linckelmann combines Reorganize Significant No significant difference 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. m. 146-150 In OS, the original Oboe 2 material Reduction Minimally No significant difference doubles the Flute 2 one octave lower. Significant In CS, this has been reduced to the Oboe at the higher octave. 146-150 In OS, the Flute 1 doubles the Oboe 1 Reduction Minimally No significant difference one octave higher. In CS, this has Significant been reduced to the Flute at the higher octave. m. 150 In CS, the original Oboe 1 material is Reorganize Insignificant (beat 3) - doubled/played by the Flute. 153 (beat 2) m. 153 In CS, the original Oboe 1 material is Reorganize Insignificant (beat 3) - played/doubled by the Bassoon 1 two 154 (beat 1) octaves lower. m. 153 In CS, the Oboe plays the original Reorganize Insignificant (beat 3) - Clarinet 1 material. 154 (beat 1) m. 154 In CS, the original Oboe 1 material is Reorganize Insignificant (beat 3) - doubled/played by the Flute. 155 (beat 2) m. 157 In OS, the Flute 1 doubles the Oboe 1 Reduction Minimally No significant difference (beat 3) - one octave higher. In CS, this has Significant 158 (beat 1) been reduced to the Flute at the higher octave. m. 158 In CS, the original Oboe 1 material has Elimination Minimally No significant difference (beat 3) - been eliminated. All original pitch Significant 160 (beat 1) material is presented in other voices. Eliminated to play brass!
85 m. 158 In OS, the Horn 1,2,3,4 and Trumpet Reorganize Insignificant Elimination - For the most part (beat 3) - 1,2 all play the pitch of E in three the original brass material is 160 (beat 1) octaves. In CS, the highest octave eliminated. M. 158 (beat 3) - 159 (Horn 1,2 & Trumpet 1) is played by (beat 2) the pitch material is the Oboe. present one octave higher. m. 168-170 In CS, the Piccolo original material is Reorganize Insignificant played by the Oboe one octave lower. m. 171 In OS, the original Oboe 2 material Reduction Minimally Partial Elimination. The held (beat 2) - doubles the Flute 2 one octave lower. Significant pitches are eliminated, the 175 In CS, this has been reduced to the moving quarter notes are Oboe at the higher octave. retained with a doubling. m. 168 In CS, the original Oboe 1 material has Elimination Insignificant (beat 3) - been eliminated. All original pitch 169 (beat 2) material is presented in other voices. m. 169 In OS, the Flute 1 doubles the Oboe 1 Reduction Minimally No significant difference (beat 3) - one octave higher. In CS, this has Significant 175 been reduced to the Flute at the higher octave. m. 178-180 In CS, the Oboe plays the original Flute Reorganize Insignificant 2 material. m. 178-180 In OS, the Flute 1 doubles the Oboe 1 Reduction Minimally No significant difference one octave higher. In CS, this has Significant been reduced to the Flute at the higher octave. m. 184-186 In OS, the Piccolo, Oboe 1, Clarinet 2, Reduction Minimally No significant difference. and Bassoon 2 all play the same pitch Significant material in three octaves. In CS, this has been reduced to only the Flute at the highest octave. m. 184-186 In CS, the original Flute 2 material is Reorganize Insignificant played by the Oboe. m. 188-189 In OS, the Flute 1, Oboe 1, and Reduction Minimally No significant difference. Clarinet 1 all play the same pitch Significant material in two octaves. In CS, this has been reduced to only the Oboe at the lower octave. m. 190-193 In CS, the Piccolo original material is Reorganize Insignificant DIFFERENCE - In BR, the original played two octaves lower by the Piccolo material is eliminated. Oboe. The final note of m. 191 is The pitch material is retained but omitted. Then, m. 192-193 is played with a different rhythm and at a at original pitch by the Flute. different octave. m. 190-193 In OS, the Horn 1,2 and Trumpet 1,2 Reduction / Minimally Similar pitch material is all play the pitch of C in octaves. In Reorganization Significant presented, but not as a distinct CS, this has been reduced to the layer. highest octave and played by the Oboe. m. 194-208 In OS, the Piccolo doubles the Oboe 1 Reduction / Minimally No significant difference one octave higher. In CS, this has Reorganization Significant been reduced to the higher octave (Piccolo) and played by the Flute.
86 m. 204-208 In OS, the Flute 1, Clarinet 1, Bassoon Reduction Minimally In BR, this has been reduced to 1, Trumpet 1, and Horn 4 all play the Significant two octaves. same pitch material over three octaves. In CS, this has been reduced to only the Oboe in the middle octave. m. 224 In OS, the Horn 1,2 and Trumpet 1,2 Reorganize Insignificant In BR, this material has been all play the pitch of C in octaves. In eliminated. CS, the Oboe plays the high pitch (Horn 1, Trumpet 1) m. 226 In OS, the Trumpet 1 doubles the Reduction / Minimally No significant difference. Trumpet 2 one octave higher. In CS, Reorganization Significant 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 Reorganize Insignificant In BR, this material has been all play the same pitches. In CS, the eliminated. Oboe plays the high pitches (Horn 1, Trumpet 1) m. 233 In CS, the original Oboe 1 material is Reorganize Insignificant (beat 4) played/doubled by the Flute one octave higher. m. 249-262 In OS, the Flute 1 doubles the Oboe 1 Reduction Minimally Similar Reduction in BR - Brahms (beat 2) one octave higher. In CS, this has Significant places the original Flute material been reduced to the Flute at the in the Oboe register. higher octave. m. 250-257 In CS, the Oboe plays the original Reorganize Insignificant Trumpet 1 material. m. 259-260 In CS, the Oboe plays the original Horn Reorganize Insignificant 1,2 and Trumpet 1,2 material. m. 261-262 In CS, the Oboe plays the original Horn Reorganize Insignificant 1 and Trumpet 1 material. m. 262 In OS, the Flute material Elimination Minimally In BR, the original Flute material (beat 3) - doubles/complements the Oboe 1 Significant is presented but one octave 267 part. In CS, the original Oboe 1 part lower. This is actually the voice has been eliminated. The Flute parts. remains providing a majority of the original material. Eliminated pitches are provided by other woodwind parts. Elimination to play brass! m. 264-266 In CS, the Oboe plays the original Reorganize Insignificant Trumpet 1 material. m. 276-281 In OS, the Flute 1 doubles the Oboe 1 Reduction Significant DIFFERENCE - In OS, the one octave higher. In CS, this has woodwinds and violins echoed been reduced to the Flute at the each other. In BR, the entire higher octave. woodwind pattern has been eliminated. m. 276-281 In CS, the Oboe plays the original Reorganize Insignificant Trumpet 1 material. m. 282-286 In OS, the Flute 1 doubles the Oboe 1 Reduction Minimally Similar Reduction in BR - Brahms (beat 3) one octave higher. In CS, this has Significant places the original Flute material been reduced to the Flute at the in the Oboe register. higher octave.
87 m. 288-289 In OS, the Flute 1 doubles the Oboe 1 Reduction Minimally Similar Reduction in BR - Brahms one octave higher. In CS, this has Significant places the original Flute material been reduced to the Flute at the in the Oboe register. higher octave. m. 299-301 In CS, the original Oboe 1 & 2 material Reorganize Insignificant / 325-327 is played/doubled by the Horn one octave lower. m. 302-304 In OS, the Flute 1 doubles the Oboe 1 Reduction Minimally Similar Reduction in BR - Brahms / 328-330 one octave higher. In CS, this has Significant places the original Flute material been reduced to the Flute at the in the Oboe register. higher octave. m. 303-304 In CS, the Oboe plays the original Reorganize Insignificant / 329-330 Trumpet 1 material. m. 305-306 In OS, the Flute 1&2 and Oboe 1&2 all Reorganize Insignificant play the same pitch. In CS, the Oboe plays this material. m. 307-314 In OS, the Flute 1 doubles the Oboe 1 Reduction Minimally Similar Reduction in BR - Brahms (beat 2) one octave higher. In CS, this has Significant places the original Flute material been reduced to the Flute at the in the Oboe register. higher octave. m. 334-336 In CS, the Flute plays the original Oboe Reorganize Insignificant (beat 2) 1 material. m. 336 In OS, the Flute 1 doubles the Oboe 1 Reduction Minimally No significant difference. (beat 3) - one octave higher. In CS, this has Significant 340 been reduced to the Flute at the higher octave. m. 338-340 In CS, the Oboe plays the original Reorganize Insignificant Trumpet 1 material. m. 344-349 In OS, the Flute 1 doubles the Oboe 1 Reduction Minimally No significant difference. one octave higher. In CS, this has Significant been reduced to the Flute at the higher octave. m. 344-349 In CS, the Oboe plays the original Reorganize Insignificant Trumpet 1 material. Mvt. 7 m. 10-11 In CS, the original Flute 1 and Oboe 1 Reorganize Insignificant (beat 3) material is played by the Flute. m. 11 (beat In CS, the original Oboe 1 material is Reorganize Insignificant 4) - 12 (beat played/doubled one octave lower by 1) the Bassoon. m. 13-14 In CS, the Oboe plays the original Horn Reorganize Insignificant 1 material. m. 13 (beat In CS, the original Oboe 1 material is Reorganize Insignificant 1-3) played/doubled by the Flute. m. 13 (beat In CS, the original Oboe 1 material is Reorganize Insignificant 4) - 14 (beat played/doubled by the Clarinet. 1) m. 18-19 In CS, the original Oboe 1 material is Reorganize Insignificant played/doubled by the Clarinet. m. 22-25 In CS, the original Oboe 1 material is Reorganize Insignificant played/doubled by the Flute on octave higher.
88 m. 34-36 In OS, the Flute 1 doubles the Oboe 1. Reduction Insignificant In CS, this has been reduced to only the Oboe. m. 37 In CS, the original Oboe 1 material is Elimination Insignificant eliminated. The original pitch material is incorporated into the Flute part. m. 50-51 In CS, the original Oboe 1 material is Elimination Insignificant eliminated. The original pitch material is still present in the Bass three octaves lower. m. 50-51 In CS, the Oboe plays the original Reorganize Insignificant Oboe 2 material which doubles the Flute 2 part one octave lower. m. 87 (beat In CS, the Oboe plays the original Reorganize Insignificant 3) - 89 Oboe 2 material which doubles the Flute 2 part one octave lower. m. 87 (beat In CS, the original Oboe 1 material is Reorganize Insignificant 3) - 89 doubled/played by the Flute. m. 127-129 In CS, the original Oboe 1 material is Reorganize Insignificant doubled/played by the Clarinet. m. 131 In CS, the original Oboe 1 material is Reorganize Insignificant doubled/played by the Flute one octave higher. m. 131-132 In CS, the original Trombone 1 Reorganize Insignificant material is played by the Oboe. m. 133 In CS, the original Oboe 1 material is Elimination Minimally No significant difference (beat 4) - m. Eliminated. The pitch material Significant 135 (beat 2) remains present in other parts but not in the same melodic order. m. 136 In CS, the original Oboe 1 material for Change Insignificant beats 3&4 is changed to incorporate the Oboe 2 pitch. m. 140 In CS, the original Oboe 1 material is Reorganize Insignificant played/doubled by the Violin. m. 141 In CS, the original Oboe 1 material is Reorganize Insignificant played/doubled by the Flute one octave higher and by the Viola at pitch. m. 140-141 In CS, the original Trombone 1 Reorganize Insignificant material is played by the Oboe. m. 148 In CS, the original Oboe 1 material is Elimination Minimally Similar Elimination in BR - (beat 4) - m. eliminated. The pitch material Significant Elements of the original remain. 150 remains present in other parts but not in the same melodic order. m. 155-158 In CS, the original Oboe 1 material is Elimination Minimally A majority of the original (beat 2) Eliminated. The pitch material Significant material is presented in the same remains present in other parts but not register in the same order. In m. in the same melodic order. 156-157, a portion of the original material is eliminated.
89 m. 158 In CS, the original Oboe 1 material is Reorganize Insignificant (beat 3) - played/doubled by the Horn one 159 octave lower. m. 163-164 In CS, the original Oboe 1 material is Reorganize Insignificant played/doubled by the Flute one octave higher. m. 165-166 In CS, the original Oboe 1 material is Reorganize Insignificant played/doubled by the Bassoon.
Oboe 2
Measures Chamber Ensemble Notes Classification / Relevance Brahms Reduction Notes
Mvt. 1 m. 39 / 129 In CS, the original Oboe 2 material is Reorganize Insignificant played/doubled by the Flute one octave higher. m. 40-42 / In CS, the original Oboe 2 material is Reorganize Insignificant 130-132 played by the Clarinet. m. 45-47 In OS, the Bassoon 1 doubles the Reduction / Minimally No significant difference. Oboe 2 one octave lower. In CS, this Reorganization Significant has been reduced to only the upper octave, and the material is played by the Clarinet.
m. 53-55 In CS, the original Oboe 2 material is Reorganize Insignificant (beat 2) played by the Flute. m. 55 (beat In CS, the original Oboe 2 material has eliminated Minimally Similar Elimination - A majority 3) - 60 / 89- been eliminated. Most of the original Significant of the original pitch material is 93 pitch material is played by other retained but in a different instruments but with a different rhythm. rhythm. Small portions are not provided. m. 106 -109 In CS, Linckelmann composes new Reorganize Minimally No significant difference. (beat 2) material for the Clarinet and Oboe. Significant 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. 109 In CS, the original Oboe 2 material is Reorganize Insignificant (beat 3) - played by the Clarinet. 111 m. 115-117 In CS, the original Oboe 2 material is Reorganize Insignificant played by the Clarinet. m. 119-124 In OS, the Flute 2 doubles the Oboe 2. Reduction Insignificant In CS, this has been reduced to only the Flute. m. 125-127 In CS, the original Oboe 2 material is Reorganize Insignificant played by the Clarinet.
90 m. 136-142 In CS, the original Oboe 2 material is Reorganize Insignificant played by the Clarinet. m. 146-150 In CS, the original Oboe 2 material is Reorganize Insignificant (beat 2) played by the Clarinet. m. 155-157 In CS, the original Oboe 2 material is Reorganize Insignificant played/doubled by the Horn. (One octave lower for m. 157) m. 158 In CS, the original Oboe 2 material is Reorganize Insignificant played/doubled by the Bassoon one octave lower.
Mvt. 2 m. 2-6 (beat In CS, Linckelmann composes new Reorganize / Minimally All pitch material remains the 3) / m. 126 - material for the Oboe. This material Elimination Significant same, but the rhythm has been 130 (beat 3) is comprised of portion of the original changed to match the other Oboe 1& 2. Pitches not provided in woodwinds. new parts eliminated from the Oboe part, but are covered by other instruments. m. 7-9 / In CS, the original Oboe 2 material is Elimination Minimally In BR, all original pitch material is 131-133 eliminated. The original pitch Significant present. However, it is not material is present in other presented as one continuous instruments but with a different musical concept. rhythm. m. 17-20 In CS, the original Oboe 2 material is Elimination Minimally Similar Elimination in BR (beat 1) / eliminated. The original pitch Significant 141-144 material is present in other instruments but with a different rhythm. m. 24 (beat In CS, the original Oboe 2 material is Reorganize Insignificant 3) - 26 (beat played/doubled by the Clarinet. 2) / 148-150 m. 26 (beat In CS, the original Oboe 2 material is Elimination Minimally No significant difference. 3) - 28 (beat eliminated. The original pitch Significant 2) material is present in other instruments but with a different rhythm. m. 35-36 / In CS, the original Oboe 2 material is Reorganize Insignificant 159-160 played by the Clarinet. m. 37-41 / In CS, the original Oboe 2 material is Elimination Minimally No significant difference. 161-165 eliminated. The original pitch Significant material is present in other instruments but with a different rhythm. m. 52-55 / In CS, the original Oboe 2 material is Reorganize Insignificant 176-179 played by the Clarinet. The second beat of m. 53 & 54 is different. m. 57 (beat In CS, Linckelmann combines portions Reorganize Minimally No significant difference. 4)-58 (beat of the original Oboe 1 & 2 to create a Significant 2) / 181-182 new melodic and rhythmic pattern.
91 m. 58 (beat In CS, the original Oboe 2 material is Reorganize Insignificant 3) - 60 (beat played/doubled by the Clarinet. 2) / 182-184 m. 60 (beat In CS, the original Oboe 2 material is Reorganize Insignificant 3) - 61 (beat played/doubled by the Flute. 1) / 184-185 m. 82 (beat In CS, the original Oboe 2 material is Reorganize Insignificant 3) - 90 played by the Clarinet. m. 107-119 In CS, the original Oboe 2 material is Reorganize Insignificant played by the Clarinet. m. 205-206 In CS, the Oboe plays the original Reorganize Insignificant Flute 2 material at the higher octave. This is also a doubling for the Bassoon 1 part two octaves higher. m. 219-225 In OS, the Flute 2 doubles the Oboe 2 Reduction Minimally Similar Reduction - In BR, Brahms (beat 1) one octave higher. In CS, this has Significant reduces this to the higher octave. been reduced to the Oboe at the lower octave. m. 236-237 In CS, the Flute plays the original Reorganize Insignificant Oboe 2 material. m. 269 In CS, the Flute plays/doubles the Reorganize Insignificant original Oboe 2 one octave higher. m. 270-271 In CS, the original Oboe 2 material is Reorganize Insignificant played/doubled by the Clarinet. m. 272-275 In CS, the Oboe 2 original material is Elimination Insignificant 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 Reorganize Insignificant played/doubled by the Clarinet. m. 291-295 In OS, the Flute 2 doubles the Oboe 2. Reorganize Insignificant In CS, this material is played by the Oboe. m. 296-298 In OS, the Flute 2 doubles the Oboe 2 Reduction Insignificant one octave higher. In CS, this has been reduced to the Oboe at the lower octave. m. 327 & In CS, the original Oboe 2 material has Elimination Minimally No significant difference. 330 been eliminated. All original pitch Significant material is presented in other voices. m. 337 In CS, the original Oboe 2 material is Reorganize Insignificant played/doubled by the Clarinet one octave lower. Mvt. 3 m. 33-43 & In CS, the original Oboe 2 part has Elimination Minimally No significant difference. M. 39- 47 been eliminated. All original pitch Significant 40 pitch present but with a material is played by a variety different rhythm. woodwind instruments with the same rhythm. However, the register is typically not the same.
92 m. 61-62 In CS, the original Oboe 2 material is Reorganize Insignificant doubled/played by the Clarinet. m. 85-86 In CS, the original Oboe 2 material is Elimination Minimally Similar Elimination in BR eliminated. The original pitch Significant material is provided by the Bassoon two octaves lower with a different rhythm. m. 93-94 In CS, the Flute plays the original Reorganize Insignificant Oboe 2 material. m. 105-108 In CS, the original Oboe 2 part has Elimination Minimally No significant difference for m. been eliminated. All original pitch Significant 105-106. M. 107-108 are material is played by either the Horn eliminated. or Clarinet with as similar rhythm. m. 114-116 In CS, the original Oboe 2 material is Reorganize Insignificant played/doubled by the Bassoon one octave lower. m. 111-116 In OS, the original Flute 2, Oboe 2, Reduction Minimally In BR, this has been reduced to (beat 1) and Bassoon 2 play the same pitch Significant the top two octaves. material in three octaves. In CS, this has been reduced to only the Bassoon at the lowest octave. m. 128-129 In OS, the original Flute 2, Oboe 2, Reduction Minimally In BR, this has been reduced to and Bassoon 2 play the same pitch Significant the top and bottom octaves. material in three octaves. In CS, this has been reduced two the two lower octaves and doubled by the Clarinet (an additional doubling). m. 156 In OS, the Flute 2 doubles the Oboe 2 Reduction Minimally No significant difference (beat 3)-163 one octave higher. In CS, this has Significant been reduced to the Oboe at the lower octave. m. 170 In CS, the original Oboe 2 material is Elimination Insignificant Similar Elimination in BR - not (beat 3) - eliminated. The original pitch significant 171 (beat 2) material is provided other instruments but not with the same rhythm. m. 198-199 In CS, the original Oboe 2 material is Reorganize / Insignificant No significant difference doubled/played by the Flute. In OS, Reduction 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 m. 201 In OS, on the second half of the fourth Reorganize / Minimally DIFFERENCE - Brahms plays the (beat 4)-202 beat the Flute 1,2 and Oboe 1,2 Reduction Significant upper portion of the divisi at the divide. In CS, the Flute plays the lower octave (Oboe) and original Flute 1 and Oboe 1 at the eliminates the Flute 2 / Oboe 2 upper octave. The Oboe plays the pattern. The pitches are still original Flute 2 and Oboe 2 also at the present but with a different upper octave. rhythm.
93 m. 207-208 In OS, the Flute 2 doubles the Oboe 2 Reorganize / Minimally Reduction - In BR, this material is one octave higher. In CS, this has Reduction Significant reduced to the Oboe register been reduced to the higher octave rather than the Flute. (Flute), and it is played by the Oboe. Mvt. 4 m. 13-16 In OS, the Flute 2 and the Oboe 2 Reduction Minimally No significant difference. double each other at the octave. In Significant CS, the Clarinet plays this material at the lower (Oboe 2) octave. m. 47-48 In OS, the Flute 2 and the Oboe 2 Reduction Minimally This material is presented an double each other at the octave. In Significant octave lower than the original. CS, the Oboe plays this material but at the upper octave (original Flute 2). m. 54-56 In OS, the Flute 2 and the Oboe 2 Reduction Minimally No significant difference. double each other at the octave. In Significant CS, the Oboe plays this material at the lower (Oboe 2) octave. m. 62-63 In CS, the Clarinet plays the original Reorganize Insignificant Oboe 2 material. m. 70-73 In CS, the Flute plays the original Reorganize Insignificant Oboe 2 material. m. 78-79 In CS, the Clarinet plays the original Reorganize Insignificant Oboe 2 material. m. 80-84 In OS, the Flute 2 and the Oboe 2 Reduction Minimally Similar Reduction in BR double each other at the octave. In Significant 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. 116-119 In CS, the original Oboe 2 material is Elimination Significant All pitch material is present, but eliminated. The pitch content is still not always at the same register. provided by a variety of string instruments, but these vary by register and instrument almost every single note. m. 141-148 In OS, the Flute 2 and the Oboe 2 Reduction Minimally Similar Reduction in BR double each other at the octave. In Significant CS, the Oboe plays this material at the lower (Oboe 2) octave. m. 165-173 In OS, the Oboe 2 doubles the Clarinet Reduction Insignificant (beat 1) 2. In CS, this is reduced to only the Clarinet. m. 174 In CS, the original Oboe 2 material is Reorganize Insignificant (beat 2) - played by the Clarinet. 175
94 m. 176-179 In CS, the original Oboe 2 material is Reorganize Minimally No significant difference. played by the Oboe but one octave Significant 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 Reduction / Insignificant Oboe 2 material. The original Oboe 1 Reorganize material is doubled by the Flute one octave higher. This doubling is eliminated in CS. m. 69 In CS, the Oboe plays the original Reduction / Insignificant Oboe 2 material. The original Oboe 1 Reorganize material is doubled by the Flute one octave higher. This doubling is eliminated in CS. m. 75-76 In CS, the original Oboe 2 material is Reorganize Insignificant played by the Clarinet. m. 81-82 In OS, the Oboe 2 doubles the Reduction Insignificant 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 Reorganize Insignificant 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 Reduction Minimally No significant difference material doubles the Flute one octave Significant lower. In CS, this has been reduced to the Flute at the higher octave. m. 78 (beat In CS, the original Oboe 2 material is Reorganize Insignificant 3) - 79 (beat played by the Clarinet. 1) m. 79 (beat In CS, the original Oboe 2 material is Reorganize Insignificant 3) - 80 (beat played by the Clarinet. 1) m. 82-84 In OS, the original Oboe 2 material Reduction Minimally No significant difference (beat 2) / doubles the Flute one octave lower. Significant 128-130 In CS, this has been reduced to the Flute at the higher octave. m. 85-87 In OS, the original Oboe 2 material Reduction / Minimally No significant difference (beat 1) / doubled the Bassoon 1 material one Reorganization Significant 131-133 octave higher. In CS, this material is played by the Clarinet at the original Bassoon register. m. 87 (beat In CS, the original Oboe 2 material is Reorganize Insignificant 2-3) / 133 doubled/played by the Flute one octave higher.
95 m. 88-89 & In CS, the original Oboe 2 material is Reorganize Insignificant 90 (beat 3) / played/doubled by the Clarinet. 134-135 m. 91-92 In CS, the original Oboe 2 material is Reorganize Insignificant played/doubled by the Flute one octave higher. m. 93-104 In OS, the Flute 2 doubles the Oboe 2 Reduction Minimally Similar Reduction in BR (beat 2) one octave higher. In CS, Linckelmann Significant 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 In OS, the original Oboe 2 material Reduction Minimally Similar Reduction in BR - Brahms (beat 3) - doubles the Flute 2 one octave lower. Significant demonstrates a technique that 108 In CS, this has been reduced to the Linckelmann employs regularly. Oboe at the lower octave. He alternates between the higher and lower octaves. m. 116-118 In OS, the Flute 1, Oboe 2, and Reduction Minimally No significant difference. Clarinet 2 all play the same pitch Significant material in three octaves. In CS, this has been reduced to only the Clarinet in the middle octave. m. 120-121 In OS, several instruments have the Reduction Minimally No significant difference. pitch of C (Flute 1, Oboe 2, and Horn 1 Significant &2) over multiple octaves. In CS, this pitch material is played by the Cello. m. 122-123 In OS, the Flute 1, Oboe 2, and Reduction Significant No significant difference. 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. 124-126 In OS, the original Oboe 2 material Reduction Minimally Similar Reduction in BR doubles the Flute 2 one octave lower. Significant In CS, this has been reduced to the Oboe at the higher octave. m. 140-145 In this passage, Linckelmann Reorganize Significant No significant difference 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. m. 146-150 In OS, the original Oboe 2 material Reduction Minimally No significant difference doubles the Flute 2 one octave lower. Significant In CS, this has been reduced to the Oboe at the higher octave. m. 150 In CS, the original Oboe 2 material is Reorganize Insignificant (beat 3) - played by the Oboe. There is a 153 (beat 2) random rest on the second beat of m. 151. Possible mistake? m. 153 In CS, the original Oboe 2 material is Reorganize Insignificant (beat 3) - played/doubled by the Clarinet one 154 (beat 1) octave lower.
96 m. 155 In OS, the Flute 1 doubles the Oboe 2 Reduction Minimally In BR, large portions of the (beat 3) - one octave higher. In CS, this has Significant original material are eliminated 157 (beat 2) been reduced to only the Flute at the for m. 155-156. No change on m. higher octave. 157. m. 158-168 In OS, the Flute 1 doubles the Oboe 2 Reduction Minimally No significant difference one octave higher. In CS, this has Significant been reduced to only the Flute at the higher octave. m. 168 In CS, the original Oboe 2 material is Elimination Minimally Similar Elimination - retained (beat 3) - eliminated. All of the original pitch Significant pitches match 171 (beat 1) material is retained but not always with the same rhythm. m. 171 In OS, the original Oboe 2 material Reduction Minimally Partial Elimination. The held (beat 2) - doubles the Flute 2 one octave lower. Significant pitches are eliminated, the 175 In CS, this has been reduced to the moving quarter notes are Oboe at the higher octave. retained with a doubling. m. 176-177 In CS, the original Oboe 2 material is Reorganize Insignificant played by the Clarinet, but not with the exact same octave placement. m. 178-180 In CS, the original Oboe 2 material is Reorganize Insignificant doubled/played by the Clarinet. m. 182 In CS, the original Oboe 2 material is Reorganize Insignificant doubled/played by the Clarinet. m. 183 In CS, the original Oboe 2 material is Reorganize Insignificant doubled/played by the Flute one octave lower. m. 184-186 In OS, the Flute 1, Oboe 2, Clarinet 1, Reduction Minimally No significant difference and Bassoon 1 all play the same pitch Significant material in three octaves. In CS, this has been reduced to only the Clarinet in the middle octave. m. 188-189 In CS, the original Oboe 2 material is Elimination Significant No significant difference eliminated. No other instrument provides this pitch material. Significant because Oboe 2 originally doubled the Alto Voice. m. 190-191 In OS, the original Oboe 2 material Reduction Minimally Reduction - In BR, this material is doubles the Flute 1 one octave lower. Significant reduced to the Oboe register In CS, this has been reduced to the rather than the Flute. Flute at the higher octave. m. 192-193 In OS, the Flute 1, Oboe 2, Clarinet 1, Reduction / Minimally In BR, this has been reduced to Trombone 1, Tuba, and Bassoon 1 all Reorganization Significant two octaves (middle and play the same pitch material in four highest). octaves. In CS, this has been reduced to only the Bassoon playing the lowest octave (Tuba). m. 201-203 In OS, the Oboe 2 doubles the Flute 2 Reduction / Minimally Similar Reduction in BR one octave lower. In CS, this has been Reorganization Significant reduced to the higher octave (Flute 2) and played by the Oboe.
97 m. 204-208 In OS, the Flute 2, Oboe 2, Horn 1,2, Reduction / Minimally In BR, this has been reduced to Trumpet 2, and Trombone 3 all play Reorganization Significant two octaves (highest and lowest). the pitch of C in three octaves. In CS, this has been reduced to the lowest octave and is played by the Horn. m. 232 In OS, the Oboe 2 doubles the Oboe 1 Reduction Insignificant (beats 1-2) one octave lower. In CS, this has been reduced to only the upper octave. m. 234 In CS, the Oboe 2 material is Reorganize Insignificant played/doubled by the Flute one octave higher. m. 249 In CS, the original Oboe 2 material is Reorganize Insignificant (beat 4) - played by the Clarinet. 259 m. 260-267 In CS, the original Oboe 2 material is Elimination Minimally Most of the original material eliminated. Large portions of the Significant remains. M. 266 was eliminated. material can be found in the Clarinet part. m. 276-281 In CS, the original Oboe 2 material is Elimination Minimally DIFFERENCE - In OS, the eliminated. Much of the original pitch Significant woodwinds and violins echoed material can be found in the Clarinet each other. In BR, the entire part or other woodwinds. woodwind pattern has been eliminated. m. 299-301 In CS, the original Oboe 1 & 2 material Reorganize Insignificant / 325-327 is played/doubled by the Horn one octave lower. m. 301 In CS, the original Oboe 2 material is Reorganize Insignificant (beat 4) - played/doubled by Clarinet. 303 (beat 3) / 327-329 m. 303 In CS, the original Oboe 2 material is Elimination Insignificant (beat 4) - eliminated. All pitch material is 304 / 329- provided by other woodwind 330 instruments with the same rhythm. m. 305-306 In OS, the Flute 1&2 and Oboe 1&2 all Reorganize Insignificant / 331-332 play the same pitch. In CS, the Oboe plays this material. m. 307-308 In CS, the original Oboe 2 material is Elimination Insignificant eliminated. All pitch material is provided by other woodwind instruments with the same rhythm. m. 314 In CS, the original Oboe 2 material is Elimination Insignificant (beat 3) - eliminated. All pitch material is 316 provided by other woodwind instruments with the same rhythm. m. 337 In CS, the original Oboe 2 material is Reorganize Insignificant (beat 3) - played/doubled by Clarinet. 339 m. 340 In CS, the original Oboe 2 material is Reorganize Insignificant played/doubled by the Horn. m. 344-349 In CS, the original Oboe 2 & Flute 2 Reorganize Minimally No significant difference. material is presented in the Clarinet Significant part but with a mixture of octaves.
98 Mvt. 7 m. 10-12 In CS, the Clarinet plays the original Reorganize Insignificant Oboe 2 material. m. 13 (beats In CS, the Clarinet plays the original Reorganize Insignificant 1 &2) Oboe 2 material. m. 13 (beat In CS, the original Oboe 2 material is Reorganize Insignificant 3) - 14 played/doubled by the Flute one octave lower. m. 26 (beats In CS, the original Oboe 2 material is Elimination Insignificant 1 &2) eliminated. The pitch content is still provided by the Violin 2 but with a different rhythm. m. 26 (beat In CS, the original Oboe 2 material is Reorganize Insignificant 3) -28 played/doubled by the Clarinet. m. 34-36 In OS, the Flute 2 doubles the Oboe 2. Reduction Insignificant In CS, this has been reduced to only the Flute. m. 39 In CS, the original Oboe 2 is Reorganize Insignificant doubled/played by the Clarinet one octave lower. m. 49 In CS, the original Oboe 2 material is Elimination Minimally Similar to OS. In OS, the Oboe 2 eliminated. The pitch content is Significant plays a C#5 for 4 beats. In BR, present in other parts but with a this has been reduced to 2 beats. different rhythm. m. 102 In CS, the original Oboe 2 is Reorganize Insignificant doubled/played by the Horn. m. 111-112 In CS, the original Oboe 2 is Reorganize Insignificant doubled/played by the Clarinet. m. 117-123 In CS, the original Oboe 2 material is Elimination Minimally Similar Elimination in BR - some eliminated. The pitch content is Significant elements of OS remain, but not present in other parts but with a enough to state that the original different rhythm. material is present. m. 130-131 In CS, the original Oboe 2 material is Elimination Insignificant 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 Elimination Minimally No significant difference. eliminated. The pitch content is Significant present in other voices but not consistently. m. 140 In CS, the original Oboe 2 material is Reorganize Insignificant (beat 3) - doubled/played by the Flute one 141 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 Elimination Minimally A majority of the original material eliminated. The pitch content is Significant is retained, but some of the present in other instruments but not rhythms have changed. The consistently. original material from m. 149 has been eliminated. m. 156 In CS, the original Oboe 2 material is Reorganize Insignificant played/doubled in the Flute one octave higher.
99 m. 165-166 In OS, the Oboe 2 doubles the Flute 2 Reduction Insignificant one octave lower. In CS, this is reduced to only the Oboe but at the higher octave.
Clarinet 1
Measures Chamber Ensemble Notes Classification / Relevance Brahms Reduction Notes
Mvt. 1 m. 7-10 In CS, the original Horn 1 material is Reorganize Insignificant played by the Clarinet. m. 30-33 In OS, the original Bassoon 1 Reorganize Insignificant doubles the Cello 1. In CS, this is played by the Clarinet. m. 34 In CS, the original Trombone 1 Reorganize Insignificant material is played by the Clarinet. m. 35-37 In CS, the original Trombone 2 Reorganize Insignificant material is played by the Clarinet. m. 39 / 129 In CS, the original Flute 2 material is Reorganize Insignificant played by the Clarinet. m. 40-42 / In CS, the original Oboe 2 material is Reorganize Insignificant 130-132 played by the Clarinet. m. 45-47 In OS, the Bassoon 1 doubles the Reduction / Minimally No significant difference. Oboe 2 one octave lower. In CS, this Reorganization Significant has been reduced to only the upper octave, and the material is played by the Clarinet. m. 48 & 50 In CS, original harp material is Reduction Minimally played by Violin I and Clarinet. Significant 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 Reduction Minimally played by Clarinet. Slight variation - Significant 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 In CS, the original Horn 1 material is Reduction Insignificant (beat 1) played by the Clarinet.
m. 74 (beat Possible Mistake - Unknown N/A N/A 2) - 77 Material - See Horn 2 for details m. 80-83 In CS, the Flute 2 original material is Reorganize Insignificant played by the Clarinet
100 m. 87-93 In CS, original harp material is Reduction Minimally played by Clarinet. Slight variation - Significant 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 In CS, Linckelmann composes new Reorganize Minimally No significant difference. (beat 2) material for the Clarinet and Oboe. Significant 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. 109 In CS, the original Oboe 2 material is Reorganize Insignificant (beat 3) - played by the Clarinet. 111 m. 115-117 In CS, the original Oboe 2 material is Reorganize Insignificant played by the Clarinet. m. 119-120 In CS, the Clarinet plays the original Reorganize Insignificant Bassoon 1 material. m. 121-122 In CS, the original Horn 1 material is Reorganize Insignificant played by the Clarinet. m. 123-124 In CS, the Clarinet plays the original Reorganize Insignificant Bassoon 1 material. m. 125-127 In CS, the original Oboe 2 material is Reorganize Insignificant played by the Clarinet. m. 136-142 In CS, the original Oboe 2 material is Reorganize Insignificant played by the Clarinet. m. 144-145 In CS, the original Bassoon 1 Reorganize Insignificant material is played/doubled by the Oboe for beats 1&2 of m. 144, then by the Clarinet. m. 146-150 In CS, the original Oboe 2 material is Reorganize Insignificant (beat 2) played by the Clarinet. m. 150 In the CS, original harp material is Reduction Minimally (beat 3)- played by Clarinet and Flute. Significant 157 Mvt. 2 m. 2-4 In OS, the Clarinet 1 doubles the Reduction Minimally No significant difference. (beat 2) / Clarinet 2 one octave higher. In CS, Significant 126-128 this has been reduced to only the lower octave. m. 4 (beat In CS, the original Clarinet 1 material Reorganize Insignificant 3) - m. 5 is played/doubled by the Flute. (beat 1) / 128-129 m. 6 (beat In CS, the original Clarinet 1 material Reorganize Insignificant 3) - 7 / 130- is doubled/played by the Oboe one 131 octave higher. m. 9-10 / In CS, the original Viola 1 material is Reorganize Minimally 133-134 played / doubled by the Clarinet Significant starting on beat 2 of m. 9.
101 m. 9-10 / In CS, the original Clarinet 1 material Reorganize Insignificant 133-134 is played/doubled by a combination of the Violin 1 & 2. m. 13-21 / In CS, the original Flute 2 material is Reorganize Insignificant 137-145 played/doubled by the Clarinet. m. 14 & 16 In CS, the original Clarinet 1 material Elimination Minimally No significant difference. / 138 & 140 has been eliminated. All pitch Significant material is played by other instruments but not with the same rhythm. m. 16-21 / In CS, the original Clarinet 1 material Reorganize Insignificant 140-145 is doubled/played by the Flute one octave higher. m. 21 (beat In CS, the original Horn 1 & 2 Reorganize Insignificant 3) - 22 (beat material is played by the Clarinet 1) / 145- (one octave higher for the Horn 2). 146 22 (beat 3) - In CS, the original Clarinet 1 material Elimination Minimally Similar Elimination in BR 25 (beat 2) has been eliminated. All pitch Significant / 146-149 material is played by other instruments but not with the same rhythm. m. 27 (beat In CS, the original Clarinet 1 material Elimination Minimally m. 27-28 - Similar Elimination / m. 2) - 30 (beat has been eliminated. All pitch Significant 29-30 - No significant difference 2) material is played by other instruments but not with the same rhythm. m. 28 (beat In CS, the original Bassoon 1 Reorganize Insignificant 3) - m. 30 material is played by the Clarinet. (beat 2) / 152 (beat 3) - 154 (beat 2) m. 33-34 / In CS, the original Flute 2 material is Reorganize Insignificant 157-158 played/doubled by the Clarinet. m. 35-36 / In CS, the original Oboe 2 material is Reorganize Insignificant 159-160 played by the Clarinet. m. 34-36 In CS, the original Clarinet 1 material Elimination Minimally Similar Elimination in BR (beat 2) / has been eliminated. All pitch Significant 158-160 material is played by other instruments but not with the same rhythm. m. 42-48 In CS, the original Clarinet material Reorganize Insignificant (beat 2) / is played/doubled by the Flute. M. 166-172 43-44 contains a few different pitches. m. 44 / 168 In CS, the original Horn 1 & 2 Reorganize Insignificant DIFFERENCE - Brahms chooses to material is played by the Clarinet. eliminate this material. The pitch is provided but with a different rhythm. m. 48 (beat In CS, the Clarinet plays the original Reorganize Insignificant 3) - 49 (beat Flute 2 material. 2) / 172- 173
102 m. 50 (beat In CS, the Clarinet plays the original Reorganize Insignificant 3) - 52 (beat Flute 2 material. 2) / 174- 176 m. 52 (beat In CS, Linckelmann composes new Reorganize Minimally Brahms reduction is more similar to 3) - 61 / material for the Clarinet and Oboe. Significant the OS. In both arrangements, a 176-185 This material is comprised of majority of the original material is portion of the original Oboe 1 &2, provided. Clarinet 1 & 2, and Flute 2 material. m. 61 (beat In CS, the original Clarinet 1 material Reorganize Insignificant 3) - 62 (beat is played/doubled by the Oboe. 1) / 185- 186 m. 65-66 / In CS, the original Flute 1 material is Reorganize Insignificant 189-190 played by the Clarinet. m. 66 / 190 In CS, the original Clarinet 1 material Elimination Minimally In BR, this pitch material is present has been eliminated. All pitch Significant but not with the same rhythm. material is played by other instruments but not with the same rhythm. m. 82 (beat In CS, the original Flute 2 & Oboe 2 Reorganize Insignificant 3) - 90 material is played by the Clarinet. m. 107-119 In CS, the original Oboe 2 material is Reorganize Insignificant played by the Clarinet. m. 198-200 In CS, the original Flute 2 material is Reorganize Insignificant played by the Clarinet one octave lower. m. 198-201 In CS, the original Trombone 2 Reorganize Insignificant material is played by the Clarinet. m. 203-204 In CS, the original Clarinet 1 material Elimination Minimally In BR, this pitch material is present (beat 1) has been eliminated. All pitch Significant but not with the same rhythm. material is played by other instruments but not with the same rhythm. m. 203-204 In CS, the original Trombone 1 Reorganize Insignificant (beat 1) material is played by the Clarinet. m. 205 In OS, the Clarinet 1, Bassoon 2, Reduction Insignificant 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 In CS, the original Bassoon 1 Reorganize Insignificant (beat 4) - material is played by the Clarinet. 222 m. 213 In CS, the original Clarinet 1 material Reorganize Insignificant (beat 4) - is played by the Flute. 218 m. 213 In CS, the original Bassoon 1 Reorganize Insignificant (beat 4) - material is played by the Clarinet. 222
103 m. 220 & In CS, the original Clarinet 1 material Elimination Minimally Similar Elimination in BR - Portions 222-224 has been eliminated. All pitch Significant of original material are presented. material is played by other instruments but not with the same rhythm. m. 227-231 In CS, the original Clarinet 1 material Elimination Minimally Similar Elimination in BR has been eliminated. All pitch Significant material is played by other instruments but not with the same rhythm. m. 241-242 In OS, the Clarinet 1 doubles the Reduction Minimally No significant difference. Clarinet one octave higher. In CS, Significant this has been reduced to the higher octave. m. 245 In CS, the original Clarinet 1 & 2 Reorganize Insignificant material is doubled/played by the Flute one octave higher. m. 245-250 In CS, the Horn 3 & 4 material is Reduction Minimally No significant difference. (beat 1) played by the Clarinet. Octave Significant doublings have been reduced to the top octave. m. 255-261 In CS, the original Trombone 2 Reorganize Insignificant material is played by the Clarinet. m. 271 - In CS, the original Clarinet 1 material Reorganize Insignificant 285 (beat 2) is doubled/played by the Flute one octave higher. m. 285 In CS, the original Clarinet 1 material Reorganize Insignificant (beat 3) - is doubled/played by the Oboe. 290 m. 285-286 In CS, the original Trumpet 1 Reorganize Insignificant material is played by the Clarinet. m. 287 In CS, the original Trombone 1 Reorganize Insignificant (beat 4) - material is played by the Clarinet. 288 m. 291-297 In CS, the original Clarinet 1 material Reorganize Insignificant is doubled/played by the Flute one octave higher. m. 291-293 In CS, the original Trombone 1 Reorganize Insignificant material is played by the Clarinet. m. 296-297 In OS, the Horn 1 is doubled by the Reorganize Insignificant DIFFERENCE - Brahms chooses to Horn 2 one octave lower. In CS, this eliminate this material. The pitch is has been reduced to only the upper provided but with a different octave (Horn 1). This material is rhythm. played by the Clarinet. m. 298 In CS, the original Clarinet 1 material Elimination Minimally No significant difference. has been eliminated. All pitch Significant material is played by other instruments but not with the same rhythm. m. 299-303 In CS, Linckelmann creates a new Reorganize Minimally In BR, this pitch material is present Clarinet part that includes portions Significant but not with the same rhythm. of the original Clarinet 1 & 2 and Flute 2.
104 m. 316-318 In CS, the original Clarinet 1 material Elimination Minimally In BR, much of the original material has been eliminated. All pitch Significant is either eliminated or in a different material is played by other register. Portions have not been instruments but not with the same eliminated. rhythm. m. 318 In CS, the original Violin 2 (2) Reorganize Insignificant (beat 3) - material is played by the Clarinet. 319 m. 326-327 In CS, the original Clarinet 1 material Reorganize Insignificant is played/doubled by the Viola. m. 326-327 In CS, the original Bassoon 1 Reorganize Insignificant material is played by the Clarinet. m. 329 In CS, the Clarinet plays the original Reorganize Insignificant (beat 3) - Trombone 2 material. 333 (beat 1) m. 328-329, In CS, the original Clarinet 1 material Reorganize Insignificant 331-333 is doubled/played by the Oboe. m. 330 In CS, the original Clarinet 1 material Reorganize Insignificant is played/doubled by the Flute one octave higher. m. 333-337 In CS, the original Clarinet 1 material Reorganize Insignificant is played by the Clarinet but one octave lower. Mvt. 3 m. 17-20 In OS, the Trumpet 1 & 2 played in Reorganize Insignificant 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 Reorganize Insignificant & 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 Reorganize Insignificant is played/doubled by the Horn one octave lower. m. 39-40 In CS, the original Trombone 2 Reorganize Insignificant material is played/doubled by the Clarinet one octave higher. m. 41-47 In CS, the original Clarinet 1 material Elimination / Insignificant is eliminated. All original pitch Reorganize material is provided by woodwind instrument with the same rhythm, but not in the same octave. m. 77-78 In CS, the original Horn 1 material is Reorganize Insignificant (beat 3) played by the Clarinet. m. 77 (beat In CS, the original Trumpet 1 Reorganize Insignificant 2) - 79 (beat material is played by the Clarinet. 1) m. 81-84 In CS, the original Clarinet 1 material Reorganize Insignificant is played/doubled by the Flute.
105 m. 81 (beat In CS, the original Bassoon1 material Reorganize Insignificant 3) -83 is played by the Clarinet. m. 85-86 In CS, the original Clarinet 1 material Elimination / Minimally No significant difference. The is eliminated. All original pitch Reorganize Significant rhythm is slightly altered due to the material is provided by woodwind rhythm of the strings. instrument with the same rhythm, but not in the same octave. m. 87-90 In CS, the Clarinet plays the original Reorganize Insignificant Horn 3 material. m. 93-96 In CS, the original Clarinet 1 material Reorganize Insignificant is played/doubled by the Oboe. m. 93-97 In CS, the original Trumpet 1 & 2 Reorganize Insignificant (beat 1) & material is played by the Clarinet 98 (beat 1) (one octave higher for Trumpet 2). m. 105-112 In CS, the original Bassoon 1 Reorganize Insignificant material is played by the Clarinet. m. 112 In CS, the original Clarinet 1 material Reorganize Insignificant (beat 3) is played/doubled by the Bassoon one octave lower. m. 116-118 In CS, the original Bassoon 1 Reorganize Insignificant (beat 1) material is played by the Clarinet. m. 121-122 In CS, the original Horn 3 material is Reorganize Insignificant played/doubled by the Clarinet. m. 126 In CS, the original Clarinet 1 material Reorganize Insignificant (beat 3) is played/doubled by the Horn. m. 126 In CS, the Clarinet plays the original Reorganize Insignificant Trombone 2 material. m. 127 In CS, the original Horn 1 material is Reorganize Insignificant played by the Clarinet. m. 128 In CS, the Clarinet plays the original Reorganize Insignificant Trombone 2 material. m. 131 In CS, the original Clarinet 1 material Reorganize Insignificant (beat 4) is played by the Flute for this one beat. m. 132-133 In CS, the Oboe plays the original Reorganize Insignificant Clarinet 1 material. m. 140 In CS, the original Clarinet 1 material Reorganize Insignificant (beat 1) is played/doubled by the Horn. m. 142 & In CS, the Clarinet plays the original Reorganize Insignificant 144-145 Trumpet 2 material. m. 143 In CS, the original Horn 1 material is Reorganize Insignificant played by the Clarinet. m. 149 In CS, the Clarinet plays one half Reorganize Insignificant Elimination in BR note of the original Horn 3 material and one half note of the original Horn 4 material. m. 150 In OS, the Clarinet 1 doubles the Reduction Minimally No significant difference. (beats 2-3) Clarinet 2 one octave higher. In CS, Significant & 152 this has been reduced to only the (beats 2-3) lower octave. m. 151 & In CS, the original Clarinet 1 & 2 Reorganize Insignificant 153 material is played/doubled by the Flute one octave higher.
106 m. 151 & In CS, the Clarinet plays the original Reorganize Insignificant 153 Horn 3 & 4 material but with a different rhythm. m. 154-156 In CS, the original Horn 1 material is Reorganize Insignificant (beat 2) 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 Reduction Insignificant Similar Reduction in BR. At m. 159, Clarinet 2 one octave higher. In CS, Brahms moves the reduction to the this has been reduced to the upper lower octave. octave. m. 164-169 In CS, the original Trombone 1 Reorganize Insignificant material is played by the Clarinet. m. 170 In CS, the original Trumpet 2 Reorganize Insignificant material is played by the Clarinet. m. 170 In CS, the original Clarinet 1 material Reorganize Insignificant (beat 3) is played/doubled by the Flute. m. 171 In CS, the original Clarinet 1 material Reorganize Insignificant (beat 3) - is played/doubled by the Oboe. 172 m. 191 In CS, the Clarinet plays content Reorganize Insignificant (beats 2-3) very similar to the original Trumpet 1. The rhythm has been changed very slightly. m. 199 In CS, the original Clarinet 1 material Reorganize Insignificant (beat 3&4) is played by the Flute. m. 200-201 In OS, the Clarinet 1 doubles the Reduction Minimally Similar Reduction in BR (beat 2) Clarinet 2 one octave higher. In CS, Significant this has been reduced to only the lower octave. m. 207 In CS, the Clarinet rhythm changes Reorganize Insignificant (beats 2-3) on these two beats to match the rhythm and pitch of the Horn 3,4 and Trumpet 1,2 m. 207 In CS, the Clarinet 1 material is Reorganize Insignificant (beat 4) played/doubled by the Flute one octave higher. Mvt. 4 m. 13-16 In OS, the Flute 2 and the Oboe 2 Reduction / Minimally No significant difference. double each other at the octave. In Reorganize Significant CS, the Clarinet plays this material at the lower (Oboe 2) octave. m. 59-62 In OS, the Flute 1 and Clarinet 1 Reduction / Minimally Similar Reduction in BR - Brahms (beat 1) double each other at the octave. In Reorganize Significant chooses to reduce to the original CS, this is reduced to only the Flute Clarinet register. playing at the higher octave. m. 59-62 In OS, the Flute 2 and Clarinet 2 Reduction / Minimally Similar Reduction in BR (beat 1) double each other at the octave. In Reorganize Significant CS, this is reduced to only the Clarinet playing at the lower octave. m. 62 (beat In CS, the Clarinet plays the original Reorganize Insignificant 2) -63 Oboe 2 material.
107 m. 78-79 In CS, the Clarinet plays the original Reorganize Insignificant Oboe 2 material. m. 87 (beat In OS, the Flute 1 and Clarinet 1 Reduction / Minimally No significant difference. 2) -89 double each other at the octave. In Reorganize Significant CS, this is reduced to only the Flute playing at the higher octave. m. 87 - 89 In CS, the Clarinet plays the original Reorganize Insignificant Horn 2 material. m. 106-107 In CS, the Clarinet plays the original Reorganize Insignificant Horn 2 material. m. 132 In CS, the Clarinet 1 original material Reorganize Insignificant is played/doubled by the Oboe. m. 149-153 In CS, the Clarinet 1 original material Reorganize Insignificant is played by the Bassoon. m. 165-172 In CS, the Oboe plays/doubles the Reorganize Insignificant (beat 1) original Clarinet 1 material. m. 173 In CS, the Oboe doubles the original Reorganize Insignificant (beat 2) - Clarinet 1 material one octave 174 (beat 1) lower. m. 174 In CS, the original Oboe 2 material is Reorganize Insignificant (beat 2) - played by the Clarinet. 175 m. 175 In CS, the Oboe plays/doubles the Reorganize Insignificant original Clarinet 1 material one octave higher. Mvt. 5 m. 4-5 In CS, the original Clarinet 1 material Reorganize Insignificant is played by the Bassoon one octave lower. m. 6-7 In CS, the original Clarinet 1 material Elimination / Minimally Elimination - Brahms eliminates the is incorporated partially into the Reduction Significant original Clarinet 2 material in m. 6 Clarinet and Flute parts. The pitch and portions of the original Flute 1 content is present but the rhythms material in m. 7 in order to provide are not sustained. the Clarinet part. m. 11-12 In OS, the original Flute 1 material Elimination / Minimally No significant difference. (beat 1) doubles the Clarinet 1 material one Reduction Significant octave higher. In CS, this has been reduced to only the Flute 1. m. 12 (beat In OS, the original Violin 1 material Reduction / Insignificant 3) - 14 (beat doubles the Clarinet 1 material. In Reorganize 1) CS, this has been reduced to only the Violin 1. m. 12-14 In CS, the original Flute 2 material is Reorganize Insignificant played by the Clarinet. m. 14-16 In OS, the Bassoon 1, Clarinet 1, and Reduction Minimally Similar Reduction in BR - Brahms Flute 1 play the same pitch material Significant reduces this material to the bottom in octaves. In CS, this has been two octaves as opposed to the top reduced to only the Flute 1 at the octave as in CS. higher octave.
108 m. 18-23 In OS, the original Flute 1 material Reduction Minimally Similar Reduction - Brahms chooses doubles the Clarinet 1 material one Significant to reduce the material to the octave higher. In CS, this has been origiona Clarinet 1 register. reduced to only the Flute 1. m. 27-28 In OS, the Bassoon 1&2, Clarinet Reduction Minimally No significant difference 1&2, and Flute 1&2 play the same Significant pitch material in octaves. In CS, this has been reduced to the Flute, Clarinet, Bassoon. m. 30-31 In CS, the Clarinet plays the original Reorganize Insignificant Flute 2 material. m. 32-35 In CS, the original Clarinet material Reorganize Minimally Reduction - In BR, this material has has been integrated into both the Significant been reduced to only the Flute Flute (one octave higher) and material. Clarinet parts. The rhythm has been modified from half to quarter notes in m. 33. m. 35-38 In CS, the original Viola 1 material is Reorganize Insignificant played by the Clarinet. m. 38-39 In CS, the Flute plays the original Reorganize Insignificant Clarinet 1 material and the Oboe plays the original Clarinet 2 material. On the second of beat 2 in m. 39, they switch. m. 45 (beat In OS, the original Flute 1 material Reduction Minimally Similar Reduction - In BR, this 2) - 46 (beat doubles the Clarinet 1 material one Significant material is reduced to the lower 1) octave higher. In CS, this has been Clarinet level. reduced to only the Flute 1. m. 49 In CS, the original Clarinet 1 material Reorganize Insignificant is played by the Horn. m. 50 In CS, the original Flute 1 material is Reorganize Insignificant 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 Reorganize Insignificant is played by the Horn one octave lower. m. 60-62 In OS, the Bassoon 1, Clarinet 1, and Reduction Minimally Similar Reduction in BR Flute 1 play the same pitch material Significant in octaves. In CS, this has been reduced to only the Flute and Clarinet in octaves. m. 66 (beat In OS, the original Flute 1 material Elimination / Minimally 4) - m. 68 doubles the Clarinet 1 material one Reduction Significant octave higher. In CS, this has been reduced to only the Flute 1.
109 m. 73-74 In OS, the Bassoon 1, Clarinet 1, and Reduction Minimally Similar Reduction in BR - In CS, Flute 1 play the same pitch material Significant Linckelmann chooses to reduce to in octaves. In CS, this has been the upper two octaves. In BR, reduced to only the Flute and Brahms chooses to reduce to the Clarinet in octaves. bottom two octaves. m. 75-76 In CS, the original Oboe 2 material is Reorganize Insignificant played by the Clarinet. m. 81-82 In CS, the Clarinet plays the original Reorganize Insignificant Bassoon 1 material. m. 81-82 In CS, the Oboe plays the original Reorganize Insignificant Clarinet material one octave higher. Mvt. 6 m. 24-26 In CS, the original Clarinet 1 material Reorganize Insignificant is doubled/played by the Flute one octave higher. m. 32-34 In OS, the original Clarinet 1 doubles Reduction Minimally In BR, this pitch material is present the Clarinet 2 one octave higher. In Significant at both octaves, but not with the CS, this has been reduced to the same rhythm as OS. higher octave. m. 58-59 In CS, the original Clarinet 1 material Reorganize Insignificant is doubled/played by the Flute. m. 68-70 In CS, the original Trombone 2 Reorganize Insignificant (beat 2) material is played by the Clarinet. m. 70 (beat In CS, the Clarinet plays the original Reorganize Insignificant 3) - 72 (beat Trombone 3 material. 2) m. 72 (beat In CS, the original Trombone 2 Reorganize Insignificant 3) - 77 material is played/doubled by the Clarinet. m. 78 (beat In CS, the original Oboe 2 material is Reorganize Insignificant 3) - 80 (beat played by the Clarinet. 1) m. 76-77 In CS, the original Clarinet 1 material Reorganize Insignificant is played/doubled by the Flute one octave higher. m. 78 (beat In CS, the original Clarinet 1 material Reorganize Insignificant 3) - 79 (beat is played/doubled by the Bassoon 1) one octave lower. m. 79 (beat In CS, the original Clarinet 1 material Reorganize Insignificant 3) - 80 (beat is played by the Oboe. 1) m. 82-87 / In CS, the original Clarinet 1 material Reorganize Insignificant 128-133 is played/doubled by the Flute one octave higher. m. 88-89 / In CS, the original Clarinet 1 material Reorganize Insignificant 134-135 is played/doubled by the Horn one octave lower. m. 90-94 In CS, the original Clarinet 1 material Reorganize Insignificant (beat 1) / is played/doubled by the Oboe. 136-140 m. 94 In CS, the original Clarinet 1 material Reorganize Insignificant (beats 2) - is played/doubled by the Bassoon 95 (beat 1) one octave lower. / 140-141
110 m. 96 In CS, the original Clarinet 1 material Reorganize Insignificant (beats 2-3) is played/doubled by the Flute one / 142 octave higher. m. 97 In CS, the original Clarinet 1 material Reorganize Insignificant (beats 2) - is played/doubled by the Bassoon 98 (beat 1) one octave lower. / 143-144 m. 99 (beat In CS, the original Clarinet 1 material Reorganize Insignificant 2) - 104 is played/doubled by the Flute one (beat 1) / octave higher. 145-150 m. 85-87 In CS, the original Bassoon 1 Reorganize Insignificant (beat 1) / material is played by Clarinet. 131-133 m. 95 (beat In Cs, the original Bassoon 1 Reorganize Insignificant 2) - 96 / 98 material is played/doubled by the (beat 2) - 99 Clarinet. (beat 1) m. 93 (beat In CS, the original Trombone 1 Reorganize Insignificant 2) -94 (beat material is played/doubled by the 1) / 96 Clarinet. (beat 2) - 97 (beat 1) m. 99-101 / In CS, Linckelmann creates a new Reorganize Insignificant 145-147 Clarinet part that includes portions of the original Trombone 2 & 3 material. m. 101 In CS, the original Trombone 2 Reorganize Insignificant (beat 2) - material is played by the Clarinet. 104 (beat 1) / 147-150 m. 122-123 In OS, the Flute 1, Oboe 2, and Reduction Significant 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. 141 In Cs, the original Bassoon 1 Reorganize Insignificant (beat 2) - material is played/doubled by the 142 / 144 Clarinet. (beat 2) - 145 (beat 1) m. 139 In CS, the original Trombone 1 Reorganize Insignificant (beat 2) - material is played/doubled by the 140 (beat 1) Clarinet. / 142 (beat 2) - 143 (beat 1) m. 150-155 In CS, the original Clarinet 1 material Reorganize Insignificant is played/doubled by the Oboe. m. 156-157 In CS, the original Clarinet 1 material Reorganize Insignificant (beat 2) is played/doubled by the Flute one octave higher. m. 157 In CS, the original Clarinet 1 material Reorganize Insignificant (beat 3) - is played/doubled by the Bassoon 158 (beat 1) one octave lower.
111 m. 158 In CS, the original Clarinet 1 material Reorganize Insignificant (beat 3) - is played/doubled by the Flute one 159 (beat 2) octave higher. m. 159 In CS, the original Clarinet 1 material Reorganize Insignificant (beat 3) - is played by the Clarinet but one 161 (beat 1) octave lower. m. 151-161 In CS, the original Horn 1 & 2 Reorganize Insignificant 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 Reorganize Minimally Clarinet 1 one octave lower. The Significant original Flute material for m. 183 doubles the Clarinet 1 material. However, this is now two octaves lower than original. m. 182-183 In CS, the original Flute 2 material is Reorganize Insignificant played/doubled by the Clarinet one octave lower. m. 184-186 In OS, the Flute 1, Oboe 2, Clarinet Reduction Minimally 1, and Bassoon 1 all play the same Significant pitch material in three octaves. In CS, this has been reduced to only the Clarinet in the middle octave. m. 188-189 In OS, the Flute 1, Oboe 1, and Reduction Minimally Clarinet 1 all play the same pitch Significant material in two octaves. In CS, this has been reduced to only the Oboe at the lower octave. m. 188-191 In CS, the original Bassoon 1 Reorganize Insignificant material is played/doubled by the Clarinet. The third beat of m. 189 and 191 has changed. m. 190-191 In CS, the original Clarinet 1 material Reorganize Insignificant is played/doubled by the Flute one octave higher. m. 192-193 In OS, the Flute 1, Oboe 2, Clarinet Reduction / Minimally In BR, this has been reduced to two 1, Trombone 1, Tuba, and Bassoon 1 Reorganization Significant octaves (middle and highest). all play the same pitch material in four octaves. In CS, this has been reduced to only the Bassoon playing the lowest octave (Tuba). m. 192-193 In CS, the original Clarinet 1 material Reorganize Insignificant is doubled/played by the Bassoon two octaves lower.
112 m. 194-195 In CS, the Clarinet plays the original Reorganize Insignificant Horn 3,4 and Clarinet 2 material. m. 194-200 In CS, the original Clarinet 1 material Reorganize Insignificant is doubled/played by the Oboe. m. 196-200 In CS, the Clarinet plays the original Reorganize Insignificant Horn 3 & 4 material. m. 201-203 In CS, the original Bassoon 1 Reorganize Insignificant material is played by the Clarinet. m. 202 In CS, the original Clarinet 1 material Reorganize Insignificant is played/doubled by the Horn. m. 204-208 In OS, the Flute 1, Clarinet 1, Reduction Minimally Bassoon 1, Trumpet 1, and Horn 4 Significant all play the same pitch material over three octaves. In CS, this has been reduced to only the Oboe in the middle octave. m. 234 In CS, the original Clarinet 1 material Reorganize Insignificant is played/doubled by the Horn. m. 235-238 In CS, the original Bassoon 1 Reorganize Insignificant material is played by the Clarinet. m. 246 In CS, the Flute plays the original Reorganize Insignificant (beat 2) - Clarinet 1 material. 247 m. 249 In CS, the original Oboe 2 material is Reorganize Insignificant (beat 4) - played by the Clarinet. 259 m. 249 In CS, Linckelmann creates a new Reorganize Insignificant (beat 4) - Clarinet part. This is comprised of 259 material from the original Clarinet 1 & 2, Oboe 2, and Horn 3 & 4. m. 260-267 In CS, Linckelmann creates a new Reorganize Insignificant 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 Reorganize Insignificant is either played by the Clarinet or doubled by the Flute one octave higher. m. 282-285 In CS, the original Clarinet 1 material Reorganize Insignificant is played/doubled by the Flute one octave higher. m. 292-304 In CS, the original Clarinet 1 material Reorganize Insignificant is played/doubled by the Flute one octave higher. m. 312 In CS, the original Horn 1 & 2 Reorganize Insignificant (beat 4) - material is played/doubled by the 313 (beat 1) Clarinet.
113 m. 314-316 In CS, the original Clarinet 1 material Reorganize Insignificant (beat 1) is played/doubled by the Horn. m. 316 In OS, the Clarinet 1, Horn 1, and Reorganize Insignificant Horn 4 all play the same pitch material. This material is played by the Flute. m. 320-330 In CS, the original Clarinet 1 material Reorganize Insignificant is played/doubled by the Flute one octave higher. m. 333-340 In CS, the original Clarinet 1 material Elimination Minimally No significant difference. is not consistently played by one Significant 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 In CS, the original Clarinet 1 material Reorganize Insignificant (beats 1-2) is played/doubled by the Bassoon two octaves lower. m. 342 In CS, the original Clarinet 1 material Elimination Minimally No significant difference. (beat 2) - is eliminated. All original pitch Significant 344 (beat 3) material is present in other parts but not with the same rhythm. m. 344 In CS, the original Clarinet 1 material Reorganize Insignificant (beat 4) - is played/doubled by the Flute one 345 (beat 2) octave higher. m. 346 In CS, the original Clarinet 1 material Reorganize Insignificant is played/doubled by the Horn. m. 347 In CS, the original Horn 1 & 2 Reorganize Insignificant material is played/doubled by the Clarinet. m. 344-349 In CS, the original Oboe 2 & Flute 2 Reorganize Minimally material is presented in the Clarinet Significant part but with a mixture of octaves. m. 349 In CS, the original Clarinet 1 material Reorganize Insignificant is played/doubled by the Oboe. Mvt. 7 m. 5-6 In CS, the original Clarinet 1 material Reorganize Insignificant is doubled/played by the Flute m. 10-12 In CS, the Clarinet plays the original Reorganize Insignificant Oboe 2 material. m. 10-12 In CS, the Flute plays/doubles the Reorganize Insignificant original Clarinet 1 material one octave higher. m. 13 (beat In CS, the original Flute 2 material is Reorganize Insignificant 4) - 14 (beat played by the Clarinet one octave 1) lower. m. 13-14 In CS, the original Clarinet 1 material Reorganize Insignificant is doubled/played by the Flute one octave higher. m. 13-14 In CS, the Clarinet plays the original Reorganize Insignificant Clarinet 2 material.
114 m. 24-26 In CS, the original Clarinet 1 material Elimination Minimally In BR, a majority of the original (beat 2) is eliminated. The pitch material is Significant material is retained, but portions played by a variety of other have been eliminated. instruments but with different rhythms. m. 26 (beat In CS, the Flute plays/doubles the Reorganize Insignificant 3) - 33 original Clarinet 1 material one octave higher. m. 34 - 35 In CS, the Oboe plays/doubles the Reorganize Insignificant (beat 1) original Clarinet 1 material one octave higher. m. 35 (beat In CS, the Oboe plays/doubles the Reorganize Insignificant 2) original Clarinet 1. m. 35-38 In CS, the Clarinet plays the original Reorganize Insignificant Horn 2 material. m. 37-39 In CS, the original Clarinet 1 material Elimination Minimally Similar Elimination in BR is eliminated. All original pitch Significant material is played but in a variety of instruments in a variety of registers. m. 40-47 In CS, the Clarinet plays the original Reorganize Insignificant 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 Elimination Significant Similar Elimination in BR is eliminated. The original pitch material is played by other instruments but with a different rhythm. m. 58-69 In CS, the Clarinet plays the original Reorganize Insignificant Horn 4 material. m. 70-71 In OS, the Horn 3 doubles the Horn Reorganize / Insignificant 4 one octave higher. In CS, this is Reduction reduced to only the Horn 3 register and is played by the Clarinet. m. 70-71 In CS, the original Clarinet 1 material Elimination Significant No significant difference. is eliminated. The original pitch material is played by other instruments but with a different rhythm. m. 76-78 In CS, the Clarinet plays the original Reorganize Insignificant Trombone 2 material. m. 79-81 In CS, the original Clarinet 1 material Elimination Significant No significant difference. (beat 1) 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. 81-83 In CS, the Clarinet plays the original Reorganize Insignificant Trombone 2 material. m. 87 (beat In CS, the original Clarinet 1 material Elimination Minimally No significant difference. 3) - 89 is eliminated. The original pitch Significant material is played by a variety of other instruments in a variety of registers.
115 m. 87 (beat In CS, the Clarinet plays the original Reorganize Insignificant 4) -91 Bassoon 1 material. m. 106-107 In CS, the original Clarinet 1 material Reorganize Insignificant is played/doubled by the Flute one octave higher. m. 113 In CS, the Flute plays the Clarinet 1 Reorganize Insignificant material. m. 113 In CS, the Clarinet plays the original Reorganize Insignificant (beats 3&4) Bassoon 1 material. m. 115-118 In CS, the Flute plays/doubles the Reorganize Insignificant original Clarinet 1 material one octave higher. m. 119-123 In CS, the Flute plays/doubles the Reorganize Insignificant 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. 124-126 In CS, the Flute plays/doubles the Reorganize Insignificant original Clarinet 1 material one octave higher. m. 130 In CS, the Flute plays/doubles the Reorganize Insignificant original Clarinet 1 material one octave higher. m. 131 In CS, the Flute plays the Clarinet 1 Reorganize Insignificant pitch material. The rhythm is slightly different because the Flute plays its original material on the first beat. m. 145-146 In CS, the Clarinet plays the original Reorganize Insignificant Trombone 2 material. m. 158 In CS, the Clarinet plays the original Reorganize Insignificant (beat 3) - Harp material. 159 m. 158 In CS, the original Clarinet material Reorganize Insignificant (beat 3) - is doubled/played by the Oboe. 159 m. 163-164 In CS, the original Clarinet material Reorganize Insignificant is doubled/played by the Oboe.
Clarinet 2
Measures Chamber Ensemble Notes Classification / Relevance Brahms Reduction Notes
Mvt. 1 TACET Mvt. 2 m. 5 (beat 3) In CS, the original Clarinet 2 material Elimination Minimally No significant difference. 6 (beat 1) / has been eliminated. The original pitch Significant 129-130 material is played by other instruments.
116 m. 8-9 (beat In CS, the original Clarinet 2 material Elimination Minimally Similar Elimination in BR 1) / 132-133 has been eliminated. The original pitch Significant material is played by other instruments. m. 24 (beat In CS, the original Clarinet 2 material Elimination Minimally Similar Elimination in BR 2) - 25 (beat has been eliminated. The original pitch Significant 2) / 148-149 material is played by other instruments. m. 25 (beat In CS, the original Clarinet 2 material Elimination Minimally No significant difference. A couple 3) - 30 (beat has been eliminated. The original pitch Significant of the rhythms have been changed 2) / 149-154 material is played by other slightly. instruments. m. 35-36 In CS, the original Clarinet 2 material Elimination Minimally Similar Elimination in BR (beat 2) / has been eliminated. The original pitch Significant 159-160 material is played by other instruments. m. 36 (beat In CS, the original Clarinet 2 material is Reorganize Insignificant 3) - 41 / 160- played/doubled by the Bassoon. 165 m. 44 (beat In CS, the original Clarinet 2 material Elimination Minimally Similar Elimination in BR 1-2) & 48-50 has been eliminated. The original pitch Significant (beat 2) / material is played by other 168 & 172- instruments. 174 m. 52 (beat In CS, Linckelmann composes new Reorganize Minimally Brahms reduction is more similar to 3) - 61 / 176- material for the Clarinet and Oboe. Significant the OS. In both arrangements, a 185 This material is comprised of portion of majority of the original material is the original Oboe 1 &2, Clarinet 1 & 2, provided. and Flute 2 material. m. 66 / 190 In CS, the original Clarinet 2 material is Reorganize Insignificant played/doubled by the Violin 2. m. 67-73 / In CS, the original Clarinet 2 material is Reorganize Insignificant 191-197 played/doubled by the Bassoon one octave lower. m. 202 Possible Mistake - In CS, the Horn plays New Minimally No significant difference. The new content (Pitches D-G-C) that is not Content Significant chords in BR do include the pattern in the original. It is most closely used by Linckelmann. related to the Clarinet 2 material (D-C- G). m. 203-206 In CS, the original Clarinet 2 material Elimination Minimally In BR, this pitch material is present has been eliminated. All pitch material Significant but not with the same rhythm. is played by other instruments but not with the same rhythm. m. 212-213 In CS, the Flute plays the original Reorganize Insignificant Clarinet 2 material. m. 214-218 In CS, the Flute plays the original Reorganize Insignificant Clarinet material (1 &2) m. 219-222 In CS, the original Clarinet 2 material Elimination Minimally About 50 % of the original material has been eliminated. All pitch material Significant has been eliminated or presented is played by other instruments but not with a different rhythm. with the same rhythm.
117 m. 225 (beat In CS, the original Clarinet 2 material is Reorganize Insignificant 3) - 226 played/doubled by the Oboe. m. 241-242 In OS, the Clarinet 1 doubles the Reduction Minimally No significant difference. Clarinet one octave higher. In CS, this Significant has been reduced to the higher octave. m. 245 In CS, the original Clarinet 1 & 2 Reorganize Insignificant material is doubled/played by the Flute one octave higher. m. 272-275 In CS, the Clarinet plays the original Reorganize Insignificant Clarinet 2 pitches but with the Horn 4 rhythm. m. 284-286 In CS, the original Clarinet 2 material is Reorganize Insignificant played/doubled by portions of the Violin 1,2, and Viola 1 parts. m. 287-290 In CS, the original Clarinet 2 material Elimination Minimally No significant difference. has been eliminated. All pitch material Significant is played by other instruments but not with the same rhythm. m. 291-298 In CS, the original Clarinet 2 material is Reorganize Insignificant played/doubled by the Oboe one octave higher. m. 299-303 In CS, Linckelmann creates a new Reorganize Minimally In BR, this pitch material is present Clarinet part that includes portions of Significant but not with the same rhythm. the original Clarinet 1 & 2 and Flute 2. m. 311-314 In OS, the Clarinet 1 doubles the Reduction Minimally No significant difference. Clarinet one octave higher. In CS, this Significant has been reduced to the lower octave. m. 315 In CS, the original Clarinet 1 material is Reorganize Insignificant (beats 1-3) played/doubled by the Flute one octave higher. m. 326-327 In CS, the original Clarinet 2 material Elimination Minimally No significant difference. has been eliminated. All pitch material Significant is played by other instruments but not with the same rhythm. m. 329 (beat In CS, the original Clarinet 2 material Elimination Minimally No significant difference. 3) - 330 has been eliminated. All pitch material Significant is played by other instruments but not with the same rhythm. m. 333 (beat In CS, the original Clarinet 2 material is Reorganize Insignificant 3) - 336 played/doubled by the Oboe. Mvt. 3 m. 33-35 In CS, the original Clarinet 2 material is Reorganize Insignificant doubled/played by the Bassoon one octave lower. m. 36-38 In CS, the original Clarinet 2 material is Reorganize Insignificant doubled/played by the Horn.
118 m. 41-47 In CS, the original Clarinet 2 material is Reorganize Insignificant doubled/played by the Bassoon. M. 44 & 46 are doubled by the Horn. m. 61 In CS, the original Clarinet 2 material is Reorganize Insignificant played/doubled by the Horn one octave lower. m. 62 In CS, the original Clarinet 2 material Elimination Minimally Similar Elimination has been eliminated. The original pitch Significant material is played by the Violin 2 but at a different octave and with a different rhythm. m. 81-83 In CS, the original Clarinet 2 material is Reorganize Insignificant played/doubled by the Horn. m. 93-96 In OS, the Clarinet 1 doubles the Reduction Minimally In BR, this pitch material is present Clarinet 2 one and two octaves higher. Significant but not with the same rhythm. In CS, this has been reduced to only the higher octave and is played by the Oboe. m. 111 - 112 In CS, the original Clarinet 2 material is Reorganize Insignificant (beat 2) doubled/played by the Bassoon one octave lower. m. 113 In CS, the Flute plays the original Reorganize Insignificant (beats 2-3) Clarinet 2 material. m. 116-118 In CS, the original Clarinet 2 material is Reorganize Insignificant (beat 1) doubled/played by the Bassoon one octave lower. m. 129 In CS, the Oboe plays the original Reorganize Insignificant Clarinet 2 material. m. 130-131 In CS, the original Clarinet 2 material is Reorganize Insignificant (beat 3) played by the Flute. m. 138 - 139 In CS, the original Clarinet 2 material is Reorganize Insignificant (beat 2) doubled/played by the Bassoon one octave lower. m. 139 (beat In CS, the original Clarinet 2 material is Reorganize Insignificant 3) played by the Flute. m. 150 In OS, the Clarinet 1 doubles the Reduction Minimally No significant difference. (beats 2-3) & Clarinet 2 one octave higher. In CS, Significant 152 (beats this has been reduced to only the 2-3) lower octave. m. 151 & In CS, the original Clarinet 1 & 2 Reorganize Insignificant 153 material is played/doubled by the Flute one octave higher. m. 154-156 In CS, the original Horn 1 material is Reorganize Insignificant (beat 2) played by the Clarinet. This is the original Clarinet 1 & 2 material but an octave lower. m. 171 In CS, the original Clarinet 2 material is Reorganize Insignificant (beats 1-2) played/doubled by the Flute one octave higher. m. 185-187 In CS, the original Clarinet 2 material is Reorganize Insignificant (beat 2) played by the Flute.
119 m. 205 In CS, a portion of the Clarinet 2 Reorganize Insignificant 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 In CS, the original Clarinet 2 material Elimination Minimally Similar Elimination in BR 4) - 207 has been eliminated. All pitch material Significant (beat 3) is played by other instruments but not with the same rhythm.
Mvt. 4 m. 1-4 In OS, the Oboe doubles the Clarinet 2 Reduction Minimally Similar Reduction - In BR, this one octave higher. In CS, this is Significant material is reduced to the lower reduced to only the Oboe at the higher Clarinet register. octave. m. 7-11 In CS, the Flute plays the original Reorganize Insignificant Clarinet 2 material. m. 17-21 In CS, the Flute plays the original Reorganize Insignificant 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 Reorganize Insignificant played by the Oboe one octave higher. m. 49-50 In OS, the Bassoon 2 doubles the Reduction Minimally Similar Reduction in BR Clarinet 2 one octave lower. In CS, this Significant has been reduced to only the Bassoon at the lower octave. m . 51-52 In CS, the original Clarinet 2 material is Elimination Minimally No significant difference. eliminated. The original pitch material Significant is present in other parts, but with a different rhythm pattern. m. 53-56 In OS, the Bassoon 2 doubles the Reduction Minimally Similar Reduction in BR Clarinet 2 one octave lower. In CS, this / Significant has been reduced to only the Bassoon Reorganize at the lower octave. m. 57-58 In CS, the Oboe plays the original Reorganize Insignificant Clarinet 2 material. m. 59-62 In OS, the Flute 2 and Clarinet 2 double Reduction Minimally Similar Reduction in BR (beat 1) each other at the octave. In CS, this is / Significant reduced to only the Clarinet playing at Reorganize the lower octave. m. 87 (beat In OS, the Oboe doubles the Clarinet 2 Reduction Minimally m. 87 - Eliminated in BR / m.88-89 - 2) - 89 one octave higher. In CS, this is / Significant No significant difference. reduced to only the Oboe at the higher Reorganize octave. m. 92-96 In CS, the Flute plays the original Reorganize Insignificant Clarinet 2 material. m. 102-104 In CS, the Flute plays the original Reorganize Insignificant Clarinet 2 material. The fourth beat of m. 103 has been changed. m. 105 In CS, the original Clarinet 2 material is Reorganize Insignificant (beats 2 &3) played by the Oboe.
120 m. 131 In CS, the original Clarinet 2 material is Reorganize Insignificant played by the Horn. m. 161-164 In CS, the original Clarinet 2 material is Reorganize Insignificant (beat 1) played by Horn. m. 165 (beat In OS, the Flute 2 and the Clarinet 2 Reduction Minimally No significant difference. 2) - 173 double each other at the octave. In CS, / Significant this doubling is reduced to only the Reorganize Clarinet at the lower octave. m. 173 (beat In CS, the Flute plays the original Reorganize Insignificant 2) - 174 Clarinet 2 material. (beat 1) m. 175 In CS, the original Clarinet 2 material is Elimination Minimally Pitch is present, but one octave eliminated. No other instrument plays Significant higher. this pitch material. m. 176-179 In CS, the original Clarinet 2 material is Reorganize Insignificant doubled/played by the Oboe one octave higher. Mvt. 5 m. 9 - 10 In CS, the original Clarinet 2 part is Reorganize Insignificant (beat 1) played by the Flute. m. 12 (beat In OS, the Flute 2 doubles the Clarinet Reduction Minimally Similar Reduction - In BR, this 3) - 14 2 one octave higher. The only / Significant material is reduced to the higher exception is the third beat of m. 12. Elimination Flute register. 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). m. 14-16 In OS, the Bassoon 2, Clarinet 2, and Reduction Minimally Reduction - In BR, this has been Flute 2 play the same pitch material in Significant reduced to the bottom two octaves. octaves. In CS, this has been reduced to only the Bassoon at the lower octave. m. 20 (beat On this beat, in CS, the Clarinet plays Reduction Insignificant 3) the original Clarinet 1 material. The Clarinet 2 part is played by the Oboe one octave higher. m. 27-28 In OS, the Bassoon 1&2, Clarinet 1&2, Reduction Minimally No significant difference and Flute 1&2 play the same pitch Significant material in octaves. In CS, this has been reduced to the Flute, Clarinet, Bassoon. m. 28 In CS, the Clarinet plays the original Reduction Insignificant 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.
121 m. 32-34 In CS, the Clarinet plays the original Reorganize Minimally All original pitch material is present, (beat 2) Flute 2 material one octave lower. The Significant but with slightly different rhythm. original Clarinet 2 material is incorporated into this material, but with a slightly different rhythm. m. 34 (beat In CS, the original Clarinet 2 part is Reorganize Insignificant 3) - m. 35 played by the Flute one octave higher. m. 37 In CS, the Flute plays the original Reorganize Insignificant Clarinet material. m. 38-39 In CS, the Flute plays the original Reorganize Insignificant Clarinet 1 material and the Oboe plays the original Clarinet 2 material. On the second of beat 2 in m. 39, they switch. m. 44 (beat In CS, the Clarinet plays the original Elimination Minimally No significant difference. 4) - 45 (beat Clarinet 1 material. The original Significant 2) Clarinet 2 material is eliminated. The pitch material exists in string parts but with different rhythms. m. 52-55 In CS, the Oboe plays the original Reorganize Insignificant Clarinet 2 material. m. 60-62 In OS, the Bassoon 2, Clarinet 2, and Reduction Minimally Reduction - In BR, this has been Flute 2 play the same pitch material in Significant reduced to the highest and the octaves. In CS, this has been reduced lowest octaves. to only the Bassoon at the lower octave. m. 69 In CS, the original Clarinet 2 material is Elimination Minimally No significant difference. eliminated. The original pitch material Significant is present in other parts, but with a different rhythm. m. 73-74 In OS, the Bassoon 2, Clarinet 2, and Reduction Minimally Reduction - In BR, this has been Flute 2 play the same pitch material in Significant reduced to only the top octave. octaves. In CS, this has been reduced to only the Bassoon at the lower octave. m. 81-82 In OS, the original Clarinet 2 material Reduction Minimally No significant difference. doubles the Bassoon 2 one octave Significant higher. In CS, this has been reduced to only the Bassoon. Mvt. 6 m. 2-3 In CS, the original Clarinet 2 material is Reorganize Insignificant played/doubled by the Horn. The leap goes in the opposite direction as the OS. m. 7-10 In CS, the original Clarinet 2 material is Reorganize Insignificant doubled/played by the Flute one octave higher. m. 20-22 In CS, the Flute plays the original Reorganize Insignificant (beat 1) Clarinet 2 material. m. 23 In CS, the original Clarinet 2 material is Reorganize Insignificant played/doubled by the Bassoon one octave lower.
122 m. 25 (beat In CS, the original Clarinet 2 material is Reorganize Insignificant 2) - 26 (beat played/doubled by the Oboe one 1) octave higher. m. 32-34 In OS, the original Clarinet 1 doubles Reduction Minimally In BR, this pitch material is present the Clarinet 2 one octave higher. In CS, Significant at both octaves, but not with the this has been reduced to the higher same rhythm as OS. octave. m. 75 In CS, the original Clarinet 2 material is Reorganize Insignificant played/doubled by the Oboe one octave higher. m. 78-79 In CS, the original Clarinet 2 material is Reorganize Insignificant (beat 1) played/doubled by the Viola. m. 79 (beat In CS, the original Clarinet 2 material is Elimination Minimally Similar Elimination in BR 3) - 80 eliminated. All original pitch material Significant is present with the same rhythm but in a different register. m. 85-87 In CS, the original Clarinet 2 material is Reorganize Insignificant (beat 1) / played/doubled by the Oboe one 131-133 octave higher. m. 93 (beat In CS, the original Clarinet 2 material is Reorganize Insignificant 2), 95 (beat played/doubled by the Bassoon one 2) - 96 (beat octave lower. 1), 98 (beat 2)- 99 (beat 1) m. 96 (beat In CS, the original Clarinet 2 material is Reorganize Insignificant 2) - 97 (beat played/doubled by the Oboe one 1) / 142-143 octave higher. m. 99-104 / In CS, the Horn plays the original Reorganize Insignificant 145-150 Clarinet 2 material. m. 108 In CS, the original Clarinet 2 material is Reorganize Insignificant played/doubled by the Horn one octave lower. m. 116-118 In OS, the Flute 1, Oboe 2, and Clarinet Reduction Significant No significant difference. 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. 122-123 In CS, the Horn plays the original Horn Reorganize Insignificant 3, Trombone 1, and Clarinet 2 material. m. 124-126 In CS, the original Clarinet 2 material is Reorganize Insignificant (beat 1) played/doubled by the Bassoon one octave lower. m. 139 (beat In CS, the original Clarinet 2 material is Reorganize Insignificant 2), 141 (beat played/doubled by the Bassoon one 2) - 142 octave lower. (beat 1), 144 (beat 2)- 145 (beat 1)
123 m. 151-157 In CS, the original Clarinet 2 material is Reorganize Insignificant (beat 2) & played/doubled by the Bassoon one 158 (beat 3) octave lower. - 164 m. 165-166 In CS, the original Clarinet 2 material is Reorganize Insignificant (beat 1) played/doubled by the Oboe one octave higher. m. 166 (beat In CS, the original Clarinet 2 material is Reorganize Insignificant 2) - 177 played/doubled by the Bassoon one octave lower. m. 178-180 In CS, the original Clarinet 2 material is Reorganize Insignificant played/doubled by the Flute two octaves higher. m. 182 (beat In CS, the original Clarinet 2 material is Reorganize Insignificant 3) & 183 played/doubled by the Oboe. (beat 2) m. 184-186 In CS, the original Clarinet 2 material is Reorganize Insignificant played/doubled by the Flute two octaves higher. m. 188-189 In CS, the original Clarinet 2 material is Elimination Minimally No significant difference. eliminated. All original pitch material Significant is present but with a different rhythm. m. 194-195 In CS, the Clarinet plays the original Reorganize Insignificant Horn 3,4 and Clarinet 2 material. m. 201 In CS, the original Clarinet 2 material is Reorganize Insignificant played/doubled by the Flute two octaves higher. m. 202 In CS, the original Clarinet 2 material is Reorganize Insignificant played/doubled by the Bassoon two octaves lower. m. 203 In CS, the original Clarinet 2 material is Reorganize Insignificant played/doubled by the Horn one octave lower. m. 233 In CS, the original Clarinet 2 material is Reorganize Insignificant played/doubled by the Bassoon one octave lower. m. 246 (beat In CS, the Flute plays the original Reorganize Insignificant 2) -248 (beat Clarinet 2 material. 1) m. 249 (beat In CS, Linckelmann creates a new Reorganize Insignificant 4) - 259 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 Reorganize Insignificant 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 Reorganize Insignificant either played by the Clarinet or played by another instrument with a different rhythm.
124 m.287 (beat In CS, the original Clarinet 2 material is Reorganize Insignificant 4) - 290 played/doubled by the Oboe. m. 291-292 In CS, the Flute plays the original Reorganize Insignificant (beat 2) Clarinet 2 and Bassoon 2. m. 298 (beat In CS, the original Clarinet 2 material is Reorganize Insignificant 4) - 303 & played/doubled by the Bassoon one 305-308 octave lower. m. 309-310 In CS, the original Clarinet 2 material is Elimination Minimally No significant difference. (beat 3) eliminated. All original pitch material Significant is present in other instruments but not with the same rhythm. m. 317 In CS, the original Clarinet 2 material is Reorganize Insignificant played/doubled by the Bassoon one octave lower. m. 318-319 In OS, the Clarinet 2 and Bassoon 2 Reorganize Insignificant play the same pitch material. This material is played by the Flute. m. 324 (beat In CS, the original Clarinet 2 material is Reorganize Insignificant 4) - 329 played/doubled by the Bassoon one (beat 3) octave lower. m. 328 (beat In CS, the original Clarinet 2 material is Reorganize Insignificant 4) - 330 played/doubled by the Horn one (beat 3) octave lower. m. 336-339 In CS, the original Clarinet 2 is Reorganize Insignificant presented by a variety of woodwind instruments in a variety of registers. m. 342-346 In CS, the original Clarinet 2 material is Elimination Minimally No significant difference. eliminated. All original pitch material Significant is present in other instruments but not with the same rhythm. m. 347 In CS, the Horn plays the original Reorganize Insignificant Clarinet 2 material. m. 348 In CS, the original Clarinet 2 material is Reorganize Insignificant 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 Reorganize Insignificant original Clarinet 2 material. Mvt. 7 m. 10-11 In CS, the original Flute 2 and Clarinet 2 Reorganize Insignificant (beat 3) material (one octave lower) is played by the Clarinet at the higher octave. m. 11 (beat In CS, the original Flute 2 and Clarinet 2 Reorganize Insignificant 4) - 12 (beat material (one octave lower) is played 1) by the Bassoon at the higher octave. m. 13-14 In CS, the Clarinet plays the original Change Insignificant Clarinet 2 material one octave higher.
125 m. 18-19 In CS, the original Clarinet 2 part is Reorganize Insignificant doubled/played by the Oboe. m. 34 In CS, the Clarinet plays the a C on the Reorganize Insignificant 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 In CS, the original Clarinet 2 material is Reorganize Insignificant (beat 2) doubled/played by the Flute one octave higher. m. 35 (beat In CS, the original Clarinet 2 material is Elimination Insignificant 3) -36 (beat eliminated. The pitch material is 2) played by a variety of instruments. m. 35-38 In CS, the Clarinet plays the original Reorganize Insignificant Horn 2 material. m. 37 In CS, the original Clarinet 2 material is Reorganize Insignificant doubled/played by the Oboe one octave higher. m. 38 In CS, the original Clarinet 2 material is Elimination Insignificant eliminated. The pitch material is played by a variety of instruments. m. 40-47 In CS, the Clarinet plays the original Reorganize Insignificant 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 2 material is Elimination Minimally Similar Elimination in BR eliminated. The original pitch material Significant is played by other instruments but with a different rhythm. m. 70-71 In CS, the original Clarinet 2 material is Elimination Minimally No significant difference. eliminated. The original pitch material Significant is played by other instruments but with a different rhythm. m. 84-85 In CS, the Flute plays the Clarinet 2 Reorganize Insignificant (beat 3) material. m. 86 In CS, the original Clarinet 2 material is Elimination Minimally No significant difference. eliminated. No other instrument plays Significant the original pitch material. m. 87 - 89 In CS, the original Clarinet 2 material is Elimination Minimally Similar Elimination in BR eliminated. The original pitch material Significant is played by other instruments but with a different rhythm. m. 111-112 In CS, the original Clarinet 2 material is Reorganize Insignificant played/doubled by the Oboe one octave higher. m. 113 (beat In CS, the original Clarinet 2 material is Elimination Insignificant 4) eliminated. The original pitch material is played by the Viola and Cello but with a different rhythm.
126 m. 122-123 In CS, the original Clarinet 2 material is Reorganize Insignificant not played on the downbeat of these measures. Instead alternative pitches from other woodwind instruments are played. m. 127-129 In CS, the original Clarinet 2 material is Reorganize Insignificant played/doubled by the Oboe. m. 132 (beat In CS, the original Clarinet 2 material is Reorganize Insignificant 1) played/doubled by the Oboe. m. 140 In CS, the original Clarinet 2 material is Reorganize Insignificant (beats 1 & 2) played/doubled by the Oboe. m. 140 (beat In CS, the original Clarinet 2 material is Elimination Minimally No significant difference. 3) - 141 eliminated. The original pitch material Significant is played by other instruments but with a different rhythm.
m. 143 In CS, the Flute plays the Clarinet 2 Reorganize Insignificant (beats 1-3) pitch material. The rhythm is slightly different because the Flute plays its original material on the fourth beat. m. 144 (beat In CS, the original Clarinet 2 material is Elimination Insignificant 1) eliminated. The original pitch material / is played by the Violin 2. Reorganize
m. 157-158 In CS, the original Clarinet 2 material is Elimination Minimally The same pitch material is present (beat 2) eliminated. The original pitch material Significant but in a variety of registers. is played by a variety of instruments in a variety of registers m. 158 (beat In CS, the original Clarinet 2 material is Reorganize Insignificant 3) - 159 doubled/played by the Horn one octave lower. m. 164 In CS, the original Clarinet 2 material is Elimination Minimally Similar Elimination in BR - All pitch (beats 2-4) eliminated and the Clarinet plays the / Significant material is provided but with a original Harp material. The Flute plays Reorganize different rhythm. the same pitch material two octaves higher. m. 165-155 In CS, the original Clarinet 2 material is Reorganize Insignificant doubled/played by the Oboe one octave higher.
Bassoon 1
Measures Chamber Ensemble Notes Classification / Relevance Brahms Reduction Notes
Mvt. 1 m.2-15 In CS, the Bassoon plays the original Reorganize Minimally No significant difference. Cello 2 part. Significant timbre Significant change. m. 27 In CS, the Cello 1 material is played Reorganize Insignificant by the Bassoon.
127 m. 28-29 In CS, the original Cello 2 material is Reorganize Insignificant played by the Bassoon. m. 30-33 In OS, the original Bassoon 2 doubles Reorganize Insignificant the Cello 2. In CS, this is played by the Bassoon. m. 30-33 In OS, the original Bassoon 1 doubles Reorganize Insignificant the Cello 1. In CS, this is played by the Clarinet. m. 34-37 In CS, the Bassoon plays the original Reorganize Insignificant Trombone 3 material. m. 39 (beat In CS, the original Bassoon 1 Elimination Minimally No significant difference. 2) - 42 material is eliminated. All original Significant pitch material is provided by other instruments with a different rhythm. m. 42-44 In CS, the original Horn 2 material is Reorganize Insignificant played by the Bassoon. m. 46 In CS, the original Horn 2 material is Reorganize Insignificant played /doubled by the Bassoon. m. 45-47 In OS, the Bassoon 2 doubles the Reorganize Insignificant Trombone 2. In CS, this material is played by the Bassoon. m. 45-47 In OS, the Bassoon 1 doubles the Reduction / Minimally No significant difference. Oboe 2 one octave lower. In CS, this Reorganization Significant has been reduced to only the upper octave, and the material is played by the Clarinet. m. 53 In OS, the Bassoon parts play the Change Minimally In BR, the lower octave is pitch of Db at an octave for a half Significant eliminated. note. In CS, Linckelmann writes two quarter notes. One from the lower octave, one from the higher. m. 54 (beat In CS, the original Bassoon 1 Elimination Minimally No significant difference. 3)-55 material is eliminated for two beats. Significant 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 Reorganize Insignificant Trombone 2 material. m. 57-58 / In CS, the original Bassoon 1 & 2 Elimination Minimally Similar Elimination in BR 90-91 material is eliminated. All pitch Significant material is presented in other instruments in a different rhythm. m. 57-58 / In CS, the Bassoon plays the original Reorganize Insignificant In BR, a majority of the material is 90-91 Trombone 3 material. Portions of presented. However, the rhythm is the Trombone 2 material are added obscured by the other parts. in m. 58. m. 59-60 / In CS, the Horn plays the original Reorganize Insignificant 92-93 Bassoon 1 material. m.66-72 In CS, the Bassoon 1 part plays the Reorganize Insignificant 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.
128 m. 72 (beat In CS, the original Cello 1 material is Reorganize Insignificant 3) -75 played by the Bassoon 1. m. 74 (beat In CS, the Bassoon doubles/plays the Reorganize Insignificant 4) - 76 original Trombone 2/3 material. m. 77-79 In CS, the original Cello 2 material is Reorganize Insignificant played by the Bassoon 1. m. 86-88 In CS, the original Bassoon 1 Elimination Minimally Similar Elimination in BR - material is eliminated. All pitch Significant elements of the original material material is presented in other are present but not in same instruments in a different rhythm. register m. 102-104 In CS, the original Cello 2 material is Reorganize Insignificant played by the Bassoon 1. m. 115-118 In OS, the Bassoon 2, Cello 2, and Reorganize Insignificant 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 Reduction Insignificant Bassoon 2 one octave higher. In CS, this has been reduced to only the lower octave. m. 117 In CS, the original Bassoon 1 Reorganize Insignificant material is played/doubled by the Cello. m. 119-122 In OS, the Bassoon 2 doubles the Reorganize Insignificant Trombone 3. In CS, this material is played by the Bassoon. m. 119-120 In CS, the Clarinet plays the original Reorganize Insignificant Bassoon 1 material. m. 121-122 In CS, the Horn plays the original Reorganize Insignificant Bassoon 1 material. m. 123-127 In CS, the Bassoon plays the original Reorganize Insignificant Trombone 3 material. m. 123-125 In CS, the Clarinet plays the original Reorganize Insignificant Bassoon 1 material. m. 125 In CS, the Horn plays the original Reorganize Insignificant Bassoon 1 material. m. 126-127 In CS, the original Bassoon 1 Reorganize Insignificant material is played/doubled by the Flute one octave higher. m. 129 In CS, the original Bassoon 1 Elimination Minimally All pitch elements remain, but the (beat 3) - material is eliminated. All pitch Significant rhythm is slightly different. 132 material is presented in other instruments in a different rhythm. m. 132 In CS, the original Horn 2 material is Reorganize Insignificant (beat 3) - played by the Bassoon. 136 (beat 1) m. 137 In CS, the original Horn 2 material is Reorganize Insignificant (beat 2) - played by the Bassoon. 138 (beat 1)
129 m. 144-145 In CS, the original Bassoon 1 Reorganize Insignificant material is played/doubled by the Oboe for beats 1&2 of m. 144, then by the Clarinet. m. 147 In CS, the original Horn 2 material is Reorganize Insignificant (beat 4) - played by the Bassoon. 148 m. 150-151 In CS, the original Bassoon 1 Reorganize Insignificant material is played/doubled by the Cello. m. 151 In CS, the original Cello 2 material is Reorganize Insignificant played/doubled by the Bassoon but at the lower octave. m. 155-158 In CS, the original Bassoon 1 Reorganize Insignificant material is played/doubled by the Horn but in a different register. Mvt. 2 m. 12-19 / In OS, on the third beat of each Reduction Insignificant No significant difference. m. 136-143 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 In CS, the original Bassoon 1 Elimination Minimally Similar Elimination in BR 3) - 27 / 146 material is eliminated. All pitch Significant (beat 3) - material is presented in other 151 instruments in a different rhythm. m. 23-26 / In this passage, Linckelmann creates Reorganize Significant DIFFERENCE - Brahms eliminates 147-150 a new part for the Bassoon that the original Bassoon 1 & 2 material. incorporates elements of the Horn 1 All pitch material is incorporated & 2 and Bassoon 1 & 2. but with a different rhythm. m. 26 (beat In CS, the Bassoon plays the original Reorganize Insignificant 3) - m. 30 Trombone 2 material. (beat 1) / 150 (beat 3) - 154 (beat 1) m. 26 (beat In CS, the original Bassoon 1 Reorganize Insignificant 3) - 28 (beat material is played/doubled by the 2) / 150 Oboe. (beat 3) - 152 (beat 2) m. 28 (beat In CS, the original Bassoon 1 Reorganize Insignificant 3) - m. 30 material is played by the Clarinet. (beat 2) / 152 (beat 3) - 154 (beat 2) m. 30 (beat In CS, the original Bassoon 1 Reorganize Insignificant 3) - m. 32 material is played by the Horn. (This (beat 2) / material is also a doubling of the 154 (beat 3) Tromb. 2) - 156 (beat 2)
130 m. 30 (beat In CS, the Bassoon plays the original Reorganize Insignificant 2) - 33 (beat Horn 1 material. From m. 31-33 this 1) / 154 doubles the original Bassoon 2 (beat 2) - material one octave higher. 157 (beat 1) m. 35-36 In CS, the original Bassoon 1 Elimination Minimally Similar Elimination in BR (beat 2) / material is eliminated. All pitch Significant 159 - 160 material is presented in other (beat 2) instruments in a different rhythm. m. 36 (beat In OS, the Clarinet 1 doubles the Reduction Minimally No significant difference. 3) - 41 / 160 Bassoon 1 one octave higher. In CS, Significant (beat 3) - this has been reduced to the upper 165 octave and played by the Clarinet. m. 44-48 / In CS, the Bassoon plays the original Reorganize Insignificant DIFFERENCE - Brahms eliminates m. 168-172 Horn 3 & 4 material. At m. 46 (beat both Horn 3 & 4. The original pitch 3), the Horn 3 & 4 divide, and the material is in other part with a Bassoon plays the original Horn 4 different rhythm. material. m. 48 (beat In OS, the Horn 1, Bassoon 1 & 2 Reorganize Insignificant No significant difference. 3) - 52 (beat play the same material in three 2) / m. 172 octaves. In CS, this has been (beat 3) - reduced to the highest octave, and it 176 (beat 2) is played by the Horn. m. 49-54 In CS, the Bassoon plays the original Reorganize Insignificant No significant difference. (beat 2) / Trombone material. Tromb 3 - m. 173-178 49,50 / Tromb 2 - m. 51, 52 / Tromb (beat 2) 3 - m. 53,54 m. 52 (beat In OS, the Horn 3, Bassoon 1 & 2 Reorganize Insignificant No significant difference. 3) - 54 (beat play the same material in two 2) / 176 octaves. In CS, this has been (beat 3) - reduced to the highest octave, and it 178 (beat 2) is played by the Horn. m. 54 (beat In CS, the Bassoon plays the original Reorganize Insignificant No significant difference. 3) - 62 / 178 Tuba material. (beat 3) - 186 m. 54 (beat In CS, the original Bassoon 1 Reorganize Insignificant 3) - 56 / 178 material is doubled/played by the (beat 3) – Oboe one octave higher. 180 m. 57-62 / In CS, the original Bassoon 1 Elimination Minimally No significant difference. 181-186 material is eliminated. All pitch Significant material is presented in other instruments in a different rhythm. m. 67-72 In OS, the Clarinet 1 doubles the Reduction Insignificant All pitch elements remain, but the (beat 1) / Bassoon 1 one octave higher. In CS, rhythm is slightly different. 191-196 this has been reduced to only upper (beat 1) octave played by the Clarinet. m. 72 (beat In CS, the Horn plays the original Reorganize Insignificant 2) - 73 / 196 Bassoon 1 & Violin 2 (2) material. (beat 2) - 197 m. 73 (beat In CS, the Bassoon plays the original Reorganize Insignificant 3) - 75 Horn 2 material.
131 m. 97-103 In CS, the Bassoon plays the original Reorganize Insignificant No significant difference. Horn 2 material. m. 119 In OS, the Bassoon played a half- Miscellaneous Insignificant note. In CS, the Bassoon plays only a quarter. The woodwinds play the longer note, and the strings play the shorter note. m. 121-125 In CS, the Bassoon plays the original Reorganize Insignificant No significant difference. Horn 2 material. m. 197 In CS, the Bassoon plays the original Reorganize Insignificant (beat 3) - Horn 1 material. 198 (beat 2) m. 198 In CS, the Bassoon plays the original Reorganize Insignificant (beat 3) - Trombone 3 material. 200 (beat 1) m. 205 In CS, the original Bassoon 1 Reorganize Insignificant material is played/doubled by the Clarinet 2 octaves higher. m. 213 In CS, the original Bassoon 1 Reorganize Insignificant (beat 4) - material is played by the Clarinet. 222 m. 219 & In CS, Linckelmann merges the Reorganize Minimally No significant difference. 221 original Bassoon 2 and Trombone 3 Significant material to create a new part with a new rhythm. This material is played by the Bassoon. m. 223 In CS, the original Bassoon 1 Reorganize Insignificant (beats 1 & material is played/doubled by the 2) Horn. m. 223 In OS, starting on the third beat, the Reduction Insignificant (beat 3) - Bassoon 1 & 2 play in octaves. In CS, 224 this has been reduced to the lower octave (Bassoon 2) m. 227-231 In CS, Linckelmann alternates Reorganize Insignificant No significant difference 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 Reorganize Insignificant note. In CS, the same pitch is reiterated to cover the Trombone 3 & Horn 4 pitch. m. 253-254 In OS, the Bassoon 1 doubles the Reduction Insignificant & 257-258 Bassoon 2 one octave higher. In CS, this has been reduced to only the upper octave. m. 255-256 In CS, the Bassoon plays the original Reorganize Insignificant & 259-260 Trombone 3 material.
132 m. 265 In OS, the Bassoon 1 doubles the Reduction Insignificant (beat 3) - Bassoon 2 one octave higher. In CS, 268 this has been reduced to only the upper octave. m. 291-294 In CS, the original Bassoon 1 Elimination Minimally Similar Elimination in BR material is eliminated. The 3rd and Significant 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 Reorganize Insignificant Tuba material. m. 296 In OS, the original Bassoon material Reorganize Insignificant is played/doubled by the Cello. m. 301-303 In CS, the Bassoon plays the original Reorganize Insignificant No significant difference. Horn 3 & 4 material. m. 316-318 In CS, the original Horn 2 material is Reorganize Insignificant played by the Bassoon. m. 326-327 In CS, the original Bassoon 1 Reorganize Insignificant material is played by the Clarinet. m. 328-330 In OS, the Bassoon 1 doubles the Reduction Insignificant Bassoon 2 one octave higher. In CS, this has been reduced to only the lower octave. m. 331-332 In OS, the Bassoon 1 doubles the Reduction Insignificant 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 Reorganize Insignificant 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 Reorganize Insignificant Horn 2 part. m. 3-5 & 7 In CS, the original Cello 2 is played Reorganize Insignificant by the Bassoon. The second beat of m. 5 is omitted. m. 33-38 In OS, the Bassoon 1 doubles the Reduction Insignificant 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 Reorganize Insignificant material is played by the Horn. m. 41-47 In CS, Linckelmann combines both Reorganize / Minimally No significant difference Bassoon 1&2 to make a new melodic Elimination Significant line. The pitches not used are provided by other instruments with the same rhythm but at a different register. m. 61-62 In CS, the Bassoon plays the original Reorganize Insignificant Trombone 3 material.
133 m. 61-62 In CS, the original Bassoon 1 & 2 Elimination Minimally Similar Elimination in BR material is eliminated. All pitch Significant material is presented in other instruments with the same rhythm but at a different register. m. 66-77 In CS, the Horn 2 part is played by Reorganize Insignificant (beat 1) the Bassoon. m. 81 (beat In CS, the original Bassoon1 material Reorganize Insignificant 3) -83 is played by the Clarinet. m. 84 In CS, the original Bassoon 1 Reorganize Insignificant material is doubled/ played by the Horn. m. 85-86 In CS, the original Bassoon 1 Elimination Minimally Similar Elimination in BR material is eliminated. All original Significant pitch material is provided by other instruments but with a different rhythm. m. 90-91 In CS, the Bassoon plays the original Reorganize Insignificant Horn 2 material. m. 93-96 In OS, the Bassoon 1 doubles the Reduction Insignificant Bassoon 2 one octave higher. In CS, this has been reduced to only the lower octave (Bassoon 2). m. 105-112 In CS, the original Bassoon 1 Reorganize Insignificant material is played by the Clarinet. m. 114-115 In CS, the original Bassoon 1 Reorganize Insignificant material is played/doubled by the Oboe. m. 116-118 In CS, the original Bassoon 1 Reorganize Insignificant (beat 1) material is played by the Clarinet. m. 118-119 In CS, the Bassoon plays the original Reorganize Insignificant / 122-123 / Trombone 3/Tuba material. 126-127 m. 128-129 In CS, the original Bassoon 1 Reorganize Insignificant (beat 1) material is played/doubled by the Horn. m. 138-139 In OS, the Clarinet 1 doubles the Reduction Insignificant No significant difference. (beat 2) Bassoon 1 one octave higher. In CS, this has been reduced to the Clarinet at the higher octave. m. 139 In CS, the original Bassoon 1 Reorganize Insignificant (beat 6) - material is played/doubled by the 141 Flute one octave higher. m. 143 & In CS, the Bassoon plays the original Reorganize Insignificant 146 (beat 5) Trombone 3 material. - 147 (beat 1) m. 154-156 In OS, the Bassoon 1 &2 doubles the Reduction Minimally (beat 2) Clarinet 1 & 2 one octave lower. In Significant CS, this has been reduced to the Clarinet at the lower octave. m. 154-156 In CS, the Bassoon plays the original Reorganize Insignificant (beat 2) Trombone 3 material.
134 m. 156 In OS, the Bassoon 1 doubles the Reduction Insignificant (beat 2) Bassoon 2 one octave higher. In CS, this has been reduced to only the lower octave (Bassoon 2). m. 157 In CS, the Bassoon plays the original Reorganize Insignificant (beat 3) - Trombone 3 material. 158 (beat 1) m. 157 In CS, the original Bassoon 1 Reorganize Insignificant (beat 3) 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 Reorganize Insignificant material is played/doubled by the Oboe one octave higher. m. 159 In CS, the original Bassoon 1 Reorganize Insignificant material is played/doubled by the Flute two octave higher. m. 160 In CS, the original Bassoon 1 Elimination Minimally Similar Elimination in BR material is eliminated. The original Significant pitch content is provided by the Violin 1 but in a different rhythm. m. 161 In CS, the original Bassoon 1 Reorganize Insignificant material is played/doubled by the Oboe one octave higher. m. 163 In CS, the Bassoon plays the original Reorganize Insignificant (beat 3) - Trombone 3 material. 169 m. 170 In CS, the original Horn 2 material is Reorganize Insignificant played by the Bassoon. m. 170 In CS, the Cello 1 plays the original Reorganize Insignificant (beats 3&4) Bassoon 1 material. m. 171-173 In CS, the Bassoon plays the original Reorganize Insignificant (beat 1) Trombone 1 material. m. 171-172 In CS, the original Bassoon 1 Elimination Minimally A majority of the pitch material is material is eliminated. All pitch Significant presented, but not by one specific material is presented in other part in a logical progression to instruments in a different rhythm. suggested that it is the original Bassoon 1 material. m. 186-188 In CS, the original Bassoon 1 Elimination Minimally No significant difference. (beat 1) material is eliminated. All pitch Significant material is presented in other instruments in a different rhythm. m. 193-195 In OS, the Trombone 1/2 doubles Reduction / Minimally DIFFERENCE - In BR, this material (beat 2) & the Trombone 3/Tuba one octave Reorganization Significant has been eliminated. The original 197 (beat 3) higher. In CS, this has been reduced Bass material is very similar, and it - 199 to only the upper octave and played is used in BR. by the Bassoon. m. 193-195 In CS, the original Bassoon 1 Reduction Minimally No significant difference. (beat 2) material is played/doubled by the Significant Bass one octave lower.
135 m. 197 In CS, the original Bassoon 1 Reorganize Insignificant (beat 4) - material is played by the Oboe. 198 (beat 1) m. 198-199 In CS, the original Bassoon 1 & 2 Reorganize Insignificant material is played/doubled by the Clarinet. m. 200 -202 In CS, the original Horn 2 material is Reorganize Insignificant played by the Bassoon. m. 200 In CS, Linckelmann combines both Change Minimally In BR, Brahms eliminates the (beat 1) & Bassoon 1 & 2 parts to create a new Significant Bassoon 1 material and just uses m. 202-205 part for the Bassoon. This is not a the Bassoon 2 material. (beat 2) & significant difference from the m. 206 original part. (beat 2) - m. 207 m. 205 In CS, the original Horn 2 material is Reorganize Insignificant (beat 3) - played by the Bassoon. 204 (beat 2) Mvt. 4 m. 4-8 In CS, the Bassoon plays the original Reorganize Insignificant Horn 1 material. m. 11-16 In CS, the Bassoon plays the original Reorganize Insignificant Horn 2 material. m. 47-55 In CS, the original Bassoon material Reorganize Insignificant is doubled/played by the Clarinet one octave higher. m. 51 In CS, the Bassoon plays the original Reorganize Insignificant Horn 1 material. m. 52 In CS, the Bassoon plays the original Reorganize Insignificant Horn 2 material. m. 58 In CS, the original Bassoon material Reorganize Insignificant is doubled/played by the Clarinet one octave higher. m. 59 In OS, the original Bassoon 1 Reduction Insignificant 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 Elimination Minimally No significant difference. material is eliminated. No other Significant instrument plays this pitch material. The Tenor voice does sing the pitch. m. 61-62 In CS, the original Bassoon 1 Reorganize Insignificant (beat 1) material is played by the Horn. m. 71 (beat The first beat of m. 71 has been Reorganize Minimally No significant difference. 1) changed to the original Horn 2 Significant material. WHY? This pitch content is provided in multiple voices. m. 85-86 In CS, the original Bassoon 1 Reorganize Insignificant material is played/doubled by the Clarinet one octave higher.
136 m. 87-89 In CS, the original Bassoon 1 Elimination Minimally No significant difference for m. 87. material is eliminated. The pitch Significant Measures 88-89 have been material is provided by a variety of eliminated. different instruments but not with the same melodic pattern. m. 89-93 In CS, the Bassoon plays the original Reorganize Insignificant Horn 2 material. m. 96-101 In CS, the Bassoon plays the original Reorganize Insignificant Horn 2 material. m. 111-123 In CS, the Bassoon plays the original Reorganize Insignificant Horn 2 material. m. 149-153 In CS, the Clarinet 1 original material Reorganize Insignificant is played by the Bassoon. m. 157-160 In CS, the Bassoon plays the original Reorganize Insignificant Horn 2 material. m. 164 In OS, the Bassoon 1 doubled the Reduction Minimally No significant difference. (beat 3) Oboe 1 one octave lower. In CS, this Significant has been reduced to the Oboe at the higher octave. m. 174-175 In CS, the original Bassoon 1 Elimination Minimally The same pitches in the same material is eliminated. No other Significant register have been eliminated. The instrument plays this pitch material. 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 Reorganize Insignificant material is doubled/played by the Clarinet one octave higher. Mvt. 5 m. 4-5 In CS, the Bassoon plays the original Reorganize Insignificant Horn 2 material. m. 14-16 In OS, the Bassoon 1, Clarinet 1, and Reduction Minimally Similar Reduction in BR - Brahms Flute 1 play the same pitch material Significant reduces this material to the bottom in octaves. In CS, this has been two octaves as opposed to the top reduced to only the Flute 1 at the octave as in CS. higher octave. m. 20 (beat In OS, the Bassoon 1 is one octave Reduction Minimally No significant difference. 4) -23 higher than Bassoon 2 (except for Significant unison on beat 2 of m. 22). In CS, this is reduced to either the lower or higher octave (varies). m. 26 (beat In CS, the Bassoon plays the original Reorganize Insignificant 3) - m. 27 Horn 2 material. (beat 1) m. 27-28 In OS, the Bassoon 1&2, Clarinet Reduction Minimally No significant difference 1&2, and Flute 1&2 play the same Significant pitch material in octaves. In CS, this has been reduced to the Flute, Clarinet, Bassoon. m. 37 In OS, the Bassoon 1 doubles the Reduction / Minimally No significant difference. Flute 1 one octave lower. In CS, the Reorganize Significant lower octave is removed and the
137 Oboe plays the original pitch material of the Flute 1. m. 43-50 In CS, the Bassoon plays the original Reorganize Insignificant (beat 3) Horn 2 material. m. 55 In CS, the Bassoon plays the original Reorganize Insignificant Horn 2 material. m. 57 (beat In CS, the Bassoon plays the original Reorganize Insignificant 4) - 58 Horn 2 material. m. 60-62 In OS, the Bassoon 1, Clarinet 1, and Reduction Minimally Similar Reduction in BR Flute 1 play the same pitch material Significant in octaves. In CS, this has been reduced to only the Flute and Clarinet in octaves. m. 64 In CS, the Bassoon 1 original Reorganize Insignificant material is doubled / played one octave higher by the Oboe. m. 69 In OS, the Bassoon 1 & 2 play in Reduction Minimally No significant difference. octaves. In CS, this is reduced to only Significant the Bassoon 2 lower pitch. m. 73-74 In OS, the Bassoon 1, Clarinet 1, and Reduction Minimally Similar Reduction in BR - In CS, Flute 1 play the same pitch material Significant Linckelmann chooses to reduce to in octaves. In CS, this has been the upper two octaves. In BR, reduced to only the Flute and Brahms chooses to reduce to the Clarinet in octaves. bottom two octaves. m. 81-82 In CS, the Clarinet plays the original Reorganize Insignificant Bassoon 1 material. Mvt. 6 m. 7-10 In OS, the Bassoon 1 doubles the Reduction Minimally Similar Reduction in BR Clarinet 1 an octave lower. In CS, Significant this has been reduced to the Clarinet at the higher octave. m. 18-20 In CS, the original Horn 2 material is Reorganize Insignificant played by the Bassoon. m. 23-24 In OS, the Bassoon 1 doubles the Reduction Minimally Similar Reduction in BR (beat 1) Clarinet 1 an octave lower. In CS, Significant this has been reduced to the Clarinet at the higher octave. m. 68 - 78 In CS, the Tuba original material is Reorganize Insignificant No significant difference 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 Reduction Minimally No significant difference material doubles the Flute two Significant octaves lower. In CS, this has been reduced to the Flute at the higher register. m. 78 (beat In CS, the original Bassoon 1 Reorganize Insignificant 1) material is played/doubled by the Viola.
138 m. 79 (beat In CS, the original Bassoon 1 Reorganize Insignificant 4) - 80 (beat material is played/doubled by the 1) Clarinet. m. 82-93 In OS, the Tuba doubles the Bassoon Reduction Minimally DIFFERENCE - Brahms chooses to 2 part at the lower octave (until m. Significant eliminate this material. The pitch is 88). In the CS, the Bassoon plays the provided but in a much different lower Tuba original material and the register. The original Tuba material higher octave doubling is omitted. is not omitted for m. 87. m. 82-84 In CS, the original Bassoon 1 Reorganize Insignificant (beat 2) / material is played/doubled by the 128-129 Oboe one octave higher. m. 85-87 In CS, the original Bassoon 1 Reorganize Insignificant (beat 1) / material is played by Clarinet. 131-133 m. 87 (beat In CS, the original Bassoon 1 Reorganize Insignificant 3) - 89 material is played by the Horn. m. 90 In CS, the original Bassoon 1 Reorganize Insignificant (beats 1-2)- material is played/doubled by the 94 Oboe one octave higher. m. 93 (beat In CS, the Bassoon plays the original Reorganize Insignificant 2-3) Trombone 3 material. m. 95 (beat In CS, the Bassoon plays the original Reorganize Insignificant 2) - 96 (beat Clarinet 2 material. 1) m. 96 In CS, the Bassoon plays the original Reorganize Insignificant (beats 2-3) Tuba material one octave higher. m. 95 (beat In Cs, the original Bassoon 1 material Reorganize Insignificant 2) - 96 / 98 is played/doubled by the Clarinet. (beat 2) - 99 (beat 1) m. 98 (beat In CS, the Bassoon plays the original Reorganize Insignificant 2) - 99 (beat Clarinet 2 material. 1) m. 104 In CS, the original Bassoon 1 Reorganize Insignificant (beat 3) - material is played/doubled by the 106 (beat 1) Oboe one octave higher. m. 106 In CS, the original Bassoon 1 Reorganize Insignificant (beat 3) - material is played/doubled by the 107 Horn. m. 99-108 In OS, the Tuba doubled both the Reduction Insignificant 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 Reduction Minimally No significant difference. Brahms material doubles Bassoon 2 one Significant plays, m. 118, one octave lower octave higher. In CS, this has been than OS. reduced to the lower register (Bassoon 2).
139 m. 124-126 In Cs, the original Bassoon 1 material Reorganize Insignificant is played/doubled by the Clarinet. m. 128-139 In CS, the Tuba original material is Reorganize Minimally DIFFERENCE - Brahms chooses to played by the Bassoon. (Very similar Significant eliminate this material. The pitch is to m. 82-93) provided but in a much different register. The original Tuba material is not omitted for m. 133. m. 127-130 In CS, the original Bassoon 1 Reorganize Insignificant (beat 2) material is played/doubled by the Oboe one octave higher. m. 131-133 In Cs, the original Bassoon 1 material Reorganize Insignificant is played/doubled by the Clarinet. m. 134-135 In Cs, the original Bassoon 1 material Reorganize Insignificant is played/doubled by the Clarinet. m. 136 In CS, the original Bassoon 1 Reorganize Insignificant material is played/doubled by the Oboe one octave higher. m. 137-139 In CS, the original Bassoon 1 Reorganize Insignificant (beat 1) material is played/doubled by the Clarinet one octave higher. m. 139 In CS, the original Bassoon 1 Reorganize Insignificant (beats 2-3) material is played/doubled by the Horn. m. 139 In CS, the Bassoon plays the original Reorganize Insignificant (beats 2-3) Trombone 3 material. m. 141 In CS, the Bassoon plays the original Reorganize Insignificant (beat 2) - Clarinet 2 material. 142 (beat 1) m. 142 In CS, the Bassoon plays the original Reorganize Insignificant (beats 2-3) Tuba material one octave higher. m. 141 In Cs, the original Bassoon 1 material Reorganize Insignificant (beat 2) - is played/doubled by the Clarinet. 142 / 144 (beat 2) - 145 (beat 1) m. 144 In CS, the Bassoon plays the original Reorganize Insignificant (beat 2) - Clarinet 2 material. 145 (beat 1) m. 145-151 In OS, the Tuba doubled both the Reduction Insignificant (beat 1) 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.
140 m. 150 In CS, the original Bassoon 1 Reorganize Insignificant (beat 3) - material is played by the Oboe one 155 octave higher. There is a random rest on the second beat of m. 151. Possible mistake? m. 156 - In CS, the original Bassoon 1 Reorganize Insignificant 157 (beat 2) material is played/doubled by the Flute two octaves higher. m. 158 In CS, the original Bassoon 1 Reorganize Insignificant (beat 3) - material is played/doubled by the 159 (beat 2) Flute two octaves higher. m. 159 In CS, the original Bassoon 1 Reorganize Insignificant (beat 3) - material is played/doubled by the 166 (beat 1) Clarinet. Starting a m. 161 (beat 2), all material is one octave higher. m. 166 In OS, the Bassoon 1 doubles the Reduction Minimally No significant difference. (beat 2) - Bassoon 2 one octave higher. In CS, Significant 168 (beat 1) this has been reduced to the upper octave (Bassoon 1). m. 168-177 In CS, the original Bassoon 1 Reorganize Insignificant material is played/doubled by the Clarinet. m. 178-180 In OS, the Bassoon 1 doubles the Reduction Minimally Similar Reduction in BR Bassoon 2 one octave higher. In CS, Significant this has been reduced to the upper octave (Bassoon 1). m. 182-183 In CS, the original Bassoon 1 Reorganize Insignificant material is played/doubled by the Clarinet. The third beat of m. 182 is played/doubled by the Oboe. m. 184-186 In OS, the Flute 1, Oboe 2, Clarinet 1, Reduction Minimally Similar Reduction in BR and Bassoon 1 all play the same Significant pitch material in three octaves. In CS, this has been reduced to only the Clarinet in the middle octave. m. 178-180 In CS, the original Tuba material is Reorganize Insignificant In BR, the original Tuba material is / 184-186 / played/doubled by the Bassoon. presented one octave higher, and 192-193 in the correct octave but with a different rhythm. m. 188-191 In CS, the original Bassoon 1 Reorganize Insignificant material is played/doubled by the Clarinet. The third beat of m. 189 and 191 has changed. m. 192-193 In OS, the Flute 1, Oboe 2, Clarinet 1, Reduction / Minimally In BR, this has been reduced to two Trombone 1, Tuba, and Bassoon 1 all Reorganization Significant octaves (middle and highest). play the same pitch material in four octaves. In CS, this has been reduced to only the Bassoon playing the lowest octave (Tuba).
141 m. 194-195 In OS, the Flute 1, Bassoon 1, Reduction Minimally No significant difference. Trombone 3, and Tuba all play the Significant same pitch material over four octaves. In CS, this has been reduced to only the Bassoon at the lowest octave. m. 196-200 In CS, the original Tuba material is Reorganize Insignificant In BR, the original pitch material is played by the Bassoon. presented but at a higher octave with a slightly different rhythm. m. 196-200 In CS, the original Bassoon 1 Reorganize Insignificant material is played/doubled by the Flute two octaves higher. m. 201-208 In CS, the original Tuba material is Reorganize Insignificant No significant difference played by the Bassoon. m. 201-203 In CS, the original Bassoon 1 Reorganize Insignificant material is played by the Clarinet. m. 204-208 In OS, the Flute 1, Clarinet 1, Reduction Minimally In BR, this has been reduced to two Bassoon 1, Trumpet 1, and Horn 4 all Significant octaves. play the same pitch material over three octaves. In CS, this has been reduced to only the Oboe in the middle octave. m. 233 In OS, the Clarinet 1 doubles the Reduction Minimally Similar Reduction in BR Bassoon 1 one octave higher. In CS, Significant this has been reduced to only upper octave played by the Clarinet. m. 234 In CS, the original Bassoon 1 Reorganize Insignificant (beats 1-3) material is played/doubled by the Horn. m. 235-238 In CS, the original Bassoon 1 Reorganize Insignificant material is played by the Clarinet. m. 246-248 In CS, the original Bassoon 1 Reorganize Insignificant (beat 1) material is played/doubled by the Clarinet. m. 250-253 In CS, the original Bassoon 1 Elimination Minimally A majority of the original pitch material is eliminated. All original Significant material is present in a similar material is present in other manner. This material is not woodwind instruments with the consistently with one piano part. same rhythm but not at the same register. m. 250 In CS, the original Trombone 3 Reorganize Insignificant (beat 3) - material is doubled/played by the 266 Bassoon. m. 254-257 In CS, the original Bassoon 1 Reorganize Insignificant (beat 1) material is played/doubled by the Clarinet. m. 262 In CS, the original Bassoon 1 Reorganize Insignificant (beat 1 &4) material is played/doubled by the - 263 (beat Clarinet. 1)
142 m. 263 In CS, the original Bassoon 1 Reorganize Insignificant (beat 4) - material is played/doubled by the 265 (beat 2) Horn. m. 265 In OS, the Bassoon 1 doubles the Reduction Minimally DIFFERENCE - In BR, this material is (beat 4) - Bassoon 2 one octave higher. In CS, Significant similar to the OS for m. 265, then 267 this has been reduced to only lower played with a different rhythm for octave. m. 266, and eliminated for m. 267. m. 271-275 In OS, the Bassoon 1 & 2 doubles the Reduction Insignificant Cello. In CS, this has been reduced to only the Cello. m. 273-276 In CS, the Bassoon plays the original Reorganize Insignificant (beat 1) Trombone 3 material. m. 276-281 In CS, the original Bassoon 1 Elimination Minimally Similar Elimination in BR - Brahms material is eliminated. All original Significant actually eliminates all original material is present in other woodwind material with this woodwind instruments with the rhythmic pattern. same rhythm but not at the same register. m. 281 In CS, the Bassoon plays the original Reorganize Insignificant (beat 4) - Trombone 3 material. 284 m. 282-284 In CS, the original Bassoon 1 Reorganize Insignificant (beat 1) material is played/doubled by the Oboe one octave higher. m. 286 In OS, the Bassoon 1 & 2 doubles the Reduction Insignificant (beat 3) - Cello. In CS, this has been reduced 288 to only the Cello. m. 286 In CS, the original Tuba material is Reorganize Insignificant DIFFERENCE - In BR, the original (beat 3) - played by the Bassoon. Tuba material is eliminated. All 288 pitch material remains but with a different rhythm. m. 289-292 In CS, the original Bassoon 1 Reorganize Insignificant (beat 2) material is played/doubled by the Clarinet. m. 292 In CS, the original Bassoon 1 Reorganize Insignificant (beat 3) - material is played/doubled by the 304 Flute two octaves higher. m. 295 In OS, the Horn 1 doubles the Horn 2 Reduction Minimally Elimination - In BR, this material (beat 3) - one octave higher. In CS, this has Significant has been eliminated. The original 298 (beat 3) been reduced to the lower octave pitch is still provided but not in a and played by the Bassoon. similar rhythm. m. 305-311 In CS, the original Bassoon 1 Reorganize Insignificant material is played/doubled by the Clarinet. m. 309-310 In CS, the Bassoon plays the original Reorganize Insignificant Trombone 3 material. m. 312-314 In OS, the Bassoon 1 & 2 doubles the Reorganize Insignificant Cello. In CS, this has been reduced to only the Cello.
143 m. 312 In CS, the original Tuba material is Reorganize Insignificant Similar - m. 314-315 contain the (beat 4)- played by the Bassoon. The third same pitches but not always the 316 beat of m. 312 has been eliminated. same rhythm. m. 317-319 In CS, the original Bassoon 1 Reorganize Insignificant material is played/doubled by the Clarinet on octave higher. m. 320-330 In CS, the original Bassoon 1 Reorganize Insignificant material is played/doubled by the Flute two octaves higher. m. 331 In CS, the original Bassoon 1 Elimination Minimally No significant difference. (beat 4) - material is eliminated. All original Significant 340 material is present in other woodwind instruments with the same rhythm but not at the same register. m. 341-344 In CS, the Bassoon plays the original Reorganize Insignificant Trombone 3 material. m. 345-347 In CS, the original Bassoon 1 Elimination Minimally No significant difference. material is eliminated. All original Significant material is present in other woodwind instruments with the same rhythm but not at the same register. m. 348-349 In CS, the original Bassoon 1 Reorganize Insignificant material is played/doubled by the Clarinet. Mvt. 7 m. 1-4 / In CS, the Bassoon doubles the Change Insignificant 102-105 original Cello material. m. 5-9 / In CS, the Bassoon plays the original Reorganize Insignificant 106-110 Horn 2 material. m. 10-12 In CS, the original Bassoon 1 & Reorganize Insignificant Bassoon 2 pitch material is incorporated into either the Bassoon or Clarinet. m. 11 (beat In CS, the original Flute 2 and Reorganize Insignificant 4) - 12 (beat Clarinet 2 material (one octave 1) lower) is played by the Bassoon at the higher octave. m. 18-19 In CS, the original Bassoon 1 Reorganize Insignificant material is doubled/played by the Clarinet one octave higher. m. 20-21 In CS, the Flute plays the original Reorganize Insignificant Bassoon 1 material. m. 22 In CS, the original Bassoon 1 Reorganize Insignificant (beats 1-3) material is played/doubled by the Flute 2 octaves higher. m. 22 (beat In CS, the original Bassoon 1 Reorganize Insignificant 3) - 34 material is played/doubled by the Clarinet.
144 m. 29-30 In CS, the original Bassoon 1 Reorganize Insignificant 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 Elimination Minimally No significant change. material is eliminated. The pitch Significant material is present in other instruments but with a different rhythmic pattern. WHY? The bassoon is not playing another part. m. 34 In CS, the Clarinet plays a C on the Reorganize Insignificant downbeat of m. 34. This pitch was in the original Bassoon (the only woodwind instrument to play on this beat). m. 40-43 In CS, the Bassoon plays the original Reorganize Insignificant Trombone 3 material. m. 44-48 In OS, the Bassoon 1 & 2 play in Reorganize Insignificant octaves. In CS, this is reduced to only the Bassoon 2 lower pitch. m. 76-84 In CS, the Bassoon plays the original Reorganize Insignificant Trombone 3 material. m. 87 (beat In CS, the Clarinet plays the original Reorganize Insignificant 4) -91 Bassoon 1 material. m. 111-112 In CS, the original Bassoon 1 Reorganize Insignificant material is doubled/played by the Oboe one octave higher. m. 113 In CS, the Clarinet plays the original Reorganize Insignificant (beats 3&4) Bassoon 1 material. m. 127-128 In OS, the Flute 1, Oboe 1, Clarinet 1, Reduction Minimally No significant difference. and Bassoon 1 all play the same Significant material. In CS, this has been reduced to Clarinet and Flute. m. 128 In CS, the original Bassoon 1 Elimination Insignificant Similar Elimination in BR - material is eliminated. The pitch Insignificant material is present in other instruments but with a different rhythmic pattern. m. 131 In CS, the original Bassoon 1 Elimination Insignificant 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 Elimination Insignificant No significant difference material is eliminated. The pitch material is present in other instruments but with a different rhythmic pattern. m. 145-146 In CS, the Bassoon plays the original Reorganize Insignificant Trombone 3 material.
145 m. 153-154 In CS, the original Bassoon 1 Elimination Minimally Brahms only eliminates the down (beat 1) material is eliminated. The pitch Significant beat of m. 154. The other pitch material is no present in any other material remains the same. instrument for the 3rd&4th beats of m. 153. m. 163-166 In CS, the original Bassoon 1 Reorganize Insignificant 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
Measures Chamber Ensemble Notes Classification / Relevance Brahms Reduction Notes
Mvt. 1 m. 30-33 In OS, the original Bassoon 2 doubles Reorganize Insignificant the Cello 2. In CS, this is played by the Bassoon. m. 45-47 In OS, the Bassoon 2 doubles the Reorganize Insignificant Trombone 2. In CS, this material is played by the Bassoon. m. 54 (beat In CS, the original Bassoon 1 Elimination Minimally No significant difference. 3)-55 material is eliminated for two beats. Significant The pitch material is played by other instruments. In m. 55, both Bassoon parts are eliminated. m. 115-118 In OS, the Bassoon 2, Cello 2, and Reorganize Insignificant 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. 119-122 In OS, the Bassoon 2 doubles the Reorganize Insignificant Trombone 3. In CS, this material is played by the Bassoon. m. 125-127 In CS, the original Bassoon 2 Elimination Minimally Similar to OS, but the Bassoon 2 material is eliminated. All pitch Significant pitch is eliminated for the first two material is presented in other beats of m. 126 instruments in a different rhythm. m. 139 In CS, the original Bassoon 2 Reorganize Insignificant (beat 3) - material is played/doubled by the m. 140 Bass one octave lower. (beat 1) Mvt. 2 m. 12-19 / In OS, on the third beat of each Reduction Insignificant No significant difference. m. 136-143 measure the Bassoon 1 part doubles the Bassoon 2 one octave higher. In CS, this has been reduced to only the lower octave.
146 m. 23-26 / In this passage, Linckelmann creates Reorganize Significant DIFFERENCE - Brahms eliminates 147-150 a new part for the Bassoon that the original Bassoon 1 & 2 material. incorporates elements of the Horn 1 All pitch material is incorporated & 2 and Bassoon 1 & 2. but with a different rhythm. m. 27-30 / In CS, the original Bassoon 2 Elimination Minimally All material is presented within 151-154 material is eliminated. All pitch Significant chords, not as an distinct individual material is presented in other part. instruments in a different rhythm. m. 30 (beat In CS, the Bassoon plays the original Reorganize Insignificant 2) - 33 (beat Horn 1 material. From m. 31-33 this 1) / 154 doubles the original Bassoon 2 (beat 2) - material one octave higher. 157 (beat 1) m. 48 (beat In OS, the Horn 1, Bassoon 1 & 2 Reorganize Insignificant No significant difference. 3) - 52 (beat play the same material in three 2) / m. 172 octaves. In CS, this has been (beat 3) - reduced to the highest octave, and it 176 (beat 2) is played by the Horn. m. 52 (beat In OS, the Horn 3, Bassoon 1 & 2 Reorganize Insignificant No significant difference. 3) - 54 (beat play the same material in two 2) / 176 octaves. In CS, this has been (beat 3) - reduced to the highest octave, and it 178 (beat 2) is played by the Horn. m. 54 (beat In CS, the original Bassoon 2 Reorganize Insignificant 3)-55 / 178 material is doubled in the Clarinet (beat 3) - one octave higher. 179 m. 56-62 / In CS, the original Bassoon 2 Elimination Minimally All material is presented within 180-186 material is eliminated. All pitch Significant chords, not as a distinct individual material is presented in other part. This material is also instruments in a different rhythm. presented at a different octave (original doubling of other woodwind instruments). m. 63-64 / In CS, the original Bassoon 2 Reorganize Insignificant m. 187-188 material is played/doubled by the Cello. m. 119 In OS, the Bassoon played a half- Miscellaneous Insignificant note. In CS, the Bassoon plays only a quarter. The woodwinds play the longer note, and the strings play the shorter note. m. 205 In OS, the Clarinet 1, Bassoon 2, Reduction Insignificant 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. 219 & In CS, Linckelmann merges the Reorganize Minimally No significant difference. 221 original Bassoon 2 and Trombone 3 Significant material to create a new part with a new rhythm. This material is played by the Bassoon.
147 m. 227-231 In CS, Linckelmann alternates Reorganize Insignificant No significant difference 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 Reorganize Insignificant note. In CS, the same pitch is reiterated to cover the Trombone 3 & Horn 4 pitch. m. 253-254 In OS, the Bassoon 1 doubles the Reduction Insignificant & 257-258 Bassoon 2 one octave higher. In CS, this has been reduced to only the upper octave. m. 265 In OS, the Bassoon 1 doubles the Reduction Insignificant (beat 3) - Bassoon 2 one octave higher. In CS, 268 this has been reduced to only the upper octave. m. 271-290 In CS, Bassoon 2 material is played Reorganize Insignificant (beat 2) by Bass (the Bassoon 2 part is doubled by the Bass in the OS) m. 293 In CS, the original Bassoon 2 Elimination Insignificant (beats 2-3) material is eliminated. All pitch material is presented in other instruments in a different rhythm. m. 295-296 In CS, Bassoon 2 material is played Reorganize Insignificant by Bass (the Bassoon 2 part is doubled by the Bass in the OS) m. 296 In OS, the original Bassoon material Reorganize Insignificant is played/doubled by the Cello. m. 328-330 In OS, the Bassoon 1 doubles the Reduction Insignificant Bassoon 2 one octave higher. In CS, this has been reduced to only the lower octave. m. 331-332 In OS, the Bassoon 1 doubles the Reduction Insignificant Bassoon 2 one octave higher. In CS, this has been reduced to only the upper octave. m. 333-335 In CS, the Bass plays the original Reorganize Insignificant (beat 1) Bassoon 2 material. m. 337 In OS, the Bassoon plays the Tuba Reorganize Insignificant pitch of Bb. This is the same pitch as the Bassoon 2 but one octave higher. Mvt. 3 m. 37-40 In CS, the Bassoon plays the original Change Insignificant Bassoon 2 material but one octave higher. - WHY?
148 m. 41-47 In CS, Linckelmann combines both Reorganize / Minimally No significant difference Bassoon 1&2 to make a new melodic Elimination Significant 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 Reorganize Insignificant material is played/doubled by the Clarinet one octave higher. m. 93-96 In OS, the Bassoon 1 doubles the Reduction Insignificant Bassoon 2 one octave higher. In CS, this has been reduced to only the lower octave (Bassoon 2). m. 111-116 In OS, the original Flute 2, Oboe 2, Reduction Minimally In BR, this has been reduced to the (beat 1) and Bassoon 2 play the same pitch Significant top two octaves. material in three octaves. In CS, this has been reduced to only the Bassoon at the lowest octave. m. 128-129 In OS, the original Flute 2, Oboe 2, Reduction Minimally In BR, this has been reduced to the and Bassoon 2 play the same pitch Significant top and bottom octaves. material in three octaves. In CS, this has been reduced two the two lower octaves and doubled by the Clarinet (an additional doubling). m. 150 In CS, the original Bassoon 2 Elimination Minimally Similar Elimination in BR (beat 6) - material is eliminated. The pitch Significant 151 (beat 3) material is present in other instruments but with a different rhythmic pattern. m. 152 In CS, the original Bassoon 2 Elimination Minimally Similar Elimination in BR (beat 6) - material is eliminated. The pitch Significant 153 (beat 3) material is present in other instruments but with a different rhythmic pattern. m. 154-155 In CS, the original Bassoon 2 Reorganize Insignificant material is played/doubled by the Clarinet. m. 156 In CS, the original Bassoon 2 Reorganize Insignificant (beat 3) - material is played/doubled by the 157 (beat 2) Cello. m. 157 In CS, the original Bassoon 2 Reorganize Insignificant (beat 3) material is played/doubled by the Oboe one octave higher. m. 170 In CS, the original Bassoon 2 Elimination Insignificant Similar Elimination in BR (beats 3&4) material is eliminated. The pitch material is present in other instruments but with a different rhythmic pattern. m. 171-172 In CS, the original Bassoon 2 Elimination Insignificant material is eliminated. The exact pitch material is presented in the Cello but in a different rhythm.
149 m. 185 In CS, the original Bassoon 2 Elimination Minimally Similar Elimination in BR - In material is eliminated. The pitch Significant Brahms, the same exact same pitch material is presented in the Cello material is presented but in a one octave lower but in a different different rhythm. rhythm. m. 193-195 In CS, the original Bassoon 2 Reduction Minimally No significant difference. (beat 2) material is played/doubled by the Significant Cello. m. 197 In CS, the Horn plays the original Reorganize Insignificant (beat 4) - Bassoon 2 material. 198 (beat 1) m. 198-199 In CS, the original Bassoon 1 & 2 Reorganize Insignificant material is played/doubled by the Clarinet. m. 200 In CS, Linckelmann combines both Change Minimally In BR, Brahms eliminates the (beat 1) & Bassoon 1 & 2 parts to create a new Significant Bassoon 1 material and just uses m. 202-205 part for the Bassoon. This is not a the Bassoon 2 material. (beat 2) & significant difference from the m. 206 original part. (beat 2) - m. 207 Mvt. 4 m. 21-23 In CS, the original Bassoon 2 Reorganize Insignificant material is doubled/played by the Cello. m. 51-52 In CS, the original Bassoon 2 Elimination Minimally No significant difference. material is eliminated. The pitch Significant material is present in other instruments but with a different rhythmic pattern. m. 56 In CS, the original Bassoon 2 Reorganize Insignificant material is doubled/played by the Clarinet one octave higher. m. 71 (beat The first beat of m. 71 has been Reorganize Insignificant 1) 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 Reorganize Insignificant material is doubled/played by the Bass. Mvt. 5 m. 14-16 In OS, the Bassoon 2, Clarinet 2, and Reduction Minimally Reduction - In BR, this has been Flute 2 play the same pitch material Significant reduced to the bottom two in octaves. In CS, this has been octaves. reduced to only the Bassoon at the lower octave. m. 20 (beat In OS, the Bassoon 1 is one octave Reduction Minimally No significant difference. 4) -23 higher than Bassoon 2 (except for Significant unison on beat 2 of m. 22). In CS, this is reduced to either the lower or higher octave (varies).
150 m. 66 (beat In CS, the Cello 1 plays the original Reorganize Insignificant 4) - 67 Bassoon 2 part. These are the same pitches one octave higher than the original Cello part. m. 34-35 In OS, the Bassoon 2 doubles the Reduction Insignificant (beat 1) Cello part. In CS, this has been reduced to only the Cello. m. 53 (beat In CS, the original Bassoon 2 Elimination Minimally M. 53 - Similar to CS / M. 54 - No 2)-54 material is eliminated. This original Significant significant difference to OS material is not provided by any other part. m. 52-53 In CS, the Cello plays the original Reorganize Insignificant (beat 1) Bassoon 2 material. m. 56 In OS, the Bassoon 1&2 play in Reduction / Minimally No significant difference. octaves. In CS, the lower octave is Elimination Significant eliminated. m. 60-62 In OS, the Bassoon 2, Clarinet 2, and Reduction Minimally Reduction - In BR, this has been Flute 2 play the same pitch material Significant reduced to the highest and the in octaves. In CS, this has been lowest octaves. reduced to only the Bassoon at the lower octave. m. 65-68 In OS, the Bassoon 2 and Cello Reduction Minimally No significant difference. provide the same pitch content (one Significant portion is at octaves). In CS, this has been reduced to only the Cello. m. 73-74 In OS, the Bassoon 1, Clarinet 1, and Reduction Minimally Similar Reduction in BR - In CS, Flute 1 play the same pitch material Significant Linckelmann chooses to reduce to in octaves. In CS, this has been the upper two octaves. In BR, reduced to only the Flute and Brahms chooses to reduce to the Clarinet in octaves. bottom two octaves. Mvt. 6 m. 32 (beat In CS, the original Bassoon 2 Reorganize Insignificant 1) material is played by the Cello. m. 65 (beat In CS, the original Bassoon 2 Reorganize Insignificant 3) - 66 material is played/doubled by the Cello. m. 78 (beat In CS, the original Bassoon 2 Reorganize Insignificant 3) - 79 (beat material is played/doubled by the 1) Cello. m. 82-93 / In OS, the Tuba doubles the Bassoon Reduction Minimally DIFFERENCE - Brahms chooses to 128-139 2 part at the lower octave (until m. Significant eliminate this material. The pitch is 88). In the CS, the Bassoon plays the provided but in a much different lower Tuba original material and the register. The original Tuba material higher octave doubling is omitted. is not omitted for m. 87.
m. 84 & 90 In CS, the original Bassoon 2 Reorganize Insignificant / 130 & 136 material is played/doubled by the Clarinet one octave higher.
151 m. 91-92 / In OS, the Oboe 1, Clarinet 2, and Reduction / Minimally No significant difference. 137-138 Bassoon 2 all play the same pitches Reorganization Significant in two octaves. In OS, this has been reduced to the Clarinet but at the Bassoon 2 lower octave. m. 93-99 In CS, the original Bassoon 2 Elimination Minimally Most of the original material is (beat 1) / material is eliminated. All pitch Significant presented as one continuous 139-145 material is presented in other melodic idea, but the register does woodwind instruments with the shift occasionally. same rhythm, but not as one continuous melodic idea. m. 99 (beat In OS, the Bassoon 2 doubles the Reduction Minimally No significant difference. 2) - 104 / Bassoon 1 one octave lower. In CS, Significant 145-150 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. 104-107 In CS, the original Bassoon 2 Reorganize Insignificant material is played/doubled by the Clarinet one octave higher. m. 112-115 In OS, the original Bassoon 2 doubles Reduction Minimally No significant difference. the Bass one octave higher. In CS, Significant this has been reduced to the Bass at the lower octave. m. 157 In CS, the original Bassoon 2 Reorganize Insignificant (beat 3) - material is played/doubled by the 158 (beat 1) Clarinet. m. 166 In OS, the Bassoon 1 doubles the Reduction Minimally No significant difference. (beat 2) - Bassoon 2 one octave higher. In CS, Significant 168 (beat 1) this has been reduced to the upper octave (Bassoon 1). m. 178-180 In OS, the Bassoon 1 doubles the Reduction Minimally Similar Reduction in BR Bassoon 2 one octave higher. In CS, Significant this has been reduced to the upper octave (Bassoon 1). m. 184-186 In CS, the original Bassoon 2 Reorganize Insignificant material is played/doubled by the Flute two octaves higher. m. 192-193 In CS, the original Bassoon 2 Reorganize Insignificant material is played/doubled by the Clarinet one octave higher. m. 194-195 In CS, the Horn plays the original Reorganize Insignificant Bassoon 2 & Trombone 1 material. m. 196-200 In CS, the original Bassoon 2 Reorganize Insignificant material is played/doubled by the Oboe one octave higher. m. 201-208 In CS, the original Tuba material is Reorganize Insignificant No significant difference played by the Bassoon. This material doubles the original Bassoon 2 material with a couple octave changes.
152 m. 255-256 In CS, the original Bassoon 2 Reorganize Insignificant material is played/doubled by the Clarinet one octave higher. m. 270 In CS, the Cello 1 plays the original Reorganize Insignificant Bassoon 2 part for the final beat of this measure. m. 271-275 In OS, the Bassoon 1 & 2 doubles the Reduction Insignificant Cello. In CS, this has been reduced to only the Cello. m. 282-284 In CS, the original Bassoon 2 Elimination Minimally No significant difference. (beat 1) material is eliminated. The pitch Significant material is present in other instruments but with a different rhythmic pattern. m. 286 In OS, the Bassoon 1 & 2 doubles the Reduction Insignificant (beat 3) - Cello. In CS, this has been reduced 288 to only the Cello. m. 291-292 In CS, the Flute plays the original Reorganize Insignificant (beat 2) Clarinet 2 and Bassoon 2. m. 292 In CS, the original Bassoon 2 Reorganize Insignificant (beat 3) - material is played/doubled by the 298 (beat 3) Clarinet. m. 309-310 In CS, the original Bassoon 2 Elimination Minimally In BR, the pitch material is present (beat 3) material is eliminated. The pitch Significant but in a different rhythm. material is present in other instruments but with a different rhythmic pattern. m. 310 In CS, the original Bassoon 2 Reorganize Insignificant (beat 4) - material is played/doubled by the 311 Horn. m. 312 - In OS, the Bassoon 1 & 2 doubles the Reduction Insignificant 316 Cello. In CS, this has been reduced to only the Cello. m. 318-319 In OS, the Clarinet 2 and Bassoon 2 Reorganize Insignificant play the same pitch material. This material is played by the Flute. m. 320-324 In CS, the original Bassoon 2 Reorganize Insignificant material is played/doubled by the Clarinet. m. 329 In CS, the Horn plays the original Reorganize Insignificant (beat 4) - Bassoon 2 material. 331 m. 334 In CS, the original Bassoon 2 Reorganize Insignificant material is played/doubled by the Cello. Mvt. 7 m. 10-12 In CS, the original Bassoon 1 & Reorganize Insignificant Bassoon 2 pitch material is incorporated into either the Bassoon or Clarinet.
153 m. 24-29 In CS, the original Bassoon 2 Elimination Minimally Similar Elimination in BR material is eliminated. The pitch Significant material is present in other instruments but with a different rhythmic pattern. m. 31-34 In CS, the original Bassoon 2 Reorganize Insignificant material is doubled/played by the Bass one octave lower. m. 34 In CS, the Clarinet plays the a C on Reorganize Insignificant 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 Reorganize Insignificant octaves. In CS, this is reduced to only the Bassoon 2 lower pitch. m. 49-51 In CS, the original Bassoon 2 is Reorganize Insignificant played/doubled by the Bass one octave lower. m. 66-68 In CS, the original Bassoon 2 is Reorganize Insignificant played/doubled by the Cello one octave lower. m. 87 (beat In CS, the Clarinet plays the original Reorganize Insignificant 4) -91 Bassoon 1 material. m. 116-119 In CS, the original Bassoon 2 has Elimination Insignificant been eliminated. The pitch content is provided by the Cello but with a different rhythm. m. 158-159 In CS, the original Bassoon 2 Reorganize Insignificant material is played/doubled by the Bass. m. 163-166 In CS, the Bassoon plays the original Reorganize Insignificant Bassoon 2 material. In beats 1-2 of m. 164, the Bassoon plays the original Harp material.
Horn 1
Measures Chamber Ensemble Notes Classification / Relevance Brahms Reduction Notes
Mvt. 1 m. 1-6 / 65- In OS, the Horn 1 & 2 played in Reduction Insignificant DIFFERENCE - Brahms can more 70 octaves. In CS, this has been easily provide octaves with the reduced to only the upper octave Piano. (Horn 1) m. 7-10 / In CS, the original Horn 1 material is Reorganize Insignificant 71-74 played by the Clarinet. m. 17-19 In CS, the original Horn 1 material is Elimination Significant No significant difference. (beat 1) eliminated. No other instrument plays this part.
154 m. 18 In OS, the original Viola 2 part was Elimination Significant No significant difference. doubled by the Horn 1. Both parts have been eliminated in CS. m. 30-33 In CS, the original Horn 1 material is Elimination / Minimally Similar Elimination in BR eliminated. The original pitch Reorganize Significant 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 Reduction Insignificant octaves. In CS, this has been reduced to only the upper octave (Horn 1) m. 42-45 & In OS, the Horn 1 & 2 played in Reduction Insignificant 47 octaves. In CS, this has been reduced to only the upper octave (Horn 1) m. 56 In CS, the original Horn 1 has been Elimination Insignificant eliminated. The original pitch material is present in the Violin 1 but with a different rhythm. m. 57 (beats In CS, the Horn plays the original Reorganize Insignificant 1-3) Trombone 2 material. m. 57 (beat In CS, the Horn plays the original Reorganize Insignificant 4) - 58 Trombone 1 material. m. 58 (beat In CS, the original Horn 1&2 material Elimination Minimally Similar Elimination in BR 4) - 60 is eliminated. The original pitch Significant material is present in other instruments but with different rhythms. m. 59-60 In CS, the Horn plays the original Reorganize Insignificant Bassoon 1 material. m. 74 (beat In CS, the Horn plays the original Reorganize Insignificant 3) -76 Trombone 1 material. m. 89 In CS, the original Horn 1 material is Elimination Minimally Similar Elimination in BR eliminated. The original pitch Significant material is present in the Violin 1 part but with a different rhythm. m. 90 (beats In CS, the Horn plays the original Reorganize Insignificant 1-3) Trombone 2 material. m. 90 (beat In CS, the Horn plays the original Reorganize Insignificant 4) - 91 Trombone 1 material. m. 91 (beat In CS, the original Horn 1&2 material Elimination Minimally Similar Elimination in BR 4) - 93 is eliminated. The original pitch Significant material is present in other instruments but with different rhythms. m. 92-93 In CS, the Horn plays the original Reorganize Insignificant Bassoon 1 material. m. 102-104 In CS, the original Cello 1 material is Reorganize Insignificant (beat 1) played by the Horn.
155 m. 110-111 In OS, the Horn doubles the Flute Reduction Insignificant Similar Reduction in BR (beat 1) one octave lower. In CS, this has been reduced to only the Flute at the higher octave. m. 121-122 In CS, the original Horn 1 material is Reorganize Insignificant played by the Clarinet. m. 121-122 In CS, the Horn plays the original Reorganize Insignificant Bassoon 1 material. m. 123 In CS, the Horn plays the original Reorganize Insignificant Bassoon 2 material. m. 125 In CS, the Horn plays the original Reorganize Insignificant Bassoon 1 material. m. 126-127 In CS, the Horn plays the original Reorganize Insignificant Trombone 1 material. m. 123-126 In CS, the original Horn 1 material is Elimination Minimally Not a significant difference. eliminated. The original pitch Significant Brahms is able to play one full material is present in other chord with one hand. Linckelmann instruments with the same rhythm. is rearranging pitches and Eliminating duplicates. Both versions maintain the integrity of the chord. m. 136 In OS, the Horn 1 & 2 played in Reduction Insignificant (beat 2) - octaves. In CS, this has been 142 reduced to only the upper octave (Horn 1) m. 144-145 In CS, the original Horn 1 material is Elimination Minimally See note for m. 123-126 eliminated. The original pitch Significant material is present in other instruments with the same rhythm. m. 150-151 In CS, the original Horn 1 material is Elimination Minimally See note for m. 123-126 eliminated. The original pitch Significant material is present in other instruments with the same rhythm. m. 154 In OS, the original Horn 1 & 2 play a Reduction Insignificant 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 Reorganize Insignificant played/doubled by the Bassoon. Mvt. 2 m. 3-8 / In OS, the Horn 1, Horn 2, Trumpet Reduction / Minimally DIFFERENCE - Brahms focuses on 127-132 1, and Trumpet 2 all play the same Reorganize Significant including the Harp chords to his pitch material in three octaves. In arrangement. These chords CS, this has been reduced to the include the original Brass pitches, Horn playing the material at the but strummed. Essentially, Brahms middle octave (Horn 1). 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.
156 m. 9-10 / In CS, the Horn plays the original Reorganize Insignificant See note for m. 3-8 133-134 pitch of the Horn 1&2 but one octave lower. This lower pitch is in the original Harp material. m. 5 (beat In OS, the Horn 3 & 4 double at the Reduction / Insignificant 4) - 6 (beat octave. In CS, this has been reduced Reorganize 1) / 129-130 to the upper octave (Horn 3) and is played by the Horn. m. 11-13 / In CS, the Horn plays portions of Reorganize / Minimally SIMILAR - At this point, Brahms 135-137 both the Horn 1 & 2 original eliminated Significant abandons the Harp part. Both material. Most of the material was composers use elements of the presented in octaves in OS. The original Horn 1 & 2 to create original Horn 2 material from the slightly different material. (The first beat of m. 12 has been focus is on the woodwinds and eliminated and not played by strings together, not one particular another instrument. The original Horn part.) Horn 2 material for the first beat of m. 13 is played/doubled by the Bassoon. m. 14-16 / In OS, the Horn 1 is doubled by the Reduction Insignificant 138-140 Horn 2 one octave lower. In CS, this has been reduced to only the upper octave (Horn 1) m. 21 (beat In CS, the original Horn 1 & 2 Reorganize Insignificant 3) - 22 (beat material is played by the Clarinet 1) / 145-146 (one octave higher for the Horn 2). m. 22 (beat In CS, the Horn plays the original Reorganize Insignificant 3)-m. 26 Trombone 2 material. (beat 2) / 146-150 m. 23-25 / In OS, the Horn 1&2 and Trumpet Reorganize Insignificant Similar to m. 3-8, Brahms focuses 147-149 1&2 play the pitch of B in octaves. on the Harp melodic content. 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. 26-29 / In OS, the Horn 1 & 2 played in Reduction Insignificant Same as previous 150-153 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. m. 30 (beat In CS, the Horn plays the original Reorganize Insignificant 3)-m. 33 Trombone 2 material. (beat 2) m. 30 (beat In CS, the Bassoon plays the original Reorganize Insignificant 2) - 33 (beat Horn 1 material. From m. 31-33 this 1) / 154 doubles the original Bassoon 2 (beat 2) - material one octave higher. 157 (beat 1) m. 34-36 / In OS, the Horn 1 is doubled by the Reduction Insignificant DIFFERENCE - Brahms chooses to 158-160 Horn 2 one octave lower. In CS, this eliminate this material. has been reduced to only the upper octave (Horn 1)
157 m. 42 (beat In CS, the original Horn 1 & 2 Reorganize Insignificant DIFFERENCE - Brahms chooses to 3) - 43 (beat material is doubled/played by the eliminate this material. Pitch 1) / 166-167 Bassoon. content is still provided. m. 44 / 168 In CS, the original Horn 1 & 2 Reorganize Insignificant DIFFERENCE - Brahms chooses to material is played by the Clarinet. eliminate this material. The pitch is provided but with a different rhythm. m. 46-48 In CS, the Horn plays the original Reorganize Insignificant DIFFERENCE - Brahms chooses to (beat 2) & Horn 3 material. eliminate this material. The pitch is 52-54 (beat provided but with a different 2) / 170-172 rhythm. & 176-178 m. 48 (beat In OS, the Horn 1, Bassoon 1 & 2 Reorganize Insignificant No significant difference. 3) - 52 (beat play the same material in three 2) / m. 172 octaves. In CS, this has been (beat 3) - reduced to the highest octave, and it 176 (beat 2) is played by the Horn. m. 54 (beat In this passage, Linckelmann Reorganize Significant DIFFERENCE - Brahms chooses to 3) - 61 / 178 combines a variety of pitch and eliminate this material. The pitch is (beat 3) - rhythmic material to create a new provided but with a different 185 layer. The Horn provides portions of rhythm. the Horn 1,2,3,4, Trumpet 1 &2, and Trombone 1 original material. m. 61 (beat In CS, the Horn plays the original Reorganize Insignificant 3) - 65 (beat Trombone 1 material. 1) / 185-189 m. 66 & 68 / In CS, the Horn plays the original Reorganize Insignificant 190 & 192 Horn 3 & 4 material. m. 67 & 69- In OS, the Horn 1 is doubled by the Reduction Insignificant 70 / 191 & Horn 2 one octave lower. In CS, this 193-194 has been reduced to only the upper octave (Horn 1) m. 71 / 195 In CS, the Horn plays the original Reorganize Insignificant Horn 3 & 4 material. m. 71-73 In CS, the original Horn 1 & 2 Elimination Minimally Similar Elimination in BR (beat 2) / material is eliminated. The original Significant 195-197 pitch material is present in other instruments but with different rhythms. m. 72 (beat In CS, the Horn plays the original Reorganize Insignificant 2) - 73 / 196 Bassoon 1 & Violin 2 (2) material. (beat 2) - 197 m. 197 In CS, the Bassoon plays the original Reorganize Insignificant (beat 3) - Horn 1 & 2 material. 198 (beat 2) m. 198 In CS, the Horn plays the original Reorganize Insignificant (beat 3) - Trombone 1 material. 201 m. 202 Possible Mistake - In CS, the Horn New Content Minimally No significant difference. The plays new content (Pitches D-G-C) Significant chords in BR do include the pattern that is not in the original. It is most used by Linckelmann. closely related to the Clarinet 2 material (D-C-G).
158 m. 205 In OS, the Clarinet 1, Bassoon 2, Reduction Insignificant 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. 205-206 In CS, the Horn plays the original Reorganize Insignificant Trombone 1 material. m. 219-221 In OS, the Horn 1 is doubled by the Reduction Insignificant DIFFERENCE - Brahms chooses to (beat 2) Horn 2 one octave lower. In CS, this eliminate this material. The pitch is has been reduced to only the upper provided but with a different octave (Horn 1) rhythm. m. 221 In CS, the original Horn 1 & 2 Elimination Minimally Similar Elimination in BR (beat 3) - material is eliminated. The original Significant 225 pitch material is present in other instruments but with different rhythms. m. 221 In CS, the Horn plays the original Reorganize Insignificant (beat 3) - Horn 3 & 4 material. 225 m. 233-237 In CS, the Horn plays the original Reorganize Insignificant Horn 3 & 4 material. m. 242-243 In CS, the Horn plays the original Reorganize Insignificant Horn 3 material. m. 243 In CS, the original Horn 1 material is Reorganize Insignificant (beat 3) - played by the Clarinet. 244 m. 249 In CS, the Horn plays the original Reorganize Insignificant (beat 3) - Trombone 1 material. 251 (beat 1) m. 251 In CS, the original Horn 1 material is Elimination Minimally Similar Elimination in BR (beat 3) - eliminated. The original pitch Significant 253 material is present in other instruments but with different rhythms. m. 255-257 In CS, the Horn plays the original Reorganize Insignificant Trombone 1 material. m. 265-266 In CS, the original Horn 1 material is Reorganize Insignificant played/doubled by the Clarinet. m. 267-272 In CS, the Horn plays the original Reorganize Insignificant (beat 3) Horn 3 & 4 material. m. 274-278 In OS, the Horn 1 is doubled by the Reduction Insignificant DIFFERENCE - Brahms chooses to Horn 2 one octave lower. In CS, this eliminate this material. The pitch is has been reduced to only the upper provided but with a different octave (Horn 1) rhythm. m. 279-280 In CS, the original Horn 1 & 2 Reorganize / Minimally DIFFERENCE - Brahms chooses to & 283 original material is played by the Reduction Significant eliminate this material. The pitch is Oboe one and two octaves higher. provided but with a different rhythm. m. 284-285 In OS, the Horn 1 doubles the Horn 3 Reorganize Insignificant (beat 2) &4 one octave higher. In CS, this has been reduced to only the upper octave (Horn 1).
159 m. 285 In OS, the Horn 1 is doubled by the Reduction Insignificant (beat 3) - Horn 2 one octave lower. In CS, this 290 has been reduced to only the upper octave (Horn 1) m. 293 In CS, the Horn plays a combinations Reorganize / Minimally Eliminated in BR (beat 3) - of pitches from both Horn 3 & 4. Elimination Significant 297 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. m. 293 In CS, the original Horn 1 & 2 Elimination Minimally Similar Elimination in BR (beat 3) - material is eliminated. The original Significant 295 pitch material is present in other instruments but with different rhythms. m. 296-297 In OS, the Horn 1 is doubled by the Reorganize Insignificant DIFFERENCE - Brahms chooses to Horn 2 one octave lower. In CS, this eliminate this material. The pitch is has been reduced to only the upper provided but with a different octave (Horn 1). This material is rhythm. played by the Clarinet. m. 325-327 In CS, the Horn plays the original Reorganize Insignificant (beat 2) Horn 3 & 4 material. m. 327-329 In OS, the Horn 1 is doubled by the Reduction Insignificant Similar Reduction in BR (beat 2) Horn 2 one octave lower. In CS, this has been reduced to only the upper octave (Horn 2). m. 329 In OS, the Horn 1 & 2 play octave Bb Reduction Insignificant Not reduced - similar to OS (beat 3) - pitches. This pitch is also played by 333 (beat 1) the Bass. In CS, this has been reduced to only the Bass at the lowest octave. m. 329 In CS, the Horn plays the original Reorganize Insignificant (beat 3) - Trombone 2 / Trombone 3 material. 333 (beat 1) m. 333 In CS, the original Horn 1 material is Reorganize Insignificant (beat 3) - m. played by the Clarinet. 227 Mvt. 3 m. 18-20 In OS, the Horn 1 is doubled by the Reduction Insignificant DIFFERENCE - Brahms chooses to Horn 2 one octave lower. In CS, this eliminate this material. The pitch is has been reduced to only the higher provided but with a different octave (Horn 1) rhythm. m. 23-32 In OS, the Horn 1 & 2 and Trumpet 1 Reorganize Insignificant DIFFERENCE - Brahms chooses to & 2 play the same pitch material eliminate this material. The pitch is over three octaves. In CS, this has provided but with a different been reduced to the higher two rhythm. octaves and is played by the Clarinet and Horn. m. 39-40 In CS, the original Bassoon 1 Reorganize Insignificant material is played by the Horn.
160 m. 39-40 In OS, the Horn 1 is doubled by the Reorganize / Insignificant DIFFERENCE - Brahms chooses to Horn 2 one octave lower. In CS, this Reduction eliminate this material. The pitch is has been reduced to only the upper provided but with a different octave (Horn 1). This material is rhythm. played by the Clarinet. m. 39-40 In CS, the Horn plays the original Reorganize Insignificant Bassoon 1 material. m. 44-46 In OS, the Horn 1 is doubled by the Reduction Insignificant Similar to OS 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 Elimination Minimally In OS, the Horns are sustaining material is eliminated. The original Significant chords for six beats, but the voices pitch material is present in the Violin only hold them for five. In BR, the 2 but with a different. pitches are provided, but Brahms only holds them for five. m. 62-64 In OS, the Horn 1 is doubled by the Reduction Insignificant DIFFERENCE - Brahms chooses to Horn 2 one octave lower. In CS, this eliminate this material. The pitch is has been reduced to only the higher provided but with a different octave (Horn 1) rhythm. m. 77-78 In CS, the original Horn 1 material is Reorganize Insignificant (beat 3) played by the Clarinet. m. 77 (beat In CS, the original Horn 1 material is Reorganize Insignificant 4) - 84 played by the Flute. m. 90-96 In OS, the Horn 1 is doubled by the Reduction Insignificant Similar to OS (content overlaps (beat 2) Horn 2 one octave lower. In CS, this with strings) has been reduced to only the higher octave (Horn 1) m. 108 In CS, the original Horn 1 material is Elimination Minimally Similar to OS eliminated. This material is not Significant substantially provided by any other part. m. 118-119 In CS, the Horn plays the original Reorganize Insignificant / 122-123 Trombone 2 material. m. 121-122 In OS, the Horn 1 doubles the Flute Reduction / Insignificant Similar to OS / 125-126 2 one octave lower. In CS, this has Reorganize been reduced to only the higher octave (Flute 2). This material is played by the Oboe. m. 125-126 In CS, the original Horn 3 material is Reorganize Insignificant played by the Horn. m. 127 In CS, the original Horn 1 material is Reorganize Insignificant played by the Clarinet. m. 128-129 In CS, the Horn plays the original Reorganize Insignificant Trombone 1 material. m. 138-139 In CS, the original Horn 1 material is Reorganize Insignificant played/doubled by the Oboe one octave higher. m. 138-139 In OS, the Horn 3 is doubled by the Reduction / Insignificant Horn 4 one octave lower. In CS, this Reorganize has been reduced to only the lower octave (Horn 4). This material is played by the Horn.
161 m. 143 In CS, the original Horn 1 material is Reorganize Insignificant played by the Clarinet. m. 144-146 In CS, the original Horn 1 material is Reorganize Insignificant (beat 2) played/doubled by the Flute one octave higher. m. 148-149 In CS, the original Horn 1 material is Reorganize Insignificant played by the Oboe. m. 154-156 In CS, the original Horn 1 material is Reorganize Insignificant (beat 2) played by the Clarinet. m. 154-155 In CS, the Horn plays portions of the Reorganize Insignificant DIFFERENCE - Brahms chooses to Trumpet 1 & 2 and Trombone 2 eliminate this material. The pitch is original material. provided but with a different rhythm. m. 156 In OS, the Horn 3 is doubled by the Reduction / Insignificant Horn 4 one octave lower. In CS, this Reorganize has been reduced to only the lower octave (Horn 4). This material is played by the Horn for 2 beats. m. 156-157 In CS, the original Horn 1 & 2 Reorganize Insignificant material is doubled/played by the Flute one octave higher. m. 158-163 In CS, the Violin plays the original Reorganize Insignificant Horn 1 material. m. 165-169 In CS, the original Horn 1 material is Reorganize Insignificant played by the Flute. m. 171 In CS, the Cello 1 plays the pitch of Reorganize Insignificant 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 Reorganize Insignificant Trombone 1 & 2 material. m. 175-176 In CS, the original Horn 1 material is Reorganize Insignificant played by the Flute. m. 176 In CS, the Horn plays the original Reorganize Insignificant (beat 3) - Trombone 1 & 2 material. 178 (beat 1) / 179 - 180 (beat 3) m. 178 In CS, the original Horn 1 material is Elimination Insignificant Similar Elimination in BR (beat 2) eliminated. This material is not substantially provided by any other part. m. 180 In CS, the original Horn 1 & 2 Elimination Minimally Similar Elimination in BR (beat 4) - material is eliminated. This material Significant 181 (beat 1) is not substantially provided by any other part. m. 180 In CS, the Horn plays the original Reorganize Insignificant (beat 4) - Horn 3 and Trumpet 1 material. 181 (beat 1)
162 m. 181 In CS, the Horn plays the original Reorganize Insignificant (beat 3) - Trombone 1 & 2 material. 183 (beat 1) m. 183 In CS, the Horn plays the original Reorganize Insignificant (beat 2-3) Horn 3 and Trumpet 1 material. m. 183 In CS, the original Horn 1 material is Reorganize Insignificant (beat 2-3) played by the Oboe. m. 184 In CS, the Horn plays the original Reorganize Insignificant (beats 1-3) / Trombone 1 & 2 material. 187 (beats 1-3) m. 184 In CS, the original Horn 1 material is Reorganize Insignificant (beat 4) - played by the Oboe. 186 m. 190-191 In CS, the Horn plays the original Reorganize Insignificant (beat 1) / Trombone 1 & 2 material. 192 (beats 1-2) m. 191 In CS, the original Horn 1 material is Elimination Minimally Similar Elimination in BR (beats 2-3) eliminated. This material is not Significant substantially provided by any other part. m. 193 In CS, the Horn plays the original Reorganize Insignificant (beats 2-3) Horn 3 material. m. 193 In CS, the original Horn 1 & 2 Elimination Minimally Similar Elimination in BR (beats 2-3) material is eliminated. All original Significant pitch material is present in other instruments. m. 196 In CS, the original Horn 1 material is Reorganize Insignificant (beat 2) - played by the Flute. 197 (beat 1) m. 197 In CS, the Horn plays the original Reorganize Insignificant (beat 4) - Bassoon 2 material. 198 (beat 1) m. 198 In CS, the original Horn 1 material is Reorganize Insignificant (beat 2) - played by the Oboe. 199 (beat 1) m. 198 In CS, the Horn plays material from Reorganize Insignificant (beat 2) - both the Horn 2 and Horn 3 199 (beat 1) m. 206 In CS, the original Horn 1 material is Elimination Minimally Similar Elimination in BR (beats 3-4) eliminated. All original pitch Significant material is present in other instruments. Mvt. 4 m. 1-4 (beat In OS, the Horn 1 doubles the Horn 2 Reduction Insignificant 1) one octave higher. In CS, this has been reduced to only the Horn 2 at the lower octave. m. 4-8 In CS, the Bassoon plays the original Reorganize Insignificant Horn 1 material. m. 51 In CS, the Bassoon plays the original Reorganize Insignificant Horn 1 material.
163 m. 61-62 In CS, the original Bassoon 1 Reorganize Insignificant (beat 1) material is played by the Horn. m. 126 In OS, the Horn 1 & 2 played in Reduction Minimally No significant difference. octaves. In CS, this has been Significant reduced to only the lower octave (Horn 2) m. 131 In CS, the original Clarinet 2 material Reorganize Insignificant is played by the Horn. m. 141-143 In OS, the Horn 1 & 2 played in Reduction Minimally No significant difference. (beat 1) octaves. In CS, this has been Significant reduced to only the lower octave (Horn 2) m. 149-152 In CS, the original Horn 1 is Reorganize Insignificant doubled/played by the Violin 2. m. 153-156 In CS, the original Horn 1 is Reorganize Insignificant doubled/played by the Oboe one octave higher. m. 165-168 In CS, the original Horn 1 is Reorganize Insignificant doubled/played by the Oboe one octave higher. m. 169-171 In OS, the Horn 1 & 2 played in Reduction Minimally Eliminated in BR octaves. In CS, this has been Significant reduced to only the lower octave (Horn 2) m. 172 In CS, this measure has been Change Minimally changed from the original pitch of B Significant to Eb. WHY? m. 173 In CS, the Oboe plays the original Reorganize Insignificant (beat 2) - Horn 1 material. 174 (beat 1) m. 174 In CS, the Flute plays the original Reorganize Insignificant (beat 2) - Horn 1 material. This is also a a 175 doubling of the Oboe 1 material one octave lower. Mvt. 5 DONE m. 6 - 7 In CS, the original Horn 1 material Elimination / Insignificant Similar Elimination in BR (beat 1) (sustained G4) is eliminated for one Reorganize beat. A sustained G4 is provided in the Clarinet on the second beat. m. 12-14 In CS, the original Horn 1 & 2 Elimination Significant No significant difference. 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 Elimination Minimally No significant difference. eliminated. This pitch content is Significant provided by any other instrument, but not with the same sustained rhythm. Mvt. 6 m. 2-3 In CS, the Horn plays the original Reorganize Insignificant Horn 4 material.
164 m. 10-13 In OS, the Horn 1 & 2 played in Reduction Minimally In BR, the original material is octaves. In CS, this has been Significant eliminated. M. 11-13 - no reduced to only the lower octave significant difference. (Horn 2) m. 38-46 In CS, the Horn plays the original Reorganize Insignificant Horn 3 material. m. 68-70 In CS, the Horn plays the original Reorganize Insignificant (beat 2) Trombone 3 material. m. 72 (beat In CS, the Horn plays the original Reorganize Insignificant 3) -74 Trombone 3 material. m. 72 In OS, the Horn 1 & 2 material is Reduction Minimally Original pitch material is present doubled by the Viola. In CS, this has Significant but not with the same change in been reduced to only the Viola. octaves as OS. m. 74 In CS, the Horn 1 doubles the Horn 2 Reduction Minimally No significant difference. one octave higher. In CS, this has Significant 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 Reorganize Insignificant No significant difference. & 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 / In OS, the Horn 1 & 2 and Trumpet 1 Reduction Insignificant No significant difference. 128-129 & 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 Reorganize Insignificant doubled/played by the Oboe. m. 85-87 / In OS, the Horn 1 & 2 and Trumpet 1 Reduction Insignificant In BR, the same material is 131-133 & 2 play the same pitch material. In presented but with slightly CS, this has been reduced to the different rhythm. lower octave (Horn 2 and Trumpet 2). m. 88-89 / In OS, the Horn 1 & 2 and Trumpet 1 Reduction / Insignificant No significant difference. 134-135 & 2 play the same pitch material. In Reorganization CS, this has been reduced to the upper octave (Horn 1 and Trumpet 1). This material is played by the Oboe. m. 90 / 136 In OS, the Horn 1 & 2 and Trumpet 1 Elimination Minimally Similar Elimination in BR & 2 play the same pitch material. In Significant CS, this material has been eliminated but all pitch material is present in other voices with a different rhythm. m. 88-89 / In CS, the Horn plays the original Reorganize Insignificant 134-135 Trombone 2 material. m. 90-91 / In CS, Linckelmann creates a new Reorganize Insignificant 136-137 melodic pattern that includes portions of Trombone 1 and Trombone 3 material. 165 m. 93-95 / In OS, the Horn 1 & 2 and Trumpet 1 Reorganize Insignificant No significant difference. 139-141 & 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 / In OS, the Horn 1 & 2 and Trumpet 1 Reorganize Insignificant No significant difference. 142-144 & 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 / In CS, the original Horn 1 & 2 Elimination Minimally Partial elimination. M. 99-101 - No 145-150 material has been eliminated. All Significant difference. M. 102-104 - pitch material is presented in other eliminated woodwind instruments but with a different rhythm. m. 99-104 / In CS, the Horn plays the original Reorganize Insignificant 145-150 Clarinet 2 material. m. 104 In OS, the Horn 1 & 2 and Trumpet 1 Reduction Minimally In BR, the doubling remains but (beat 3) - & 2 play the same pitch material. In Significant one octave lower. 106 (beat 1) CS, this has been reduced to the lower octave (Horn 2, Trumpet 2). m. 106 In CS, the original Horn 1 material is Reorganize Insignificant (beat 3) - played/doubled by the Clarinet one 107 octave lower. m. 106 In CS, the Horn plays the original Reorganize Insignificant (beat 3) - Trombone 3 material. 107 m. 108-111 In CS, the Horn 1 doubles the Horn 2 Reduction Minimally Similar Reduction - In BR, the pitch one octave higher. In CS, this has Significant material is presented one octave been reduced to the lower octave lower then Horn 2. This is the (Horn 2). original Timpani material. m. 120-121 In OS, several instruments have the Reorganize / Minimally No significant difference. pitch of C (Flute 1, Oboe 2, and Horn Reduction Significant 1 &2) over multiple octaves. In CS, this pitch material is played by the Cello. m. 122-123 In CS, the original Horn 1 & 2 Reorganize Insignificant material is played/doubled by the Bassoon. m. 122-123 In CS, the Horn plays the original Reorganize Insignificant Horn 3, Trombone 1, and Clarinet 2 material. m. 124-126 In OS, the Horn 1 doubles the Horn 2 Reduction Insignificant one octave higher. In CS, this has been reduced to one Horn part with portions from each octave.
166 m. 147 In OS, the Flute/Piccolo have the Reorganize Insignificant 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. 150 In CS, the original Horn 1 & 2 Elimination Minimally No significant difference. (beat 3) - material has been eliminated. All Significant 151 (beat 1) pitch material is presented in other instruments but with a different rhythm. m. 152 In OS, the Trombone 2 doubles the Reduction / Minimally No significant difference Trombone 3 one octave higher. In Reorganize Significant CS, this has been reduced to the higher octave and played by the Horn. m. 151-161 In CS, the original Horn 1 & 2 Reorganize Insignificant 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. 158 In OS, the Horn 1,2,3,4 and Trumpet Reorganize Insignificant Elimination - For the most part the (beat 3) - 1,2 all play the pitch of E in three original brass material is 160 (beat 1) octaves. In CS, the highest octave eliminated. M. 158 (beat 3) - 159 (Horn 1,2 & Trumpet 1) is played by (beat 2) the pitch material is the Oboe. present one octave higher. m. 165-170 In CS, the Horn plays the original Reorganize Insignificant Horn 3 & 4 material. m. 168-170 In OS, the Horn 1,2 and Trumpet 1,2 Reorganize Insignificant No significant difference. 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 In CS, the original Horn 1 material is Reorganize Insignificant (beat 2) - played/doubled by the Clarinet. 174 m. 175-177 In CS, the original Horn 1 & 2 Elimination Minimally Similar Elimination in BR material is eliminated. All original Significant 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 Reduction Minimally Similar Reduction in BR play the same pitch material in two Significant 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 Reorganize Insignificant doubled/played by the Clarinet.
167 m. 184-186 In OS, the original Horn 1 & 2 Reorganize Insignificant material is played by the Bassoon. m. 184-186 In CS, the Horn plays the original Reorganize Insignificant 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 Reduction / Minimally BR uses a combination of both one octave higher. In CS, this has Reorganization Significant octaves. been reduced to the higher octave and played by the Oboe. The third beat of m. 189 is different than OS. m. 190-193 In OS, the Horn 1,2 and Trumpet 1,2 Reorganize Minimally Similar pitch material is presented, all play the pitch of C in octaves. In Significant but not as a distinct layer. 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 Reduction / Minimally Similar pitch material but it is all play the pitch of E in octaves. In Reorganization Significant presented with a different rhythm. CS, this has been reduced to the lower octave and played by the Horn. m. 201-203 In CS, the Horn plays the original Reorganize Insignificant 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 Reorganize Insignificant Trumpet 1 material is played/doubled by the Viola. m. 204-208 In OS, the Flute 2, Oboe 2, Horn 1,2, Reduction / Minimally In BR, this has been reduced to two Trumpet 2, and Trombone 3 all play Reorganization Significant octaves (highest and lowest). the pitch of C in three octaves. In CS, this has been reduced to the lowest octave and is played by the Horn. m. 224 In OS, the Horn 1,2 and Trumpet 1,2 Reorganize Insignificant In BR, this material has been all play the pitch of C in octaves. In eliminated. CS, the Oboe plays the high pitch (Horn 1, Trumpet 1) m. 224 In OS, the Horn 1,2 and Trumpet 1,2 Reorganize Insignificant In BR, this material has been all play the pitch of C in octaves. In eliminated. CS, the Horn plays the low pitch (Horn 2, Trumpet 2) m. 226 In OS, the Horn 1 doubles the Horn 2 Reduction Minimally No significant difference. one octave higher. In CS, this has Significant been reduced to the lower octave and played by the Horn. m. 228 In OS, the Horn 1,2 and Trumpet 1,2 Reorganize Insignificant In BR, this material has been all play the same pitches. In CS, the eliminated. Oboe plays the high pitches (Horn 1, Trumpet 1) m. 228 In CS, the Horn plays the original Reorganize Insignificant Horn 3 material.
168 230 - 234 In CS, the original Horn 1 & 2 Elimination Minimally A majority of the original pitch (beat 3) material has been eliminated. A Significant material is present, but spread majority of the original pitch across a variety of hands. material has been retained (primarily through the strings) but not in the same rhythm. m. 244 In OS, the Horn 1 doubles the Horn 2 Reduction Minimally No significant difference. one octave higher. In CS, this has Significant been reduced to the lower octave and played by the Horn. m. 245-247 In CS, the original Horn 1 & 2 has Elimination Minimally Similar Elimination in BR been eliminated. Most original pitch Significant material has been presented in other instrument but not always with the same rhythm. m. 248-250 In CS, the original Trombone 3 Reorganize Insignificant (beat 2) material is played by the Horn. m. 249 In CS, the original Horn 1 material is Reorganize Insignificant (beat 4) - doubled/played by the Flute one 251 (beat 2) octave higher. m. 259-260 In CS, the Oboe plays the original Reorganize Insignificant Horn 1,2 and Trumpet 1,2 material. m. 261 In CS, the Oboe plays the original Reorganize Insignificant (beat 4) - Horn 1 and Trumpet 1 material. 262 (beat 2) m. 262 In CS, the Horn plays the original Reorganize Insignificant (beat 4) - Horn 3 & 4 material. The 4th beat of 263 (beat 2) m. 262 is provided by the Clarinet. m. 265 In CS, the original Horn 1 material is Reorganize Insignificant played/doubled by the Flute one octave higher. m. 265 In CS, the Horn plays the original Reorganize Insignificant Clarinet 2 material. m. 266-267 In CS, the original Horn 1 material is Reorganize Insignificant (beat 1) played/doubled by the Clarinet. m. 272-275 In CS, the Horn plays the original Reorganize Insignificant Horn 3 material. m. 274-275 In CS, the Horn plays the original Reorganize Insignificant Trombone 2 material. m. 276- 277 In CS, the Horn plays the original Reorganize Insignificant (beat 2) Trombone 1 material. m. 277 In CS, the Horn plays the original Reorganize Insignificant (beat 3) - Trombone 2 material. 280 (beat 1) m. 276-281 In CS, the original Horn 1 & 2 Significant Minimally Very similar treatment in BR. Most (beat 1) material has been integrated into Reorganization Significant of original material is retained, but the Oboe part. The Oboe is playing not at the same octave and not as the original Trumpet material. This a complete layer. means portion of the original Horn 1 & 2 may be at the wrong octave or possibly eliminated.
169 m. 282-285 In CS, the original Horn 1 material is Reorganize Insignificant (beat 3) played/doubled by the Flute one octave higher. m. 286 In CS, the original Horn 3 & 4 Reorganize Insignificant (beat 2) - material is played by the Horn. 290 m. 287-290 In CS, the original Horn 1 & 2 Reorganize Insignificant 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 Reduction Minimally In BR, this material has been one octave higher. In CS, this has Significant reduced and lowered one octave. been reduced to the lower octave and played by the Horn. m. 295 In OS, the Horn 1 doubles the Horn 2 Reduction Minimally Elimination - In BR, this material (beat 3) - one octave higher. In CS, this has Significant has been eliminated. The original 298 (beat 3) been reduced to the lower octave pitch is still provided but not in a and played by the Bassoon. similar rhythm. m. 304 In CS, the original Horn 1 material is Reorganize Insignificant doubled/played by the Flute one octave higher. m. 310-316 In CS, the Horn plays the original Reorganize Insignificant Trombone 2 material. m. 312 In CS, the original Horn 1 & 2 Reorganize Insignificant (beat 4) - material is played/doubled by the 313 (beat 1) Clarinet. m. 316 In OS, the Clarinet 1, Horn 1, and Reorganize Insignificant Horn 4 all play the same pitch material. This material is played by the Flute. m. 322-324 In OS, the Horn 1 doubles the Horn 2 Reduction Minimally Elimination - In BR, this material (beat 3) one octave higher. In CS, this has Significant has been eliminated. The original been reduced to the lower octave pitch is still provided but not in a and played by the Bassoon. similar rhythm. m. 330 In CS, the Horn plays the original Reorganize Insignificant (beat 3) - Bassoon 2 material. 331 m. 341-344 In CS, the Horn plays the original Reorganize Insignificant (beat 3) Trombone 1 material. m. 347 In CS, the original Horn 1 & 2 Reorganize Insignificant material is played/doubled by the Clarinet. m. 347 In CS, the Horn plays the original Reorganize Insignificant Clarinet 2 material. m. 348 In CS, the original Horn 1 material is Elimination Insignificant eliminated. All original pitch material is present in other woodwind instruments in the same rhythm but in a different octave. m. 348 In CS, the Horn plays the original Reorganize Insignificant (beat 3) - Horn 3 material for m. 348 and the 349 original Horn 4 material for m. 349.
170 Mvt. 7 m. 1-4 In OS, the Horn 1 & 2 played in Reduction Insignificant octaves. In CS, this has been reduced to only the higher octave (Horn 1) m. 10-11 In CS, the original Horn 1 &2 Reorganize Insignificant material is played/doubled by the Bass one or two octaves lower. m. 13-14 In CS, the original Horn 1 material is Reorganize Insignificant played by the Oboe. m. 14-17 In CS, the Horn plays the original Reorganize Insignificant Horn 3 material. m. 40-47 In OS, the Horn 3 & Horn 4 play in Reduction Insignificant octaves. In CS, this has been reduced to only the upper octave (Horn 3). These pitches are played by the Horn. m. 48-51 In CS, the original Horn 3 material is Reorganize Insignificant played by the Horn. m. 58-62 In CS, the original Horn 3 material is Reorganize Insignificant played by the Horn. m. 68-69 In CS, the original Horn 3 material is Reorganize Insignificant played by the Horn. m. 70-72 In OS, the Horn 1 & 2 played in Reduction Insignificant octaves. In CS, this has been reduced to only the higher octave (Horn 1) m. 84 In CS, the Horn plays/doubles the Reorganize Insignificant original Trombone 2 material. m. 76-78 In CS, the Horn plays the original Reorganize Insignificant Horn 3 material. m. 79- In CS, the Horn plays the original Reorganize Insignificant 81(beat 1) Horn 4 material. m. 81-84 In CS, the Horn plays the original Reorganize Insignificant (beat 1) Horn 3 material. m. 88 In OS, the Horn 1 & 2 played in Reduction Insignificant octaves. In CS, this has been reduced to only the lower octave (Horn 2) m. 103 In OS, the Horn 1 & 2 played in Reduction Insignificant octaves. In CS, this has been reduced to only the lower octave (Horn 2) m. 104-105 In OS, the Horn 1 & 2 played in Reduction Insignificant octaves. In CS, this has been reduced to only the upper octave (Horn 1) m. 119-121 In OS, the Horn 1 & 2 played in Reduction Insignificant octaves. In CS, this has been reduced to only the upper octave (Horn 1)
171 m. 127-131 In OS, the Horn 1 & 2 played in Reduction Insignificant octaves. In CS, this has been reduced to only the upper octave (Horn 1) m. 135 In m. 135 (beat 4), the original Horn Reduction / Insignificant (beat 4) - 1 material (which is doubled by the Reorganize 136 Horn 2) is eliminated. In m. 136, the Horn 1 material is doubled/played by the Flute 1 octave higher. m. 140 In OS, the Horn 1 & 2 played in Reduction Insignificant octaves. In CS, this has been reduced to only the upper octave (Horn 1) m. 151-152 In CS, the original Horn 1 material is Reorganize Insignificant doubled/played by the Flute one octave higher. m. 153-154 In OS, the Horn 1 & 2 played in Reduction Insignificant (beat 1) octaves. In CS, this has been reduced to only the lower octave (Horn 2) m. 155 In OS, the Horn 1 & 2 played in Reduction Insignificant (beat 4)-156 octaves. In CS, this has been (beat 2) reduced to only the lower octave (Horn 2) m. 156-159 In CS, the original Horn 1 & Horn 2 Reorganize Insignificant 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 Reorganize Insignificant doubled/played by the Clarinet. WHY? - The horn is not playing any content. m. 165-166 In CS, the original Horn 1 material is Reorganize Insignificant doubled/played by the Bassoon. WHY? - The horn is not playing any content. m. 166 In CS, the original Trombone 1 Reorganize Insignificant material is played by the Horn.
Horn 2
Measures Chamber Ensemble Notes Classification / Relevance Brahms Reduction Notes
Mvt. 1 m. 1-6 / 65- In OS, the Horn 1 & 2 played in Reduction Insignificant 70 octaves. In CS, this has been reduced to only the upper octave (Horn 1) m. 27-28 In CS, the original Horn 2 material is Reorganize Insignificant played by the Bassoon.
172 m. 34 In OS, the Horn 1 & 2 played in Reduction Insignificant octaves. In CS, this has been reduced to only the upper octave (Horn 1) m. 35-37 In CS, the original Horn 2 material is Elimination Minimally No significant change in BR eliminated. The original pitch Significant material is present in other parts with the same rhythm. m. 42-44 In CS, the original Horn 2 material is Reorganize Insignificant played by the Bassoon. m. 45 & 47 In OS, the Horn 1 & 2 played in Reduction Insignificant octaves. In CS, this has been reduced to only the upper octave (Horn 1) m. 46 In CS, the original Horn 2 material is Reorganize Insignificant played /doubled by the Bassoon. m. 58 (beat In CS, the original Horn 1&2 material Elimination Minimally Similar Elimination in BR 4) - 60 is eliminated. The original pitch Significant material is present in other instruments but with different rhythms. m. 74 (beat In CS, the original Horn 2 material is Elimination Minimally 2) - 77 eliminated. The original pitch Significant 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 Elimination Minimally All pitch material is present in eliminated. The original pitch Significant both scores. The particular material is present in other melodic pattern has been instruments. eliminated for both scores. m. 119-126 In CS, the original Horn 2 material is Elimination Minimally Not a significant difference. eliminated. The original pitch Significant Brahms is able to play one full material is present in other chord with one hand. Linckelmann instruments with the same rhythm. is rearranging pitches and Eliminating duplicates. Both versions maintain the integrity of the chord. m. 132 In CS, the original Horn 2 material is Reorganize Insignificant (beat 3) - played by the Bassoon. 136 (beat 1) m. 137 In CS, the original Horn 2 material is Reorganize Insignificant (beat 2) - played by the Bassoon. 138 (beat 1) m. 136 In OS, the Horn 1 & 2 played in Reduction Insignificant (beat 2) - octaves. In CS, this has been 142 reduced to only the upper octave (Horn 1)
173 m. 147 In CS, the original Horn 2 material is Reorganize Insignificant (beat 4) - played by the Bassoon. 148 m. 149 In CS, the original Horn 2 material is Elimination Minimally See note for m. 119-126 (beats 2-4) eliminated. The original pitch Significant material is present in other instruments. m. 154 In OS, the original Horn 1 & 2 play a Reduction Insignificant 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. 155-156 In CS, the original Horn 2 material is Reorganize Insignificant played/doubled by the Bassoon. m. 158 In CS, the original Horn 2 material is Elimination Insignificant eliminated. The original pitch material is present in other instruments. Mvt. 2 m. 3-8 / In OS, the Horn 1, Horn 2, Trumpet Reduction / Minimally DIFFERENCE - Brahms focuses on 127-132 1, and Trumpet 2 all play the same Reorganize Significant including the Harp chords to his pitch material in three octaves. In arrangement. These chords CS, this has been reduced to the include the original Brass pitches, Horn playing the material at the but strummed. Essentially, Brahms middle octave (Horn 1). 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 / In CS, the Horn plays the original Reorganize Insignificant See note for m. 3-8 133-134 pitch of the Horn 1&2 but one octave lower. This lower pitch is in the original Harp material. m. 11-13 / In CS, the Horn plays portions of Reorganize / Minimally SIMILAR - At this point, Brahms 135-137 both the Horn 1 & 2 original eliminated Significant abandons the Harp part. Both material. Most of the material was composers use elements of the presented in octaves in OS. The original Horn 1 & 2 to create original Horn 2 material from the slightly different material. (The first beat of m. 12 has been focus is on the woodwinds and eliminated and not played by strings together, not one particular another instrument. The original Horn part.) Horn 2 material for the first beat of m. 13 is played/doubled by the Bassoon. m. 14-16 / In OS, the Horn 1 is doubled by the Reduction Insignificant 138-140 Horn 2 one octave lower. In CS, this has been reduced to only the upper octave (Horn 1) m. 17-21 & In CS, the original Horn 2, 3, 4 and Elimination Minimally M. 17-18 - Similar Elimination / 19- 37-41 / Trumpet 1&2 material has been Significant 21 - No significant difference 141-145 & eliminated. All original pitch 161-165 material is present in other instruments but it is presented with a different rhythm.
174 m. 21 (beat In CS, the original Horn 1 & 2 Reorganize Insignificant 3) - 22 (beat material is played by the Clarinet 1) / 145- (one octave higher for the Horn 2). 146 m. 23-25 / In OS, the Horn 1&2 and Trumpet Reorganize Insignificant Similar to m. 3-8, Brahms focuses 147-149 1&2 play the pitch of B in octaves. on the Harp melodic content. 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. 26-29 / In OS, the Horn 1 & 2 played in Reduction Insignificant Same as previous 150-153 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. m. 30 / 154 In CS, the original Horn 1&2 material Reorganize Insignificant is played by the Bassoon. m. 31-32 / In CS, the original Horn 2 material is Elimination Minimally No significant difference. 155-156 eliminated. All original pitch Significant material is present in other instruments. m. 34-36 / In OS, the Horn 1 is doubled by the Reduction Insignificant DIFFERENCE - Brahms chooses to 158-160 Horn 2 one octave lower. In CS, this eliminate this material. has been reduced to only the upper octave (Horn 1) m. 37-41 / In CS, the original Horn 2 material is Elimination Minimally Most of the original pitch material 161-165 eliminated. All original pitch Significant is presented with the same rhythm, material is presented by other but not always at the same octave. instruments but with a different rhythm. m. 42 (beat In CS, the original Horn 1 & 2 Reorganize Insignificant DIFFERENCE - Brahms chooses to 3) - 43 (beat material is doubled/played by the eliminate this material. Pitch 1) / 166- Bassoon. content is still provided. 167 m. 44 / 168 In CS, the original Horn 1 & 2 Reorganize Insignificant DIFFERENCE - Brahms chooses to material is played by the Clarinet. eliminate this material. The pitch is provided but with a different rhythm. m. 45-54 / In OS, the Horn 2 doubles the Reduction Insignificant 169-178 Cello/Bass. In CS, this has been reduced to only the Bass. m. 54 (beat In this passage, Linckelmann Reorganize Significant DIFFERENCE - Brahms chooses to 3) - 61 / 178 combines a variety of pitch and eliminate this material. The pitch is (beat 3) - rhythmic material to create a new provided but with a different 185 layer. The Horn provides portions of rhythm. the Horn 1,2,3,4, Trumpet 1 &2, and Trombone 1 original material. m. 67 & 69- In OS, the Horn 1 is doubled by the Reduction Insignificant 70 / 191 & Horn 2 one octave lower. In CS, this 193-194 has been reduced to only the upper octave (Horn 1)
175 m. 71-73 In CS, the original Horn 1 & 2 Elimination Minimally Similar Elimination in BR (beat 2) / material is eliminated. The original Significant 195-197 pitch material is present in other instruments but with different rhythms. m. 73 (beat In CS, the Bassoon plays the original Reorganize Insignificant 3) - 75 Horn 2 material. m. 97-103 In CS, the Bassoon plays the original Reorganize Insignificant Horn 2 material. m. 121-125 In CS, the Bassoon plays the original Reorganize Insignificant Horn 2 material. m. 197 In CS, the Bassoon plays the original Reorganize Insignificant (beat 3) - Horn 1 & 2 material. 198 (beat 2) m. 205 In OS, the Clarinet 1, Bassoon 2, Reduction Insignificant 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. 219-221 In OS, the Horn 1 is doubled by the Reduction Insignificant DIFFERENCE - Brahms chooses to (beat 2) Horn 2 one octave lower. In CS, this eliminate this material. The pitch is has been reduced to only the upper provided but with a different octave (Horn 1) rhythm. m. 221 In CS, the original Horn 1 & 2 Elimination Minimally Similar Elimination in BR (beat 3) - material is eliminated. The original Significant 225 pitch material is present in other instruments but with different rhythms. m.263-264 In CS, the original Horn 2 material is Elimination Minimally No significant difference. The (beat 2) eliminated. The original pitch Significant rhythm is slightly different. material is present in other instruments but with different rhythms. m. 274-278 In OS, the Horn 1 is doubled by the Reduction Insignificant DIFFERENCE - Brahms chooses to Horn 2 one octave lower. In CS, this eliminate this material. The pitch is has been reduced to only the upper provided but with a different octave (Horn 1) rhythm. m. 279-280 In CS, the original Horn 1 & 2 original Reorganize / Minimally DIFFERENCE - Brahms chooses to & 283 material is played by the Oboe one Reduction Significant eliminate this material. The pitch is and two octaves higher. provided but with a different rhythm. m. 285 In OS, the Horn 1 is doubled by the Reduction Insignificant (beat 3) - Horn 2 one octave lower. In CS, this 290 has been reduced to only the upper octave (Horn 1) m. 293 In CS, the original Horn 1 & 2 Elimination Minimally Similar Elimination in BR (beat 3) - material is eliminated. The original Significant 295 pitch material is present in other instruments but with different rhythms.
176 m. 296-297 In OS, the Horn 1 is doubled by the Reorganize Insignificant DIFFERENCE - Brahms chooses to Horn 2 one octave lower. In CS, this eliminate this material. The pitch is has been reduced to only the upper provided but with a different octave (Horn 1). This material is rhythm. played by the Clarinet. m. 299-300 In CS, the original Horn 2 material is Elimination Minimally No significant difference. eliminated. All original pitch Significant material is present in other instruments. m. 316-318 In CS, the original Horn 2 material is Reorganize Insignificant played by the Bassoon. m. 327-329 In OS, the Horn 1 is doubled by the Reduction Insignificant (beat 2) Horn 2 one octave lower. In CS, this has been reduced to only the upper octave (Horn 1). m. 329 In OS, the Horn 1 & 2 play octave Bb Reduction Insignificant Not reduced - similar to OS (beat 3) - pitches. This pitch is also played by 333 (beat 1) 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 Reorganize Insignificant doubled/played by the Bassoon. Mvt. 3 m. 1-16 In CS, Bassoon plays the original Reorganize Insignificant Horn 2 part. m. 23-32 In OS, the Horn 1 & 2 and Trumpet 1 Reorganize / Insignificant & 2 play the same pitch material Reduction over three octaves. In CS, this has been reduced to the higher two octaves and is played by the Clarinet and Horn. m. 31-32 In OS, the Horn 2 and Trumpet 2 Reorganize / Insignificant play the same pitch material in Reduction octaves. In CS, this has been reduced to the higher octave (Trumpet 2) and is played by the Clarinet. m. 39-40 In OS, the Horn 1 is doubled by the Reorganize / Insignificant Horn 2 one octave lower. In CS, this Reduction has been reduced to only the upper octave (Horn 1). This material is played by the Clarinet. m. 44-46 In OS, the Horn 1 is doubled by the Reduction Insignificant 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 Elimination Minimally No significant difference. material is eliminated. The original Significant pitch material is present in the Violin 2 but with a different.
177 m. 62-64 In OS, the Horn 1 is doubled by the Reduction Insignificant Horn 2 one octave lower. In CS, this has been reduced to only the higher octave (Horn 1) m. 66-77 In CS, the Horn 2 part is played by Reorganize Insignificant (beat 1) the Bassoon. m. 90-96 In OS, the Horn 1 is doubled by the Reduction Insignificant (beat 2) 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 Reorganize Insignificant No significant difference. eliminated. All original pitch material is present in other instruments. m. 111-115 In OS, the Horn 1 is doubled by the Reduction Insignificant Horn 2 one octave lower. In CS, this has been reduced to only the higher octave (Horn 1) m. 113 In CS, the Horn 2 part is played by Reorganize Insignificant the Cello 1 for this measure. m. 147 In CS, the original Horn 2 material is Elimination Minimally No significant difference. eliminated. All original pitch Significant material is present in other instruments. m. 150-152 In OS, the Horn 1 is doubled by the Reduction Insignificant Horn 2 one octave lower. In CS, this has been reduced to only the higher octave (Horn 1) m. 158-163 In CS, the Violin 2 plays the original Reorganize Insignificant Horn 2 material. m. 170 In CS, the original Horn 2 material is Reorganize Insignificant played by the Bassoon. m. 171-173 In CS, the original Horn 2 material is Elimination Minimally No significant difference. eliminated. All original pitch Significant material is present in other instruments. m. 183 In CS, the original Horn 2 material is Elimination Minimally Similar Elimination in BR (beat 2-3) eliminated. All original pitch Significant material is present in other instruments. m. 188-189 In CS, the original Horn 2 material is Elimination Minimally Similar Elimination in BR eliminated. All original pitch Significant material is present in other instruments. m. 198 In CS, the Horn plays material from Reorganize Insignificant (beat 2) - both the Horn 2 and Horn 3 199 (beat 1) m. 200 -202 In CS, the original Horn 2 material is Reorganize Insignificant played by the Bassoon. m. 205 In CS, the original Horn 2 material is Reorganize Insignificant (beat 3) - played by the Bassoon. 204 (beat 2)
178 m. 207-208 In CS, the original Horn 2 material is Elimination Minimally No significant difference. eliminated. All original pitch Significant material is present in other instruments. Mvt. 4 m. 1-4 (beat In OS, the Horn 1 & 2 played in Reduction Minimally Similar Elimination in BR - Brahms 1) octaves. In CS, this has been Significant reduces to the lower octave and reduced to only the upper octave has the original Viola provide the (Horn 1) upper octave in a different rhythm. m. 11-16 In CS, the Bassoon plays the original Reorganize Insignificant Horn 2 material. m. 52 In CS, the Bassoon plays the original Reorganize Insignificant Horn 2 material. m. 54 (beat In OS, the Bassoon 2 doubles the Reduction Insignificant 3) - 55 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 Reduction Insignificant the Cello. In CS, this part is only played by the Cello. m. 70-73 In CS, the original Horn 2 material Elimination Minimally No significant difference. has been eliminated. The original Significant pitch content is doubled/provided in a variety of instruments in a variety of registers. m. 80-82 In OS, the Horn 1 & 2 played in Reduction Minimally In BR, this material has been octaves. In CS, this has been Significant partially eliminated. reduced to only the upper octave (Horn 1) m. 87 - 89 In CS, the Clarinet plays the original Reorganize Insignificant Horn 2 material. m. 89-93 In CS, the Bassoon plays the original Reorganize Insignificant Horn 2 material. m. 96-101 In CS, the Bassoon plays the original Reorganize Insignificant Horn 2 material. m. 106-107 In CS, the Clarinet plays the original Reorganize Insignificant Horn 2 material. m. 111-123 In CS, the Bassoon plays the original Reorganize Insignificant Horn 2 material. m. 124 In OS, the Horn 1 & 2 played in Reduction Minimally No significant difference. octaves. In CS, this has been Significant reduced to only the upper octave (Horn 1) m. 126 In OS, the Horn 1 & 2 played in Reduction Minimally No significant difference. octaves. In CS, this has been Significant reduced to only the lower octave (Horn 2) m. 131-134 In OS, the Horn 1 & 2 played in Reduction Minimally In BR, this material has been octaves. In CS, this has been Significant partially reduced and partially reduced to only the upper octave eliminated. (Horn 1)
179 m. 157-160 In CS, the Bassoon plays the original Reorganize Insignificant Horn 2 material. m. 161-163 In CS, the original Horn 2 material is Reorganize Insignificant doubled/played by the Clarinet. m. 164 In CS, most of the original Horn 2 Elimination Minimally No significant difference. material for this measure has been Significant eliminated. The Flute does play the middle of the measure. m. 172 In CS, this measure has been Change Minimally changed from the original pitch of B Significant to Eb. WHY? m. 176-179 In CS, the original Horn 2 material is Reorganize Insignificant doubled/played by the Bassoon. Mvt. 5 m. 4-5 In CS, the Bassoon plays the original Reorganize Insignificant Horn 2 material. m. 12-14 In CS, the original Horn 1 & 2 Elimination Significant No significant difference. 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 Reorganize Insignificant Horn 2 material one octave lower. m. 26 (beat In CS, the Bassoon plays the original Reorganize Insignificant 3) - m. 27 Horn 2 material. (beat 1) m. 43-50 In CS, the Bassoon plays the original Reorganize Insignificant (beat 3) Horn 2 material. m. 55 In CS, the Bassoon plays the original Reorganize Insignificant Horn 2 material. m. 57 (beat In CS, the Bassoon plays the original Reorganize Insignificant 4) - 58 Horn 2 material. m. 59-62 / In OS, the Horn 1 & 2 played in Reduction / Minimally Most of the original pitch material 76-78 octaves. In CS, this has been Elimination Significant is eliminated. All original pitch reduced to only the upper octave material is still present but with a (Horn 1) different rhythm.
Mvt. 6 m. 10-13 In OS, the Horn 1 & 2 played in Reduction Minimally In BR, the original material is octaves. In CS, this has been Significant eliminated. M. 11-13 - no reduced to only the lower octave significant difference. (Horn 2) m. 18-20 In CS, the original Horn 2 material is Reorganize Insignificant played by the Bassoon. m. 28-29 In OS, the Horn 1 & 2 played in Reduction Minimally DIFFERENCE - Brahms chooses to octaves. In CS, this has been Significant eliminate this material. The pitch is reduced to only the lower octave provided but with a different (Horn 2) rhythm by the Bass. m. 72 In OS, the Horn 1 & 2 material is Reduction Minimally Original pitch material is present doubled by the Viola. In CS, this has Significant but not with the same change in been reduced to only the Viola. octaves as OS.
180 m. 74 In CS, the Horn 1 doubles the Horn 2 Reduction Minimally No significant difference. one octave higher. In CS, this has Significant 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 Reorganize Insignificant No significant difference. & 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 / In OS, the Horn 1 & 2 and Trumpet 1 Reduction Insignificant No significant difference. 128-129 & 2 play the same pitch material. In CS, this has been reduced to the lower octave (Horn 2 and Trumpet 2). m. 85-87 / In OS, the Horn 1 & 2 and Trumpet 1 Reduction Insignificant In BR, the same material is 131-133 & 2 play the same pitch material. In presented but with slightly CS, this has been reduced to the different rhythm. lower octave (Horn 2 and Trumpet 2). m. 88-89 / In OS, the Horn 1 & 2 and Trumpet 1 Reduction / Insignificant No significant difference. 134-135 & 2 play the same pitch material. In Reorganization CS, this has been reduced to the upper octave (Horn 1 and Trumpet 1). This material is played by the Oboe. m. 90 / 136 In OS, the Horn 1 & 2 and Trumpet 1 Elimination Minimally Similar Elimination in BR & 2 play the same pitch material. In Significant CS, this material has been eliminated but all pitch material is present in other voices with a different rhythm. m. 93-95 / In OS, the Horn 1 & 2 and Trumpet 1 Reorganization Insignificant No significant difference. 139-141 & 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 / In OS, the Horn 1 & 2 and Trumpet 1 Reorganization Insignificant No significant difference. 142-144 & 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 / In CS, the original Horn 1 & 2 Elimination Minimally Partial elimination. M. 99-101 - No 145-150 material has been eliminated. All Significant difference. M. 102-104 - pitch material is presented in other eliminated woodwind instruments but with a different rhythm. m. 104 In OS, the Horn 1 & 2 and Trumpet 1 Reduction Minimally In BR, the doubling remains but (beat 3) - & 2 play the same pitch material. In Significant one octave lower. 106 (beat 1) CS, this has been reduced to the lower octave (Horn 2, Trumpet 2).
181 m. 106 In CS, the original Horn 2 material is Reorganize Insignificant (beat 3) - played/doubled by the Oboe. 107 m. 120-121 In OS, several instruments have the Reorganize / Minimally No significant difference. pitch of C (Flute 1, Oboe 2, and Horn Reduction Significant 1 &2) over multiple octaves. In CS, this pitch material is played by the Cello. m. 122-123 In CS, the original Horn 1 & 2 Reorganize Insignificant material is played/doubled by the Bassoon. m. 124-126 In OS, the Horn 1 doubles the Horn 2 Reduction Insignificant one octave higher. In CS, this has been reduced to one Horn part with portions from each octave. m. 147 In OS, the Flute/Piccolo have the Reorganize Insignificant 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. 150 In CS, the original Horn 1 & 2 Elimination Minimally No significant difference. (beat 3) - material has been eliminated. All Significant 151 (beat 1) pitch material is presented in other instruments but with a different rhythm. m. 151-161 In CS, the original Horn 1 & 2 Reorganize Insignificant 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. 158 In OS, the Horn 1,2,3,4 and Trumpet Reorganize Insignificant Elimination - For the most part the (beat 3) - 1,2 all play the pitch of E in three original brass material is 160 (beat 1) octaves. In CS, the highest octave eliminated. M. 158 (beat 3) - 159 (Horn 1,2 & Trumpet 1) is played by (beat 2) the pitch material is the Oboe. present one octave higher. m. 168-170 In OS, the Horn 1,2 and Trumpet 1,2 Reorganize Insignificant No significant difference. 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 In CS, the original Horn 2 material is Reorganize Insignificant (beat 2) - played/doubled by the Bassoon one 174 (beat 1) octave lower. m. 175-177 In CS, the original Horn 1 & 2 Elimination Minimally Similar Elimination in BR material is eliminated. All original Significant material is played by other woodwind instruments but not with the same rhythm or in the same octave.
182 m. 178-180 In OS, the Horn 1,2 and Trumpet 1,2 Reduction Minimally Similar Reduction in BR play the same pitch material in two Significant 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 Reorganize Insignificant doubled/played by the Clarinet. m. 184-186 In OS, the original Horn 1 & 2 Reorganize Insignificant material is played by the Bassoon. m. 188-189 In OS, the Horn 1 doubles the Horn 2 Reduction / Minimally BR uses a combination of both one octave higher. In CS, this has Reorganization Significant octaves. been reduced to the higher octave and played by the Oboe. The third beat of m. 189 is different than OS. m. 190-193 In OS, the Horn 1,2 and Trumpet 1,2 Reorganize Minimally Similar pitch material is presented, all play the pitch of C in octaves. In Significant but not as a distinct layer. CS, the highest octave is played by the Oboe and the lower octave by the Horn. m. 194-195 In CS, the Horn plays the original Reorganize Insignificant Bassoon 2 & Trombone 1 material. m. 196-200 In OS, the Horn 1,2 and Trumpet 1,2 Reduction / Minimally Similar pitch material but it is all play the pitch of E in octaves. In Reorganization Significant presented with a different rhythm. CS, this has been reduced to the lower octave and played by the Horn. m. 201-203 In CS, the Horn plays the original Reorganize Insignificant 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. 204-208 In OS, the Flute 2, Oboe 2, Horn 1,2, Reduction / Minimally In BR, this has been reduced to two Trumpet 2, and Trombone 3 all play Reorganization Significant octaves (highest and lowest). the pitch of C in three octaves. In CS, this has been reduced to the lowest octave and is played by the Horn. m. 224 In OS, the Horn 1,2 and Trumpet 1,2 Reorganize Insignificant In BR, this material has been all play the pitch of C in octaves. In eliminated. CS, the Horn plays the low pitch (Horn 2, Trumpet 2) m. 226 In OS, the Horn 1 doubles the Horn 2 Reduction Minimally No significant difference. one octave higher. In CS, this has Significant been reduced to the lower octave and played by the Horn. 230 - 234 In CS, the original Horn 1 & 2 Elimination Minimally A majority of the original pitch (beat 3) material has been eliminated. A Significant material is present, but spread majority of the original pitch across a variety of hands. material has been retained (primarily through the strings) but not in the same rhythm.
183 m. 244 In OS, the Horn 1 doubles the Horn 2 Reduction Minimally No significant difference. one octave higher. In CS, this has Significant been reduced to the lower octave and played by the Horn. m. 245-247 In CS, the original Horn 1 & 2 has Elimination Minimally Similar Elimination in BR been eliminated. Most original pitch Significant 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 Reorganize Insignificant presented by a combination of the Horn and the Bassoon. m. 255-257 In CS, the original Horn 2 material is Elimination Minimally No significant difference. eliminated. All original pitch Significant material is present in other instruments. m. 259-260 In CS, the Oboe plays the original Reorganize Insignificant Horn 1,2 and Trumpet 1,2 material. m. 264 In CS, the original Horn 2 material is Reorganize Insignificant played/doubled by the Bassoon one octave lower. m. 265 In CS, the original Horn 2 material is Reorganize Insignificant played/doubled by the Clarinet. m. 266 In CS, the original Horn 2 material is Reorganize Insignificant played/doubled by the Flute one octave higher. m. 276-281 In CS, the original Horn 1 & 2 Reorganize Minimally Very similar treatment in BR. Most (beat 1) material has been integrated into Significant of original material is retained, but the Oboe part. The Oboe is playing not at the same octave and not as the original Trumpet material. This a complete layer. means portion of the original Horn 1 & 2 may be at the wrong octave or possibly eliminated. m. 287-290 In CS, the original Horn 1 & 2 Reorganize Insignificant 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 Reduction Minimally In BR, this material has been one octave higher. In CS, this has Significant reduced and lowered one octave. been reduced to the lower octave and played by the Horn. m. 301 In CS, the original Horn 2 material is Reorganize Insignificant (beat 3) - played/doubled by the Clarinet. 303 (beat 3) m. 313-316 In CS, the original Horn 2 material is Reorganize Insignificant played/doubled by the Clarinet. m. 319-321 In CS, the original Horn 2 material is Elimination Insignificant eliminated. All original pitch material is present in other woodwind instruments in the same rhythm.
184 m. 327 In CS, the original Horn 2 material is Reorganize Insignificant (beat 4) - played/doubled by the Clarinet. 329 (beat 3) m. 330 In CS, the original Horn 2 material is Reorganize Insignificant doubled/played by the Bassoon one octave lower. m. 339 / In CS, the original Horn 2 material is Elimination Insignificant 345 eliminated. All original pitch material is present in other woodwind instruments in the same rhythm. m. 347 In CS, the original Horn 1 & 2 Reorganize Insignificant material is played/doubled by the Clarinet. m. 348 In CS, the original Horn 2 material is Elimination Insignificant eliminated. All original pitch material is present in other woodwind instruments in the same rhythm but in a different octave. Mvt. 7 m. 1-4 In OS, the Horn 1 & 2 played in Reduction Insignificant octaves. In CS, this has been reduced to only the higher octave (Horn 1) m. 5-9 / In CS, the Bassoon plays the original Reorganize Insignificant 106-110 Horn 2 material. m. 35-38 In CS, the Clarinet plays the original Reorganize Insignificant Horn 2 material. m. 70-72 In OS, the Horn 1 & 2 played in Reduction Insignificant octaves. In CS, this has been reduced to only the higher octave (Horn 1) m. 87 In CS, the original Horn 2 material is Reorganize Insignificant played/doubled by the Flute two octaves higher. m. 88 In OS, the Horn 1 & 2 played in Reduction Insignificant octaves. In CS, this has been reduced to only the lower octave (Horn 2) m. 103 In OS, the Horn 1 & 2 played in Reduction Insignificant octaves. In CS, this has been reduced to only the lower octave (Horn 2) m. 104-105 In OS, the Horn 1 & 2 played in Reduction Insignificant octaves. In CS, this has been reduced to only the upper octave (Horn 1) m. 119-121 In OS, the Horn 1 & 2 played in Reduction Insignificant octaves. In CS, this has been reduced to only the upper octave (Horn 1)
185 m. 127-131 In OS, the Horn 1 & 2 played in Reduction Insignificant octaves. In CS, this has been reduced to only the upper octave (Horn 1) m. 140 In OS, the Horn 1 & 2 played in Reduction Insignificant octaves. In CS, this has been reduced to only the upper octave (Horn 1) m. 153-154 In OS, the Horn 1 & 2 played in Reduction Insignificant (beat 1) octaves. In CS, this has been reduced to only the lower octave (Horn 2) m. 155 In OS, the Horn 1 & 2 played in Reduction Insignificant (beat 4)- octaves. In CS, this has been 156 (beat 2) reduced to only the lower octave (Horn 2) m. 156-159 In CS, the original Horn 1 & Horn 2 Reorganize Insignificant 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 Reorganize Insignificant doubled/played by the Bassoon. WHY? - The horn is not playing any content. m. 165-166 In CS, the original Horn 1 material is Reorganize Insignificant doubled/played by the Oboe on octave higher. WHY? - The horn is not playing any content. m. 166 In CS, the original Trombone 1 Reorganize Insignificant material is played by the Horn.
Horn 3
Measures Chamber Ensemble Notes Classification / Relevance Brahms Reduction Notes
Mvt. 1 TACET Mvt. 2 m. 5 (beat 4) In OS, the Horn 3 & 4 double at the Reduction Insignificant Elimination - In BR, this material is - 6 (beat 1) / octave. In CS, this has been reduced to / eliminated. 129-130 the upper octave (Horn 3) and is Reorganize played by the Horn. m. 17-21 & In CS, the original Horn 2, 3, 4 and Elimination Minimally M. 17-18 - Similar Elimination / 19- 37-41 / 141- Trumpet 1&2 material has been Significant 21 - No significant difference 145 & 161- eliminated. All original pitch material 165 is present in other instruments but it is presented with a different rhythm.
186 m. 25-26 / In CS, the original Horn 3 & 4 material Elimination Minimally Similar Elimination in BR 149-150 has been eliminated. The original pitch Significant material is partially played by other instruments. m. 44-48 / In CS, the Bassoon plays the original Reorganize Insignificant DIFFERENCE - Brahms eliminates m. 168-172 Horn 3 & 4 material. At m. 46 (beat 3), both Horn 3 & 4. The original pitch the Horn 3 & 4 divide, and the Bassoon material is in other part with a plays the original Horn 4 material. different rhythm. m. 46-48 In CS, the Horn plays the original Horn Reorganize Insignificant DIFFERENCE - Brahms chooses to (beat 2) & 3 material. eliminate this material. The pitch is 52-54 (beat provided but with a different 2) / 170-172 rhythm. & 176-178 m. 52 (beat In OS, the Horn 3, Bassoon 1 & 2 play Reorganize Insignificant No significant difference. 3) - 54 (beat the same material in two octaves. In 2) / 176 CS, this has been reduced to the (beat 3) - highest octave, and it is played by the 178 (beat 2) Horn. m. 54 (beat In this passage, Linckelmann combines Reorganize Significant DIFFERENCE - Brahms chooses to 3) - 61 / 178 a variety of pitch and rhythmic eliminate this material. The pitch is (beat 3) - material to create a new layer. The provided but with a different 185 Horn provides portions of the Horn rhythm. 1,2,3,4, Trumpet 1 &2, and Trombone 1 original material. m. 63-65 In OS, the original Horn 3 doubles the Reduction Insignificant (beat 1) / Violin. In CS, this has been reduced to 187-189 only the Violin. m. 66 & 68 / In CS, the Horn plays the original Horn Reorganize Insignificant 190 & 192 3 & 4 material. m. 69-70 / In CS, the original Horn 3 & 4 pitch Reorganize Insignificant 193-194 material is played by the Clarinet but with a slightly different rhythm, and one octave higher. m. 71 / 195 In CS, the Horn plays the original Horn Reorganize Insignificant 3 & 4 material. m. 72-73 / In CS, the original Horn 3 & 4 material Elimination Minimally No significant difference. 196-197 has been eliminated. All original pitch Significant material is played by other instruments with similar rhythms. m. 202 In CS, the original Horn 3 & 4 material Elimination Minimally No significant difference. has been eliminated. All original pitch Significant material is played by other instruments with similar rhythms. m. 203-206 In CS, the original Horn 3 & 4 material Reorganize Insignificant (beat 1) is played/doubled by the Cello & Bass.
187 m. 206 In CS, the original Horn 3 & 4 material Elimination Insignificant (beats 2-3) has been eliminated. All original pitch material is played by other instruments with similar rhythms. m. 221 (beat In CS, the Horn plays the original Horn Reorganize Insignificant 3) - 225 3 & 4 material. m. 227-231 In CS, the original Horn 3 & 4 material Elimination Significant In BR, Brahms keeps a small portion has been eliminated. All original pitch of the original material. Most material is played by other instruments importantly the rhythmic motive IS but with a different rhythm. Significant retained. because this is a complete lost off the rhythmic content provided by the Horn 3 & 4. m. 233-237 In CS, the Horn plays the original Horn Reorganize Insignificant 3 & 4 material. m. 239-240 In CS, the original Horn 3 material is Reorganize Insignificant played/doubled by the Bassoon. m. 242-243 In CS, the Horn plays the original Horn Reorganize Insignificant 3 material. m. 245-251 In CS, the Horn 3 & 4 material is played Reduction Minimally No significant difference. (beat 1) by the Clarinet. Octave doublings have Significant been reduced to the top octave. m. 251 (beat In CS, the original Horn 3 material is Reorganize Insignificant 3) - 253 played/doubled by the Horn one octave lower. m. 267-272 In CS, the Horn plays the original Horn Reorganize Insignificant (beat 3) 3 & 4 material. m. 272 (beat In CS, the original Horn 3 material has Reorganize Minimally In BR, the same pitch material with 4) -275 been eliminated. All original pitch Significant same rhythm is presented, but not material is played by the Flute two in a consistent register. octaves higher and with a different rhythm. m. 281-282 In OS, the Horn 3 is doubled by the Reorganize Minimally Eliminated in BR Horn 4 one octave lower. In CS, this / Significant has been reduced to only the higher Reduction octave (Horn 3). This material is played by the Oboe. m. 284-285 In OS, the Horn 1 doubles the Horn 3 Reorganize Insignificant (beat 2) &4 one octave higher. In CS, this has been reduced to only the upper octave (Horn 1). m. 286 (beat In CS, the original Horn 3 & 4 material Reorganize Insignificant 4) - 287 is doubled/played by the Bassoon. (beat 3) m. 287 (beat In this passage, Linckelmann combines Reorganize Minimally In BR, this material is partially 4) - 290 a variety of pitch and rhythmic Significant eliminated. Many pitch elements material to create a new layer. The are present, but the rhythm has Clarinet provides portions of the Horn changed. 3 & 4 original material.
188 m. 293 (beat In CS, the Horn plays a combinations of Reorganize Minimally Eliminated in BR 3) - 297 pitches from both Horn 3 & 4. When / Significant there is a divisi, the Horn plays one of Elimination the two pitches. The other pitch is provided by another instrument but not always with the same rhythm. m. 301-303 In CS, the Bassoon plays the original Reorganize Insignificant Horn 3 & 4 material. m. 312-314 In CS, the original Horn 3 material is Reorganize Insignificant played/doubled by the Clarinet. M. 312 has slight variations in rhythm. m. 315 In CS, the original Horn 3 material is Reorganize Insignificant (beats 1-3) played/doubled by the Flute one octave higher. m. 325-327 In CS, the Horn plays the original Horn Reorganize Insignificant (beat 2) 3 & 4 material. m. 328 - 329 In CS, the original Horn 3 material is Reorganize Insignificant & 331-333 played/doubled by the Oboe one octave higher. m. 330 In CS, the original Horn 3 material has Elimination Insignificant been eliminated. All original pitch material is played by other instruments. m. 337 In CS, the original Horn 3 & 4 material Reorganize Insignificant is played/doubled by the Horn.
Mvt. 3 m. 33-36 In CS, the original Horn 3 & 4 material Reorganize Insignificant is played/doubled by the Flute two and three octaves higher. m. 37 In CS, the original Horn 3 & 4 material Reorganize Insignificant is played/doubled by the Bassoon. m. 38-40 In CS, the original Horn 3 material is Elimination Minimally In BR, the original pitch material is eliminated. All original material is Significant present but at a different register. present but in a different rhythm. m. 54-55 In OS, the Horn 3 doubles the Reduction Insignificant No significant difference. 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 Elimination Minimally Similar Elimination in BR is eliminated. All original material is Significant present but in a different rhythm. m. 85-86 In CS, the original Horn 3 & 4 material Elimination Minimally Similar Elimination in BR is eliminated. All original material is Significant present but in a different rhythm. m. 87-90 In CS, the Clarinet plays the original Reorganize Insignificant Horn 3 material.
189 m. 93-94 In CS, the original Horn 3 & 4 material Reorganize Insignificant is doubled/played by the Flute. m. 95-96 In CS, the original Horn 3 & 4 material Reorganize Insignificant is doubled/played by the Oboe. m. 97 In CS, the original Horn 3 & 4 material Elimination Minimally Similar Elimination in BR is eliminated. All original material is Significant present but in a different rhythm. m. 121-122 In CS, the original Horn 3 material is Reorganize Insignificant played by the Clarinet. m. 125-126 In CS, the original Horn 3 material is Reorganize Insignificant played by the Horn. m. 138-139 In OS, the Horn 3 is doubled by the Reduction Insignificant Horn 4 one octave lower. In CS, this / has been reduced to only the lower Reorganize octave (Horn 4). This material is played by the Horn. m. 149 In CS, the Clarinet plays one half note Reorganize Insignificant Elimination in BR of the original Horn 3 material and one half note of the original Horn 4 material. m. 151 & In CS, the original Horn 3 & 4 material Reorganize Insignificant 153 is played by the Clarinet, but with slightly different rhythm. m. 154-155 In CS, the original Horn 3 & 4 material Elimination Minimally Similar Elimination in BR is eliminated. All original material is Significant present but in a different rhythm. m. 156 In OS, the Horn 3 is doubled by the Reduction Insignificant Horn 4 one octave lower. In CS, this / has been reduced to only the lower Reorganize octave (Horn 4). This material is played by the Horn for 2 beats. m. 156 (beat In OS, the Horn 3 is doubled by the Reduction Insignificant 3) - 158 Horn 4 one octave lower. In CS, this / has been reduced to only the higher Reorganize octave (Horn 3). This material is played/doubled by the Clarinet. m. 175 (beat In CS, the original Horn 3 & 4 material Reorganize Insignificant 4) - 176 is played/doubled by the Horn. The (beat 1) first beat of 176 for the Horn 1 is played/doubled by the Oboe. m. 178 (beat In CS, the Oboe plays the original Horn Reorganize Insignificant 2-3) 3 material. The third beat contains a slightly different rhythm. m. 180 (beat In CS, the Horn plays the original Horn Reorganize Insignificant 4) - 181 3 and Trumpet 1 material. (beat 1) m. 183 (beat In CS, the Horn plays the original Horn Reorganize Insignificant 2-3) 3 and Trumpet 1 material.
190 m. 184 (beat In CS, the original Horn 3 & 4 material Elimination Minimally Similar Elimination in BR 4) - 185 is eliminated. All original material is Significant (beat 1) present but in a different rhythm. m. 193 In CS, the Horn plays the original Horn Reorganize Insignificant (beats 2-3) 3 material. m. 198 (beat In CS, the Horn plays material from Reorganize Insignificant 2) - 199 both the Horn 2 and Horn 3 (beat 1) m. 206-208 In CS, the original Horn 3 & 4 material Elimination Minimally Similar Elimination in BR is eliminated. All original material is Significant present but in a different rhythm.
Mvt. 4 TACET Mvt. 5 TACET Mvt. 6 m. 2-3 In CS, the original Horn 3 material is Elimination Minimally No significant difference. eliminated. All pitch material is Significant presented by woodwinds in the same rhythm but not at the same register. m. 38-46 In CS, the Horn plays the original Horn Reorganize Insignificant 3 material. m. 70 In CS, the original Horn 3 material is Reorganize Insignificant played by the Bassoon octave lower. m. 76-78 In CS, the original Horn 3 doubles the Reduction Minimally Similar Reduction in Brahms Horn 4 one octave higher. In CS, this Significant material is played/doubled by the Viola at the lower octave. m. 79-80 In CS, the original Horn 3 material is Reorganize Insignificant played/doubled by the Flute. m. 88-89 / In CS, the original Horn 3 material is Elimination Minimally No significant difference. 134-135 eliminated. All pitch material is Significant presented by woodwinds in the same rhythm but not at the same register. m. 90-93 / In CS, the original Horn 3 &4 material is Reorganize Insignificant Pitch material is presented similar 136-139 played/doubled by a combination of to OS but with a slightly different the Clarinet and Flute. This material is rhythm. not presented exactly as it appears in the OS, but contains the pitch material and rhythm. m. 116-118 In CS, the original Horn 3 & 4 material Elimination Minimally Similar Elimination in Brahms is eliminated. This pitch material is not Significant provided by any other instrument. m. 122-123 In CS, the Horn plays the original Horn Reorganize Insignificant 3, Trombone 1, and Clarinet 2 material.
191 m. 124-126 In CS, the original Horn 3 & 4 material Reorganize Insignificant is played/doubled by the Flute two and three octaves higher. m. 134-139 In CS, the original Horn 3 & 4 material Elimination Minimally No significant difference. is eliminated. All original material is Significant 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 Elimination Minimally Similar Elimination in BR is eliminated. All original material is Significant present in other instruments. m. 151 (beat In CS, the original Horn 3 & 4 material Reorganize Insignificant 3) - 157 is played by the Clarinet. The first beat of m. 154 has been changed from original. m. 158 (beat In OS, the Horn 1,2,3,4 and Trumpet Reorganize Insignificant Elimination - For the most part the 3) - 160 1,2 all play the pitch of E in three original brass material is (beat 1) octaves. In CS, the middle octave eliminated. M. 158 (beat 3) - 159 (Horn 3 & Trumpet 2) is played by the (beat 2) the pitch material is Horn. present two octave higher. m. 165-170 In CS, the Horn plays the original Horn Reorganize Insignificant 3 & 4 material. m. 178-180 In CS, the original Horn 3 material is Reorganize Insignificant played/doubled by the Flute one octave higher. m. 184-186 In CS, the Horn plays the original Horn Reorganize Insignificant 3,4 and Trumpet 1,2 material. m. 192-193 In CS, the Clarinet plays the original Reorganize Insignificant Horn 3 & 4 material. m. 194-195 In CS, the Clarinet plays the original Reorganize Insignificant Horn 3,4 and Clarinet 2 material. m. 196-200 In CS, the Clarinet plays the original Reorganize Insignificant Horn 3 & 4 material. m. 201-203 In CS, the original Horn 3 & 4 material Reorganize Insignificant is not presented as its own layer. The material is incorporated into the Horn 1 and Violin 2 material. m. 204-208 In CS, the original Horn 3 material is Reorganize Insignificant played/doubled by the Clarinet. m. 228 In CS, the Horn plays the original Horn Reorganize Insignificant 3 material. m. 229-234 In OS, the Horn 3,4 and Trumpet 1,2 Reduction Minimally Elimination - In BR, this material has double the Timpani one and two / Significant been eliminated as an independent octaves higher. In CS, this has been Reorganize layer. Pitch material is presented reduced to only the Timpani at the through the Bass, but with a lowest octave. Portions of the original different rhythm. material are present in other instruments but not with the same rhythm.
192 m. 254-256 In CS, the original Horn 3 & 4 material Elimination Minimally Similar treatment, but pitches are is eliminated. Original pitch material is Significant presented in similar rhythm but not provided by a variety of instruments always the same octave. but not always in the same rhythm. m. 260 (beat In CS, the Horn 3 material is played by Reorganize Insignificant 4) - 261 the Horn through m. 261 (beat 1), then (beat 2) by the Clarinet for m. 261 (beat 2). m. 262 (beat In CS, the Horn plays the original Horn Reorganize Insignificant 4) - 263 3 & 4 material. The 4th beat of m. 262 (beat 2) is provided by the Clarinet. m. 266-267 In CS, the original Horn 3 material is Reorganize Insignificant played/doubled by the Clarinet one octave higher. m. 272-275 In CS, the Horn plays the original Horn Reorganize Insignificant 3 material. m. 279-281 In CS, the original Horn 3 & 4 material Elimination Minimally No significant difference. is eliminated. Original pitch material is Significant provided by a variety of instruments but not always in the same rhythm. m. 286 (beat In CS, the original Horn 3 & 4 material Reorganize Insignificant 2) - 290 is played by the Horn. m. 294 In CS, the original Horn 3 & 4 material Reorganize Insignificant is played/doubled by the Clarinet but with a slightly different rhythm. m. 313-314 In CS, the original Horn 3 material is Reorganize Insignificant (beat 2) played/doubled by the Clarinet one octave higher. m. 314 (beat In CS, the original Horn 3 material is Reorganize Insignificant 3) - 316 played/doubled by the Oboe one octave higher. m. 317 In OS, the Bassoon 1 and the Horn 3 Reorganize Insignificant play the same pitch material. This material is played by the Flute. m. 318 In CS, the original Horn 3 & 4 material Reorganize Insignificant is played/doubled by the Bassoon. m. 330 In CS, the original Horn 3 material is Reorganize Insignificant played/doubled by the Clarinet one octave higher. m. 338-340 / In CS, the original Horn 3 & 4 material Elimination Minimally No significant difference. 344-346 is eliminated. All original material is Significant present in other instruments. m. 348 (beat In CS, the Horn plays the original Horn Reorganize Insignificant 3) -349 3 material for m. 348 and the original Horn 4 material for m. 349. Mvt.7 m. 14-17 In CS, the Horn plays the original Horn Reorganize Insignificant 3 material.
193 m. 40-47 In OS, the Horn 3 & Horn 4 play in Reduction Insignificant octaves. In CS, this has been reduced to only the upper octave (Horn 3). These pitches are played by the Horn.
m. 48-51 In CS, the original Horn 3 material is Reorganize Insignificant played by the Horn. m. 58-62 In CS, the original Horn 3 material is Reorganize Insignificant played by the Horn. m. 66-67 In CS, the Flute plays the original Horn Reorganize Insignificant 3 material. m. 68-69 In CS, the original Horn 3 material is Reorganize Insignificant played by the Horn. m. 70-71 In OS, the Horn 3 doubles the Horn 4 Reorganize Insignificant one octave higher. In CS, this is / reduced to only the Horn 3 register Reduction and is played by the Clarinet. m. 76-78 In CS, the Horn plays the original Horn Reorganize Insignificant 3 material. m. 79 In CS, the original Horn 3 material is Reorganize Insignificant played/doubled by the Clarinet. m. 81-84 In CS, the Horn plays the original Horn Reorganize Insignificant (beat 1) 3 material. m. 84 (beat In CS, the original Horn 3 material is Reorganize Insignificant 2) - 87 (beat played by the Viola. 1) m. 143-144 In CS, the original Horn 3 material is Elimination Significant Similar Elimination in BR eliminated. No other instrument plays this part.
Horn 4
Measures Chamber Ensemble Notes Classification / Relevance Brahms Reduction Notes
Mvt. 1 TACET Mvt. 2 m. 5 (beat 4) In OS, the Horn 3 & 4 double at the Reduction Insignificant Elimination - In BR, this material is - 6 (beat 1) / octave. In CS, this has been reduced to / eliminated. 129-130 the upper octave (Horn 3) and is Reorganize played by the Horn. m. 17-21 & In CS, the original Horn 2, 3, 4 and Elimination Minimally M. 17-18 - Similar Elimination / 19- 37-41 / 141- Trumpet 1&2 material has been Significant 21 - No significant difference 145 & 161- eliminated. All original pitch material 165 is present in other instruments but it is presented with a different rhythm.
m. 25-26 / In CS, the original Horn 3 & 4 material Elimination Minimally Similar Elimination in BR 149-150 has been eliminated. The original pitch Significant material is partially played by other instruments.
194 m. 44-48 / In CS, the Bassoon plays the original Reorganize Insignificant DIFFERENCE - Brahms eliminates m. 168-172 Horn 3 & 4 material. At m. 46 (beat 3), both Horn 3 & 4. The original pitch the Horn 3 & 4 divide, and the Bassoon material is in other part with a plays the original Horn 4 material. different rhythm. m. 53 & 54 / In OS, the Horn 4 doubles the Horn 3 Reduction Insignificant No significant difference. 177 & 178 one octave lower. In CS, this has been reduced to the Horn 3 material. m. 54 (beat In this passage, Linckelmann combines Reorganize Significant DIFFERENCE - Brahms chooses to 3) - 61 / 178 a variety of pitch and rhythmic eliminate this material. The pitch is (beat 3) - material to create a new layer. The provided but with a different 185 Horn provides portions of the Horn rhythm. 1,2,3,4, Trumpet 1 &2, and Trombone 1 original material. m. 63-65 In OS, the Horn 4 doubles the Horn 3 Reduction Insignificant (beat 1) / one octave lower. In CS, this has been / 187-189 reduced to the Horn 3 material which Reorganize is played by the Violin. The final beat is played/doubled by the Violin 2. m. 66 & 68 / In CS, the Horn plays the original Horn Reorganize Insignificant 190 & 192 3 & 4 material. m. 69-70 / In CS, the original Horn 3 & 4 pitch Reorganize Insignificant 193-194 material is played by the Clarinet but with a slightly different rhythm, and one octave higher. m. 71 / 195 In CS, the Horn plays the original Horn Reorganize Insignificant 3 & 4 material. m. 202 In CS, the original Horn 3 & 4 material Elimination Minimally No significant difference. has been eliminated. All original pitch Significant material is played by other instruments with similar rhythms. m. 203-206 In CS, the original Horn 3 & 4 material Reorganize Insignificant (beat 1) is played/doubled by the Cello & Bass. m. 206 In CS, the original Horn 3 & 4 material Elimination Insignificant (beats 2-3) has been eliminated. All original pitch material is played by other instruments with similar rhythms. m. 221 (beat In CS, the Horn plays the original Horn Reorganize Insignificant 3) - 225 3 & 4 material. m. 227-231 In CS, the original Horn 3 & 4 material Elimination Significant In BR, Brahms keeps a small portion has been eliminated. All original pitch of the original material. Most material is played by other instruments importantly the rhythmic motive IS but with a different rhythm. retained. Significant because this is a complete lost off the rhythmic content provided by the Horn 3 & 4. m. 233-237 In CS, the Horn plays the original Horn Reorganize Insignificant 3 & 4 material.
195 m. 245-251 In CS, the Horn 3 & 4 material is played Reduction Minimally No significant difference. (beat 1) by the Clarinet. Octave doublings have Significant been reduced to the top octave. m. 251 (beat In CS, the original Horn 3 material is Reorganize Insignificant 3) - 253 played/doubled by the Bassoon. m. 267-272 In CS, the Horn plays the original Horn Reorganize Insignificant (beat 3) 3 & 4 material. m. 272-275 In CS, the original Horn 4 material is Reorganize Insignificant played/doubled by the Clarinet one octave higher. m. 281-282 In OS, the Horn 3 is doubled by the Reorganize Minimally Eliminated in BR Horn 4 one octave lower. In CS, this / Significant has been reduced to only the higher Reduction octave (Horn 3). This material is played by the Oboe. m. 284-285 In OS, the Horn 1 doubles the Horn 3 Reorganize Insignificant (beat 2) &4 one octave higher. In CS, this has been reduced to only the upper octave (Horn 1). m. 286 (beat In CS, the original Horn 3 & 4 material Reorganize Insignificant 4) - 287 is doubled/played by the Bassoon. (beat 3) m. 287 (beat In this passage, Linckelmann combines Reorganize Minimally In BR, this material is partially 4) - 290 a variety of pitch and rhythmic Significant eliminated. Many pitch elements material to create a new layer. The are present, but the rhythm has Clarinet provides portions of the Horn changed. 3 & 4 original material. m. 293 (beat In CS, the Horn plays a combinations of Reorganize Minimally Eliminated in BR 3) - 297 pitches from both Horn 3 & 4. When / Significant there is a divisi, the Horn plays one of Elimination the two pitches. The other pitch is provided by another instrument but not always with the same rhythm. m. 301-303 In CS, the Bassoon plays the original Reorganize Insignificant Horn 3 & 4 material. m. 325-327 In CS, the Horn plays the original Horn Reorganize Insignificant (beat 2) 3 & 4 material. m. 327 (beat In CS, the original Horn 4 material has Elimination Minimally No significant difference. 3) - 329 & been eliminated. All original pitch Significant 331 material is played by other instruments. m. 330 & In CS, the original Horn 4 material is Reorganize Insignificant 332-333 played/doubled by the Oboe one octave higher. m. 337 In CS, the original Horn 3 & 4 material Reorganize Insignificant is played/doubled by the Horn.
Mvt. 3 m. 33-36 In CS, the original Horn 3 & 4 material Reorganize Insignificant is played/doubled by the Flute two and three octaves higher.
196 m. 37-40 In CS, the original Horn 4 material is Reorganize Insignificant played/doubled by the Bassoon. m. 62 In CS, the original Horn 3 & 4 material Elimination Minimally Similar Elimination in BR is eliminated. All original material is Significant present but in a different rhythm. m. 85-86 In CS, the original Horn 3 & 4 material Elimination Minimally Similar Elimination in BR is eliminated. All original material is Significant present but in a different rhythm. m. 93-94 In CS, the original Horn 3 & 4 material Reorganize Insignificant is doubled/played by the Flute. m. 95-96 In CS, the original Horn 3 & 4 material Reorganize Insignificant is doubled/played by the Oboe. m. 97 In CS, the original Horn 3 & 4 material Elimination Minimally Similar Elimination in BR is eliminated. All original material is Significant present but in a different rhythm. m. 138-139 In OS, the Horn 3 is doubled by the Reduction Insignificant Horn 4 one octave lower. In CS, this / has been reduced to only the lower Reorganize octave (Horn 4). This material is played by the Horn. m. 149 In CS, the Clarinet plays one half note Reorganize Insignificant Elimination in BR of the original Horn 3 material and one half note of the original Horn 4 material. m. 151 & In CS, the original Horn 3 & 4 material Reorganize Insignificant 153 is played by the Clarinet, but with slightly different rhythm. m. 154-155 In CS, the original Horn 3 & 4 material Elimination Minimally Similar Elimination in BR is eliminated. All original material is Significant present but in a different rhythm. m. 156 In OS, the Horn 3 is doubled by the Reduction Insignificant Horn 4 one octave lower. In CS, this / has been reduced to only the lower Reorganize octave (Horn 4). This material is played by the Horn for 2 beats. m. 156 (beat In OS, the Horn 3 is doubled by the Reduction Insignificant 3) - 158 Horn 4 one octave lower. In CS, this / has been reduced to only the higher Reorganize octave (Horn 3). This material is played/doubled by the Clarinet. m. 175 (beat In CS, the original Horn 3 & 4 material Reorganize Insignificant 4) - 176 is played/doubled by the Horn. The (beat 1) first beat of 176 for the Horn 1 is played/doubled by the Oboe. m. 178 (beat In CS, the Horn plays/doubles the Reorganize Insignificant 2-3) original Horn 4 material.
197 m. 180 (beat In CS, the original Horn 4 material is Elimination Insignificant 4) - 181 eliminated. All original material is (beat 1) present but in a different rhythm. m. 183 (beat In CS, the Horn plays the original Horn Reduction Insignificant 2-3) 3 pitch material. The Horn 4 plays the same material but with an octave leap. This has been removed. m. 184 (beat In CS, the original Horn 3 & 4 material Elimination Minimally Similar Elimination in BR 4) - 185 is eliminated. All original material is Significant (beat 1) present but in a different rhythm. m. 193 In CS, the Oboe plays the original Horn Reorganize Insignificant (beats 2-3) 4 material without the octave leap. m. 198 (beat In CS, the original Horn 4 material is Elimination Minimally Similar Elimination in BR 2) - 199 eliminated. All original material is Significant (beat 1) present but in a different rhythm. m. 206-208 In CS, the original Horn 3 & 4 material Elimination Minimally Similar Elimination in BR is eliminated. All original material is Significant 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 Reorganize Insignificant 4 material. m. 70 In CS, the original Horn 4 material is Reorganize Insignificant 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 Reduction Minimally Similar Reduction in Brahms - m. Horn 4 one octave higher. In CS, this Significant 76 & 77 are reduced to the lower material is played/doubled by the Viola octave. M. 77-78 are one octave at the lower octave. higher. m. 79-80 In CS, the original Horn 4 material is Reorganize Insignificant played/doubled by the Bassoon. m. 88-89 / In OS, the original Horn 4 material Reorganize Insignificant 134-135 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 / In CS, the original Horn 3 &4 material is Reorganize Insignificant Pitch material is presented similar 136-139 played/doubled by a combination of to OS but with a slightly different the Clarinet and Flute. This material is rhythm. not presented exactly as it appears in the OS, but contains the pitch material and rhythm.
198 m. 116-118 In CS, the original Horn 3 & 4 material Elimination Minimally Similar Elimination in Brahms is eliminated. This pitch material is not Significant provided by any other instrument. m. 122-123 In OS, the Flute 1, Oboe 2, and Clarinet Reduction Significant 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. 124-126 In CS, the original Horn 3 & 4 material Reorganize Insignificant is played/doubled by the Flute two and three octaves higher. m. 134-139 In CS, the original Horn 3 & 4 material Elimination Minimally No significant difference. is eliminated. All original material is Significant 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 Elimination Minimally Similar Elimination in BR is eliminated. All original material is Significant present in other instruments. m. 151 (beat In CS, the original Horn 3 & 4 material Reorganize Insignificant 3) - 157 is played by the Clarinet. The first beat of m. 154 has been changed from original. m. 158 (beat In OS, the Horn 1,2,3,4 and Trumpet Reorganize Insignificant Elimination - For the most part the 3) - 160 1,2 all play the pitch of E in three original brass material is (beat 1) octaves. In CS, the highest octave eliminated. M. 158 (beat 3) - 159 (Horn 1,2 & Trumpet 1) is played by (beat 2) the pitch material is the Oboe. present one octave higher. m. 158 (beat In OS, the Horn 1,2,3,4 and Trumpet Reorganize Insignificant Elimination - For the most part the 3) - 160 1,2 all play the pitch of E in three original brass material is (beat 1) octaves. In CS, the middle octave eliminated. M. 158 (beat 3) - 159 (Horn 3 & Trumpet 2) is played by the (beat 2) the pitch material is Horn. present two octave higher. m. 165-170 In CS, the Horn plays the original Horn Reorganize Insignificant 3 & 4 material. m. 178-180 In CS, the original Horn 4 material is Reorganize Insignificant played/doubled by the Clarinet. m. 184-186 In CS, the Horn plays the original Horn Reorganize Insignificant 3,4 and Trumpet 1,2 material. m. 192-193 In CS, the Clarinet plays the original Reorganize Insignificant Horn 3 & 4 material. m. 194-195 In CS, the Clarinet plays the original Reorganize Insignificant Horn 3,4 and Clarinet 2 material. m. 196-200 In CS, the Clarinet plays the original Reorganize Insignificant Horn 3 & 4 material. m. 201-203 In CS, the original Horn 3 & 4 material Reorganize Insignificant is not presented as its own layer. The material is incorporated into the Horn 1 and Violin 2 material.
199 m. 204-208 In OS, the Flute 1, Clarinet 1, Bassoon Reduction Minimally 1, Trumpet 1, and Horn 4 all play the Significant same pitch material over three octaves. In CS, this has been reduced to only the Oboe in the middle octave. m. 228 (beat In CS, the original Horn 4 material is Elimination Insignificant 1) eliminated for this one beat. m. 229-234 In OS, the Horn 3,4 and Trumpet 1,2 Reduction Minimally Elimination - In BR, this material has double the Timpani one and two / Significant been eliminated as an independent octaves higher. In CS, this has been Reorganize layer. Pitch material is presented reduced to only the Timpani at the through the Bass, but with a lowest octave. Portions of the original different rhythm. material are present in other instruments but not with the same rhythm. m. 254-256 In CS, the original Horn 3 & 4 material Elimination Minimally Similar treatment, but pitches are is eliminated. Original pitch material is Significant presented in similar rhythm but not provided by a variety of instruments always the same octave. but not always in the same rhythm. m. 260 (beat In CS, the original Horn 4 material is Elimination Insignificant 4) - 261 eliminated. All original material is (beat 2) present with same rhythm but not in the same register. m. 262 (beat In CS, the Horn plays the original Horn Reorganize Insignificant 4) - 263 3 & 4 material. The 4th beat of m. 262 (beat 2) is provided by the Clarinet. m. 266-267 In CS, the original Horn 4 material is Reorganize Insignificant played/doubled by the Flute two octaves higher. m. 279-281 In CS, the original Horn 3 & 4 material Elimination Minimally No significant difference. is eliminated. Original pitch material is Significant provided by a variety of instruments but not always in the same rhythm. m. 286 (beat In CS, the original Horn 3 & 4 material Reorganize Insignificant 2) - 290 is played by the Horn. m. 294 In CS, the original Horn 3 & 4 material Reorganize Insignificant is played/doubled by the Clarinet but with a slightly different rhythm. m. 313-314 In CS, the original Horn 4 material is Reorganize Insignificant played/doubled by the Clarinet one octave higher. m. 315-316 In CS, the original Horn 4 material is Reorganize Insignificant (beat 1) played/doubled by the Horn. m. 316 In OS, the Clarinet 1, Horn 1, and Horn Reorganize Insignificant 4 all play the same pitch material. This material is played by the Flute. m. 317-318 In CS, the original Horn 4 material is Reorganize Insignificant played/doubled by the Bassoon.
200 m. 330 In CS, the original Horn 4 material is Elimination Insignificant eliminated. All original material is present in other instruments. m. 338-340 / In CS, the original Horn 3 & 4 material Elimination Minimally No significant difference. 344-346 is eliminated. All original material is Significant present in other instruments.
m. 348 (beat In CS, the Horn plays the original Horn Reorganize Insignificant 3) -349 3 material for m. 348 and the original Horn 4 material for m. 349. Mvt. 7 m. 40-47 In OS, the Horn 3 & Horn 4 play in Reduction Insignificant 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 Reorganize Insignificant doubled/played by the Flute two octaves higher. m. 58-69 In CS, the Clarinet plays the original Reorganize Insignificant Horn 4 material. m. 70-71 In OS, the Horn 3 doubles the Horn 4 Reorganize Insignificant one octave higher. In CS, this is / reduced to only the Horn 3 register Reduction and is played by the Clarinet. m. 76-78 In CS, the original Horn 4 material is Reorganize Insignificant (beat 2) doubled/played by the Flute one octave higher. m. 78 (beats In CS, the original Horn 4 material is Reorganize Insignificant 3&4) played by the Clarinet. m. 79- In CS, the Horn plays the original Horn Reorganize Insignificant 81(beat 1) 4 material. m. 81-83 In CS, the original Horn 4 material is Reorganize Insignificant doubled/played by the Flute one octave higher. m. 143-144 In CS, the original Horn 4 material is Elimination Significant The original pitch material is eliminated. No other instrument plays present but it is not presented as a this part. specific part as in OS.
Trumpet 1
Measures Chamber Ensemble Notes Classification / Relevance Brahms Reduction Notes
Mvt. 1 TACET Mvt. 2 m. 3-8 / In OS, the Horn 1, Horn 2, Trumpet Reduction / Minimally 127-132 1, and Trumpet 2 all play the same Reorganize Significant pitch material in two octaves. In CS, this has been reduced to the Horn
201 playing the material at the lower octave (Horn 2). m. 17-21 / In CS, the original Horn 2, 3, 4 and Elimination Minimally 37-41 and Trumpet 1&2 material has been Significant 141-145 / Eliminated. All original pitch 161-165 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 Reorganize Insignificant 147-149 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 Reorganize Insignificant 151-152 material is played by the Horn. m. 54 (beat In this passage, Linckelmann Reorganize Significant DIFFERENCE - Brahms chooses to 3) - 61 / 178 combines a variety of pitch and eliminate this material. The pitch is (beat 3) - rhythmic material to create a new provided but with a different 185 layer. The Horn provides portions rhythm. of the Horn 1,2,3,4, Trumpet 1 &2, and Trombone 1 original material. m. 161-164 In OS, the Horn 2,3,4 and Trumpet Elimination Minimally Similar treatment in BR, but the (beat 1) 1&2 play the pitch of B in octaves. Significant rhythm is slightly closer to the This pitch is also present in the original. 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. m. 164 In OS, the Horn 2 and Trumpet 1&2 Reorganize Insignificant (beat 2) - play the pitch of F in octaves. This 165 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 Reorganize Insignificant material is played/doubled by the Oboe one octave higher. m. 204 In CS, the original Trumpet 1 Reorganize Insignificant material is played/doubled by the Horn. m. 205 In OS, the Clarinet 1, Bassoon 2, Reduction Insignificant 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. 206 In CS, the original Trumpet 1 & 2 Elimination Insignificant 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 Reorganize Insignificant material is provided by the Oboe but with a different rhythm.
202 m. 214 In CS, the original Trumpet 1 & 2 Reorganize Insignificant (beats 1-2) material is played/doubled by the Bassoon one and two octaves lower. m. 219-221 In CS, the original Trumpet 1 & 2 Reorganize Insignificant (beat 2) material is played/doubled by the Horn (one octave lower for Trumpet 1). m. 222-225 In CS, the original Trumpet 1 & 2 Elimination Minimally Similar Elimination in BR material is eliminated. Other Significant instruments provide the pitch content but in a different rhythm. m. 271 In OS, the Trumpet 1 & 2 play in Reduction Insignificant No significant difference. (beat 4) - octaves. In CS, this is reduced to the 273 upper octave (Trumpet 1), and the material is played by the Oboe. m. 274-275 In CS, the Trumpet 1 & 2 material is Elimination Minimally M. 274 - No Difference / M. 275 - eliminated. The original pitch Significant Eliminated material is present in the Clarinet but in a different rhythm. m. 276-278 In CS, the original Trumpet 1 & 2 Reorganize Insignificant material is played/doubled by the Horn (one octave lower for Trumpet 1). m. 279-280 In CS, the original Trumpet 1 & 2 Reorganize Insignificant material is played/doubled by the Oboe (one octave higher for the Trumpet 2). m. 285-286 In CS, the original Trumpet 1 & 2 Reorganize Insignificant / 288-290 material is played/doubled by the Horn (one octave lower for Trumpet 1). m. 294-297 In CS, the original Trumpet 1 & 2 Reorganize Insignificant material is played by the Clarinet (one octave higher for Trumpet 2). m. 303-305 In CS, the original Trumpet 1 & 2 Reorganize Insignificant material is played/doubled by the Horn one octave lower. m. 311-313 In CS, the original Trumpet 1 & 2 Reorganize Insignificant material is played/doubled by the Clarinet but in a slightly different rhythm. m. 327-329 In CS, the original Trumpet 1 & 2 Reorganize Insignificant (beat 2) material is played/doubled by the Horn (one octave lower for Trumpet 1). m. 329 In OS, the Trumpet 1 & 2 play Reduction Insignificant Not reduced - similar to OS (beat 3) - octave Bb pitches. This pitch is also 333 (beat 1) 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 Reorganize Insignificant played/doubled by the Clarinet one octave lower. Mvt. 3 m. 17-20 In OS, the Trumpet 1 & 2 played in Reorganize Insignificant octaves. In CS, this has been reduced to only the upper octave
203 (Trumpet 1). This material is played by the Clarinet. m. 23-32 In OS, the Horn 1 & 2 and Trumpet 1 Reorganize Insignificant & 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. 62 In CS, the original Trumpet 1 & 2 Reorganize Insignificant material is played/doubled by the Horn (one octave lower for Trumpet 1). m. 63-64 In OS, the Trumpet 1,2 and Horn 1,2 Reduction / Minimally No significant difference. play the same pitch material in Reorganize Significant three octaves. In CS, the Oboe plays the top octave (Trumpet 1). m. 77 (beat In CS, the original Trumpet 1 Reorganize Insignificant 2) - 79 (beat material is played by the Clarinet. 1) m. 93-97 In CS, the original Trumpet 1 & 2 Reorganize Insignificant (beat 1) & material is played by the Clarinet 98 (beat 1) (one octave higher for Trumpet 2). m. 142 & In CS, the Oboe plays the original Reorganize Insignificant 144 Trumpet 1 material. m. 145 In CS, the original Trumpet 1 & 2 Reorganize Insignificant material is played by the Clarinet (one octave lower for Trumpet 1). m. 146 In CS, the original Trumpet 1 & 2 Elimination Insignificant Similar Elimination in BR 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 Reorganize Insignificant material is doubled/played by the Horn one octave lower. m. 148 In CS the original Trumpet 1 Elimination Minimally Similar Elimination in BR material is eliminated. All pitch Significant material is provided by other instruments in a different rhythm. m. 150 In CS, the original Trumpet 1 & 2 Reorganize Insignificant material is played/doubled by the Horn (one octave lower for Trumpet 1). m. 151-153 In CS the original Trumpet 1 & 2 Elimination Minimally Similar Elimination in BR material is eliminated. All pitch Significant material is provided by other instruments in a different rhythm. m. 154-155 In CS, the Horn plays portions of the Reorganize Insignificant Trumpet 1 & 2 and Trombone 2 original material. m. 156 In CS the original Trumpet 1 Elimination Minimally Similar Elimination in BR material is eliminated. All pitch Significant material is provided by other instruments in a different rhythm. m. 157 In CS, the original Trumpet 1 Reorganize Insignificant Elimination - Original material is material is played/doubled by the eliminated but pitch content is Horn one octave lower. played in a different rhythm.
204 m. 158 In CS, the original Trumpet 1 & 2 Reorganize Insignificant Elimination - Original material is material is played/doubled by the eliminated but pitch content is Horn (one octave lower for Trumpet played in a different rhythm. 1). m. 170-171 In CS, the Oboe plays the original Reorganize Insignificant (beat 2) Trumpet 1 material. m. 171-172 In CS, the original Trumpet 1 & 2 Reorganize Insignificant pitch material is provided by the Horn. The octave varies. m. 175 In CS, the original Trumpet 1 & 2 Reorganize Insignificant (beat 4) - material is played by the Horn (one 176 (beat 1) octave lower for the Trumpet 1). m. 178 In CS, the original Trumpet 1 & 2 Reorganize Insignificant (beats 2-3) material is played by the Horn one and two octaves lower. m. 180 In CS, the Horn plays the original Reorganize Insignificant (beat 4) - Horn 3 and Trumpet 1 material (one 181 (beat 1) octave higher for Trumpet 2). m. 183 In CS, the Horn plays the original Reorganize Insignificant (beat 2-3) Horn 3 and Trumpet 1 material one octave lower. The original Trumpet 2 has the same pitch material without an octave leap. m. 184 In CS, the original Trumpet 1 & 2 Elimination Minimally In BR, this material is partially (beat 4) - material is eliminated. All original Significant eliminated (occurs on one beat). 185 (beat 1) pitch content is provided by a variety of instruments in a variety of octaves. m. 191 In CS, the Clarinet plays content Reorganize Insignificant (beats 2-3) very similar to the original Trumpet 1. The rhythm has been changed very slightly. m. 193 In CS, the original Trumpet 1 & 2 Reorganize Insignificant (beats 2-3) material is played/doubled by the Oboe (one octave higher for the Trumpet 2). m. 196 In CS, the original Trumpet 1 Reorganize Insignificant (beat 2) - material is played/doubled by the 197 (beat 1) Flute. m. 198 In CS, the original Trumpet 1 & 2 Elimination Minimally Similar Elimination in BR (beat 2) - material is eliminated. All original Significant 199 (beat 1) pitch content is provided by a variety of instruments in a variety of octaves. m. 206-208 In CS, the original Trumpet 1 & 2 Elimination Minimally Similar Elimination in BR material is eliminated. All original Significant 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 Reorganize Insignificant No significant difference. & 2 play the same pitch material over two or three octaves. In CS, the first measure of this content is 205 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 / In OS, the Horn 1 & 2 and Trumpet 1 Reduction Insignificant No significant difference. 128-129 & 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 OS, the Trumpet 1 & 2 play the Reorganize Insignificant 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 / In OS, the Horn 1 & 2 and Trumpet 1 Reduction Insignificant In BR, the same material is 131-133 & 2 play the same pitch material. In presented but with slightly different CS, this has been reduced to the rhythm. lower octave (Horn 2 and Trumpet 2). m. 88-89 / In OS, the Horn 1 & 2 and Trumpet 1 Reduction / Insignificant No significant difference. 134-135 & 2 play the same pitch material. In Reorganization CS, this has been reduced to the upper octave (Horn 1 and Trumpet 1). This material is played by the Oboe. m. 90 / 136 In OS, the Horn 1 & 2 and Trumpet 1 Elimination Minimally Similar Elimination in BR & 2 play the same pitch material. In Significant CS, this material has been eliminated but all pitch material is present in other voices with a different rhythm. m. 93-95 / In OS, the Horn 1 & 2 and Trumpet 1 Reorganize Insignificant No significant difference. 139-141 & 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 / In OS, the Horn 1 & 2 and Trumpet 1 Reorganize Insignificant No significant difference. 142-144 & 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. 99-103 / In CS, the original Trumpet 1 & 2 Elimination Insignificant 145-149 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 In OS, the Horn 1 & 2 and Trumpet 1 Reduction Minimally In BR, the doubling remains but one (beat 3) - & 2 play the same pitch material. In Significant octave lower. 106 (beat 1) CS, this has been reduced to the lower octave (Horn 2, Trumpet 2). m. 122-123 In CS, the Oboe plays the original Reorganize Insignificant Trumpet 1 & Trombone 1 material.
206 m. 124-126 In CS, the Horn plays the original Reorganize Insignificant Trumpet 1 & Trumpet 2 pitch material. The material is not always presented in the same octave as the original material. m. 158 In OS, the Horn 1,2,3,4 and Trumpet Reorganize Insignificant Elimination - For the most part the (beat 3) - 1,2 all play the pitch of E in three original brass material is 160 (beat 1) octaves. In CS, the highest octave eliminated. M. 158 (beat 3) - 159 (Horn 1,2 & Trumpet 1) is played by (beat 2) the pitch material is the Oboe. present one octave higher. m. 168-170 In OS, the Horn 1,2 and Trumpet 1,2 Reorganize Insignificant No significant difference. 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. 178-180 In OS, the Horn 1,2 and Trumpet 1,2 Reduction Minimally Similar Reduction in BR play the same pitch material in two Significant octaves. In CS, this has been reduced to the lower octave (Horn 2, Trumpet 2). m. 184-186 In CS, the Horn plays the original Reorganize Insignificant Horn 3,4 and Trumpet 1,2 material. This is one octave lower for the original Trumpet material. m. 190-193 In OS, the Horn 1,2 and Trumpet 1,2 Reorganize Minimally Similar pitch material is presented, all play the pitch of C in octaves. In Significant but not as a distinct layer. 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 Reduction / Minimally Similar pitch material but it is all play the pitch of E in octaves. In Reorganization Significant presented with a different rhythm. CS, this has been reduced to the lower octave and played by the Horn. m. 201-203 In CS, the Horn plays the original Reorganize Insignificant 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 Reorganize Insignificant Trumpet 1 material is played/doubled by the Viola. m. 204-208 In OS, the Flute 1, Clarinet 1, Reduction Minimally Bassoon 1, Trumpet 1, and Horn 4 Significant all play the same pitch material over three octaves. In CS, this has been reduced to only the Oboe in the middle octave. m. 224 In OS, the Horn 1,2 and Trumpet 1,2 Reorganize Insignificant In BR, this material has been all play the pitch of C in octaves. In eliminated. CS, the Oboe plays the high pitch (Horn 1, Trumpet 1) m. 226 In OS, the Trumpet 1 doubles the Reduction / Minimally No significant difference. Trumpet 2 one octave higher. In CS, Reorganization Significant
207 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 Reorganize Insignificant In BR, this material has been all play the same pitches. In CS, the eliminated. Oboe plays the high pitches (Horn 1, Trumpet 1) m. 229-234 In OS, the Horn 3,4 and Trumpet 1,2 Reduction / Minimally Elimination - In BR, this material double the Timpani one and two Reorganize Significant has been eliminated as an octaves higher. In CS, this has been independent layer. Pitch material is reduced to only the Timpani at the presented through the Bass, but lowest octave. Portions of the with a different rhythm. original material are present in other instruments but not with the same rhythm. m. 248 In CS, the original Trumpet 1 & 2 Reorganize Insignificant material is played/doubled by the Bassoon. (One octave lower for the Trumpet 1) m. 250-257 In CS, the Oboe plays the original Reorganize Insignificant Trumpet 1 material. m. 259-260 In CS, the Oboe plays the original Reorganize Insignificant Horn 1,2 and Trumpet 1,2 material. m. 261 In CS, the Oboe plays the original Reorganize Insignificant (beat 4) - Horn 1 and Trumpet 1 & 2 material. 262 (beat 2) m. 264-266 In CS, the Oboe plays the original Reorganize Insignificant Trumpet 1 & 2 material. m. 276-281 In CS, the Oboe plays the original Reorganize Insignificant Trumpet 1 & 2 material. m. 282 In CS, the original Trumpet 1 & 2 Elimination Minimally Similar Elimination in BR material is eliminated. The original Significant pitch material is played by other instruments but not with the same rhythm. m. 287-288 In CS, the original Trumpet 1 & 2 Reorganize Insignificant material is played/doubled by the Flute one and two octaves higher. m. 289 In CS, the original Trumpet 1 & 2 Reorganize Insignificant material is played/doubled by the Clarinet (one octave higher for Trumpet 2). m. 303-304 In CS, the Oboe plays the original Reorganize Insignificant / 329-330 Trumpet 1 & 2 material (one octave higher for the Trumpet 2). m. 313-316 In CS, the original Trumpet 1 & 2 Reorganize Insignificant material is played/doubled by the Clarinet (one octave higher for Trumpet 2). m. 338-340 In CS, the Oboe plays the original Reorganize Insignificant Trumpet 1 & 2 material (one octave higher for the Trumpet 2). m. 344-349 In CS, the Oboe plays the original Reorganize Insignificant Trumpet 1 & 2 material (one octave higher for the Trumpet 2). Mvt. 7 TACET
208 Trumpet 2
Measures Chamber Ensemble Notes Classification / Relevance Brahms Reduction Notes
Mvt. 1 TACET Mvt. 2 m. 3-8 In OS, the Horn 1, Horn 2, Trumpet 1, Reduction / Minimally and Trumpet 2 all play the same pitch Reorganize Significant 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 / In CS, the original Horn 2, 3, 4 and and Elimination Minimally 37-41 Trumpet 1&2 material has been Significant 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 Reorganize Insignificant 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 Reorganize Insignificant material is played by the Horn. m. 54 (beat In this passage, Linckelmann combines Reorganize Significant DIFFERENCE - Brahms chooses to 3) - 61 / 178 a variety of pitch and rhythmic eliminate this material. The pitch (beat 3) - material to create a new layer. The is provided but with a different 185 Horn provides portions of the Horn rhythm. 1,2,3,4, Trumpet 1 &2, and Trombone 1 original material. m. 161-164 In OS, the Horn 2,3,4 and Trumpet Elimination Minimally Similar treatment in BR, but the (beat 1) 1&2 play the pitch of B in octaves. Significant rhythm is slightly closer to the This pitch is also present in the original. 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.
m. 164 In OS, the Horn 2 and Trumpet 1&2 Reorganize Insignificant (beat 2) - play the pitch of F in octaves. This 165 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 Reorganize Insignificant material is played/doubled by the Oboe one octave higher.
209 m. 204 In CS, the original Trumpet 2 material Reorganize Insignificant is played/doubled by the Flute two octaves higher. m. 205 In OS, the Clarinet 1, Bassoon 2, Horn Reduction Insignificant 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. 206 In CS, the original Trumpet 1 & 2 Elimination Insignificant 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 Reorganize Insignificant material is provided by the Oboe but with a different rhythm. m. 214 In CS, the original Trumpet 1 & 2 Reorganize Insignificant (beats 1-2) material is played/doubled by the Bassoon one and two octaves lower. m. 219-221 In CS, the original Trumpet 1 & 2 Reorganize Insignificant (beat 2) material is played/doubled by the Horn (one octave lower for Trumpet 1). m. 222-225 In CS, the original Trumpet 1 & 2 Elimination Minimally Similar Elimination in BR material is eliminated. Other Significant instruments provide the pitch content but in a different rhythm. m. 271 In OS, the Trumpet 1 & 2 play in Reduction Insignificant No significant difference. (beat 4) - octaves. In CS, this is reduced to the 273 upper octave (Trumpet 1), and the material is played by the Oboe. m. 274-275 In CS, the Trumpet 1 & 2 material is Elimination Minimally M. 274 - No Difference / M. 275 - eliminated. The original pitch Significant Eliminated material is present in the Clarinet but in a different rhythm. m. 276-278 In CS, the original Trumpet 1 & 2 Reorganize Insignificant material is played/doubled by the Horn (one octave lower for Trumpet 1). m. 279-280 In CS, the original Trumpet 1 & 2 Reorganize Insignificant material is played/doubled by the Oboe (one octave higher for the Trumpet 2). m. 285-286 In CS, the original Trumpet 1 & 2 Reorganize Insignificant / 288-290 material is played/doubled by the Horn (one octave lower for Trumpet 1). m. 294-297 In CS, the original Trumpet 1 & 2 Reorganize Insignificant material is played by the Clarinet (one octave higher for Trumpet 2). m. 303-305 In CS, the original Trumpet 1 & 2 Reorganize Insignificant material is played/doubled by the Horn one octave lower.
210 m. 311-313 In CS, the original Trumpet 1 & 2 Reorganize Insignificant material is played/doubled by the Clarinet but in a slightly different rhythm. m. 327-329 In CS, the original Trumpet 1 & 2 Reorganize Insignificant (beat 2) material is played/doubled by the Horn (one octave lower for Trumpet 1). m. 329 In OS, the Trumpet 1 & 2 play octave Reduction Insignificant Not reduced - similar to OS (beat 3) - Bb pitches. This pitch is also played by 333 (beat 1) 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 Reorganize Insignificant is played/doubled by the Oboe one octave higher. Mvt. 3 m. 17-20 In OS, the Trumpet 1 & 2 played in Reorganize Insignificant 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 Reorganize / Insignificant & 2 play the same pitch material over Reduction three octaves. In CS, this has been reduced to the higher two octaves and is played by the Clarinet and Horn. m. 31-32 In OS, the Horn 2 and Trumpet 2 play Reorganize / Insignificant the same pitch material in octaves. In Reduction CS, this has been reduced to the higher octave (Trumpet 2) and is played by the Clarinet. m. 62 In CS, the original Trumpet 1 & 2 Reorganize Insignificant material is played/doubled by the Horn (one octave lower for Trumpet 1). m. 63-64 In OS, the Trumpet 1,2 and Horn 1,2 Reduction / Minimally No significant difference. play the same pitch material in three Reorganize Significant octaves. In CS, the Oboe plays the top octave (Trumpet 1). m. 77 (beat In CS, the original Trumpet 2 material Reorganize Insignificant 4) - 79 (beat is played/doubled by the Horn. 1) m. 93-97 In CS, the original Trumpet 1 & 2 Reorganize Insignificant (beat 1) & material is played by the Clarinet (one 98 (beat 1) octave higher for Trumpet 2). m. 142 & In CS, the Clarinet plays the original Reorganize Insignificant 144 Trumpet 2 material. m. 145 In CS, the original Trumpet 1 & 2 Reorganize Insignificant material is played by the Clarinet (one octave lower for Trumpet 1).
211 m. 146 In CS, the original Trumpet 1 & 2 pitch Elimination Insignificant Similar Elimination in BR 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 Reorganize Insignificant is played/doubled by the Timpani two octaves lower. m. 150 In CS, the original Trumpet 1 & 2 Reorganize Insignificant material is played/doubled by the Horn (one octave lower for Trumpet 1). m. 151-153 In CS the original Trumpet 1 & 2 Elimination Minimally Similar Elimination in BR material is eliminated. All pitch Significant material is provided by other instruments in a different rhythm. m. 154-155 In CS, the Horn plays portions of the Reorganize Insignificant Trumpet 1 & 2 and Trombone 2 original material. m. 156-157 In CS the original Trumpet 2 material Elimination Minimally Similar Elimination in BR is eliminated. All pitch material is Significant provided by other instruments in a different rhythm. m. 158 In CS, the original Trumpet 1 & 2 Reorganize Insignificant Elimination - Original material is material is played/doubled by the eliminated but pitch content is Horn (one octave lower for Trumpet played in a different rhythm. 1). m. 170 In CS, the original Trumpet 2 material Reorganize Insignificant is played by the Clarinet. m. 171-172 In CS, the original Trumpet 1 & 2 pitch Reorganize Insignificant material is provided by the Horn. The octave varies. m. 175 In CS, the original Trumpet 1 & 2 Reorganize Insignificant (beat 4) - material is played by the Horn (one 176 (beat 1) octave lower for the Trumpet 1). m. 178 In CS, the original Trumpet 1 & 2 Reorganize Insignificant (beats 2-3) material is played by the Horn one and two octaves lower. m. 180 In CS, the Horn plays the original Horn Reorganize Insignificant (beat 4) - 3 and Trumpet 1 material (one octave 181 (beat 1) higher for Trumpet 2). m. 183 In CS, the Horn plays the original Horn Reorganize Insignificant (beat 2-3) 3 and Trumpet 1 material one octave lower. The original Trumpet 2 has the same pitch material without an octave leap. m. 184 In CS, the original Trumpet 1 & 2 Elimination Insignificant In BR, this material is partially (beat 4) - material is eliminated. All original eliminated (occurs on one beat). 185 (beat 1) pitch content is provided by a variety of instruments in a variety of octaves.
212 m. 191 In CS, the original Trumpet 2 material Reorganize Insignificant is played by the Horn one octave lower. m. 193 In CS, the original Trumpet 1 & 2 Reorganize Insignificant (beats 2-3) material is played/doubled by the Oboe (one octave higher for the Trumpet 2). m. 196 In CS, the original Trumpet 2 material Reorganize Insignificant (beat 2) - is played/doubled by the Horn. 197 (beat 1) m. 198 In CS, the original Trumpet 1 & 2 Elimination Minimally Similar Elimination in BR (beat 2) - material is eliminated. All original Significant 199 (beat 1) pitch content is provided by a variety of instruments in a variety of octaves. m. 206-208 In CS, the original Trumpet 1 & 2 Elimination Minimally Similar Elimination in BR material is eliminated. All original Significant 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 Reorganize Insignificant No significant difference. & 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 / In OS, the Horn 1 & 2 and Trumpet 1 Reduction Insignificant No significant difference. 128-129 & 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 OS, the Trumpet 1 & 2 play the Reorganize Insignificant 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 / In OS, the Horn 1 & 2 and Trumpet 1 Reduction Insignificant In BR, the same material is 131-133 & 2 play the same pitch material. In presented but with slightly CS, this has been reduced to the lower different rhythm. octave (Horn 2 and Trumpet 2). m. 88-89 / In OS, the Horn 1 & 2 and Trumpet 1 Reduction / Insignificant No significant difference. 134-135 & 2 play the same pitch material. In Reorganization CS, this has been reduced to the upper octave (Horn 1 and Trumpet 1). This material is played by the Oboe.
213 m. 90 / 136 In OS, the Horn 1 & 2 and Trumpet 1 Elimination Minimally Similar Elimination in BR & 2 play the same pitch material. In Significant CS, this material has been eliminated but all pitch material is present in other voices with a different rhythm. m. 93-95 / In OS, the Horn 1 & 2 and Trumpet 1 Reorganize Insignificant No significant difference. 139-141 & 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 / In OS, the Horn 1 & 2 and Trumpet 1 Reorganize Insignificant No significant difference. 142-144 & 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. 99-103 / In CS, the original Trumpet 1 & 2 Elimination Insignificant 145-149 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 In OS, the Horn 1 & 2 and Trumpet 1 Reduction Minimally In BR, the doubling remains but (beat 3) - & 2 play the same pitch material. In Significant one octave lower. 106 (beat 1) CS, this has been reduced to the lower octave (Horn 2, Trumpet 2). m. 122-123 In CS, the Oboe plays the original Reorganize Insignificant Trumpet 2 material one octave lower. m. 124-126 In CS, the Horn plays the original Reorganize Insignificant Trumpet 1 & Trumpet 2 pitch material. The material is not always presented in the same octave as the original material. m. 158 In OS, the Horn 1,2,3,4 and Trumpet Reorganize Insignificant Elimination - For the most part (beat 3) - 1,2 all play the pitch of E in three the original brass material is 160 (beat 1) octaves. In CS, the middle octave eliminated. M. 158 (beat 3) - 159 (Horn 3 & Trumpet 2) is played by the (beat 2) the pitch material is Horn. present two octave higher. m. 168-170 In OS, the Horn 1,2 and Trumpet 1,2 Reorganize Insignificant No significant difference. 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. 178-180 In OS, the Horn 1,2 and Trumpet 1,2 Reduction Minimally Similar Reduction in BR play the same pitch material in two Significant octaves. In CS, this has been reduced to the lower octave (Horn 2, Trumpet 2).
214 m. 184-186 In CS, the Horn plays the original Horn Reorganize Insignificant 3,4 and Trumpet 1,2 material. This is one octave lower for the original Trumpet material. m. 190-193 In OS, the Horn 1,2 and Trumpet 1,2 Reorganize Minimally Similar pitch material is all play the pitch of C in octaves. In Significant presented, but not as a distinct CS, the highest octave is played by the layer. Oboe and the lower octave by the Horn. m. 196-200 In OS, the Horn 1,2 and Trumpet 1,2 Reduction / Minimally Similar pitch material but it is all play the pitch of E in octaves. In Reorganization Significant presented with a different CS, this has been reduced to the lower rhythm. octave and played by the Horn. m. 201-203 In CS, the Horn plays the original Horn Reorganize Insignificant 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. 204-208 In OS, the Flute 2, Oboe 2, Horn 1,2, Reduction / Minimally In BR, this has been reduced to Trumpet 2, and Trombone 3 all play Reorganization Significant two octaves (highest and lowest). the pitch of C in three octaves. In CS, this has been reduced to the lowest octave and is played by the Horn. m. 224 In OS, the Horn 1,2 and Trumpet 1,2 Reorganize Insignificant In BR, this material has been all play the pitch of C in octaves. In eliminated. CS, the Horn plays the low pitch (Horn 2, Trumpet 2) m. 226 In OS, the Trumpet 1 doubles the Reduction / Minimally No significant difference. Trumpet 2 one octave higher. In CS, Reorganization Significant 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 Reorganize Insignificant In BR, this material has been all play the same pitches. In CS, the eliminated. Oboe plays the high pitches (Horn 1, Trumpet 1) m. 229-234 In OS, the Horn 3,4 and Trumpet 1,2 Reduction / Minimally Elimination - In BR, this material double the Timpani one and two Reorganize Significant has been eliminated as an octaves higher. In CS, this has been independent layer. Pitch reduced to only the Timpani at the material is presented through lowest octave. Portions of the original the Bass, but with a different material are present in other rhythm. instruments but not with the same rhythm. m. 248 In CS, the original Trumpet 1 & 2 Reorganize Insignificant material is played/doubled by the Bassoon. (One octave lower for the Trumpet 1)
215 m. 250-253 In CS, the majority of the original Reorganize Minimally No significant difference. Trumpet 2 material is eliminated. All Significant 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. 254-257 In CS, the Oboe plays the original Reorganize Insignificant Trumpet 1 & 2 material. m. 259-260 In CS, the Oboe plays the original Horn Reorganize Insignificant 1,2 and Trumpet 1,2 material. m. 261 In CS, the Oboe plays the original Horn Reorganize Insignificant (beat 4) - 1 and Trumpet 1 & 2 material. 262 (beat 2) m. 264-266 In CS, the Oboe plays the original Reorganize Insignificant Trumpet 1 & 2 material. m. 276-281 In CS, the Oboe plays the original Reorganize Insignificant Trumpet 1 & 2 material. m. 282 In CS, the original Trumpet 1 & 2 Elimination Minimally Similar Elimination in BR material is eliminated. The original Significant pitch material is played by other instruments but not with the same rhythm. m. 287-288 In CS, the original Trumpet 1 & 2 Reorganize Insignificant material is played/doubled by the Flute one and two octaves higher. m. 289 In CS, the original Trumpet 1 & 2 Reorganize Insignificant material is played/doubled by the Clarinet (one octave higher for Trumpet 2). m. 303-304 In CS, the Oboe plays the original Reorganize Insignificant / 329-330 Trumpet 1 & 2 material (one octave higher for the Trumpet 2). m. 313-316 In CS, the original Trumpet 1 & 2 Reorganize Insignificant material is played/doubled by the Clarinet (one octave higher for Trumpet 2). m. 338-340 In CS, the Oboe plays the original Reorganize Insignificant Trumpet 1 & 2 material (one octave higher for the Trumpet 2). m. 344-349 In CS, the Oboe plays the original Reorganize Insignificant Trumpet 1 & 2 material (one octave higher for the Trumpet 2). Mvt. 7 TACET
216 Trombone 1
Measures Chamber Ensemble Notes Classification / Relevance Brahms Reduction Notes
Mvt. 1 m. 34 In CS, the original Trombone 1 Reorganize Insignificant material is played by the Clarinet. m. 35-37 In CS, the original Trombone 1 Reorganize Insignificant material is played/doubled by the Flute one octave higher. m. 57 (beats In CS, the original Trombone 1 Reorganize Insignificant 1-3) / 90 material is eliminated. The pitch (beats 1-3) material is provided by other instruments but with a different rhythm. m. 57 (beat In CS, the Horn plays the original Reorganize Insignificant 4) - 58 / 90 Trombone 1 material. (beat 4)-91 m. 74 (beat In CS, the Horn plays the original Reorganize Insignificant 3) -76 Trombone 1 material. m. 123-125 In CS, the original Trombone 1 Elimination Minimally Not a significant difference. material is eliminated. The original Significant Brahms is able to play one full pitch material is present in other chord with one hand. instruments with the same rhythm. Linckelmann is rearranging pitches and Eliminating duplicates. Both versions maintain the integrity of the chord.
m. 126-127 In CS, the Horn plays the original Reorganize Insignificant Trombone 1 material. Mvt. 2 m. 49-54 In CS, the Bassoon plays the original Reorganize Insignificant (beat 2) / Trombone material. Tromb 3 - m. 173-178 49,50 / Tromb 2 - m. 51, 52 / Tromb 1 (beat 2) - m. 53,54 m. 54 (beat In this passage, Linckelmann Reorganize Significant DIFFERENCE - Brahms chooses to 3) - 61 / 178 combines a variety of pitch and eliminate this material. The pitch (beat 3) - rhythmic material to create a new is provided but with a different 185 layer. The Horn provides portions of rhythm. the Horn 1,2,3,4, Trumpet 1 &2, and Trombone 1 original material. m. 61 (beat In CS, the Horn plays the original Reorganize Insignificant 3) - 65 (beat Trombone 1 material. 1) / 185-189 m. 198 (beat In CS, the Horn plays the original Reorganize Insignificant 3) - 201 Trombone 1 material. m. 202 In CS, the original Trombone 1 Reorganize Insignificant material is played/doubled by the Oboe one octave higher. m. 203-204 In CS, the original Trombone 1 Reorganize Insignificant (beat 1) material is played by the Clarinet.
217 m. 204 (beat In CS, the original Trombone 1 Reorganize Insignificant 2) - 205 material is played/doubled by the two (beat 1) octaves higher. m. 205 (beat In CS, the Horn plays the original Reorganize Insignificant 2) -206 Trombone 1 material. m. 219-225 In CS, the original Trombone 1 Elimination Minimally No significant difference. material is eliminated. All original Significant pitch material is provided in other instruments. m. 249 (beat In CS, the original Trombone 1 Elimination Minimally No significant difference. 3) - 251 material is eliminated. All original Significant (beat 1) pitch material is provided in other instruments. m. 251 (beat In CS, the original Trombone 1 Reorganize Insignificant 3) - 252 material is played/doubled by the Horn. m. 253 (beat In CS, the original Trombone 1 Reorganize Insignificant 1) material is played/doubled by the Flute two octaves higher. m. 255-257 In CS, the Horn plays the original Reorganize Insignificant Trombone 1 material. m. 259-260 In CS, the Flute plays the original Reorganize Minimally No significant difference. Trombone 1 material. Signficiant m. 273-275 In CS, the original Trombone 1 Reorganize Insignificant material is played/doubled by the Flute two octaves higher. m. 287 (beat In CS, the original Trombone 1 Reorganize Insignificant 4) - 288 material is played by the Clarinet. m. 289-290 In CS, the original Trombone 1 Reorganize Insignificant material is played/doubled by the Oboe one octave higher. m. 291-293 In CS, the original Trombone 1 Reorganize Insignificant material is played by the Clarinet. m. 294-297 In CS, the original Trombone 1 Elimination Minimally M. 294-295 - No significant material is eliminated. All original Significant difference. M. 296-297 - Similar pitch material is provided in other Elimination instruments. m. 331-333 In CS, the original Trombone 1 Reorganize Insignificant material is played by the Clarinet. m. 337 In CS, the original Trombone 1 Reorganize Insignificant material is played/doubled by the Horn one octave lower. Mvt. 3 m. 54-55 In OS, the Horn 3 doubles the Reduction Insignificant No significant difference. Trombone 1 one octave higher. In CS, this has been reduced to the lower octave (Trombone 1) and is played by the Oboe. m. 128-129 In CS, the Horn plays the original Reorganize Insignificant Trombone 1 material. m. 164-169 In CS, the original Trombone 1 Reorganize Insignificant material is played by the Clarinet.
218 m. 171-173 In CS, the Bassoon plays the original Reorganize Insignificant (beat 1) Trombone 1 material. m. 173-175 In CS, the Horn plays the original Reorganize Insignificant Trombone 1 & 2 material. m. 176 (beat In CS, the Horn plays the original Reorganize Insignificant 3) - 178 Trombone 1 & 2 material. (beat 1) / 179 - 180 (beat 3) m. 181 (beat In CS, the Horn plays the original Reorganize Insignificant 3) - 183 Trombone 1 & 2 material. (beat 1) m. 184 In CS, the Horn plays the original Reorganize Insignificant (beats 1-3) / Trombone 1 & 2 material. 187 (beats 1-3) m. 190-191 In CS, the Horn plays the original Reorganize Insignificant (beat 1) / Trombone 1 & 2 material. 192 (beats 1-2) m. 193-195 In OS, the Trombone 1/2 doubles the Reduction / Minimally DIFFERENCE - In BR, this material (beat 2) & Trombone 3/Tuba one octave higher. Reorganization Significant has been eliminated. The 197 (beat 3) In CS, this has been reduced to only original Bass material is very - 199 the upper octave and played by the similar, and it is used in BR. Bassoon. Mvt. 4 TACET Mvt. 5 TACET Mvt. 6 m. 68-74 In CS, the Oboe plays the original Reorganize Insignificant Trombone 1 material. m. 75-78 In CS, the original Trombone 1 Reorganize Insignificant (beat 1) material is played/doubled by the Horn. m. 78 (beat In CS, the original Trombone 1 Reorganize Insignificant 4) - 80 material is played/doubled by the Flute two octaves higher. m. 82-83 / In CS, the original Trombone 1 Reorganize Insignificant 128-129 material is played/doubled by the Flute two octaves higher. m. 84-85 / In CS, the original Trombone 1 Elimination Minimally Similar Elimination in BR 130-131 material is eliminated. All original Significant pitch material is provided in other instruments. m. 87 / 133 In CS, the original Trombone 1 Reorganize Insignificant material is played/doubled by the Oboe one octave higher. m. 88-89 / In CS, the original Trombone 1 Reorganize Insignificant 134-135 material is played/doubled by the Flute two octaves higher.
219 m. 90-91 / In CS, Linckelmann creates a new Reorganize Insignificant 136-137 melodic pattern that includes portions of Trombone 1 and Trombone 3 material. m. 93 (beat In CS, the original Trombone 1 Reorganize Insignificant 2) -94 (beat material is played/doubled by the 1) / 96 (beat Clarinet. 2) - 97 (beat 1) m. 99 (beat In CS, the original Trombone 1 Reorganize Insignificant 2) - 101 / material is played/doubled by the 145-147 Horn. m. 102-104 In CS, the original Trombone 1 Reorganize Insignificant (beat 1) / material is played/doubled by the 148-150 Oboe one octave higher. m. 104-107 In CS, the original Trombone 1 Reorganize Insignificant material is played/doubled by the Clarinet. m. 108 In CS, the original Trombone 1 Reorganize Insignificant material is played/doubled by the Horn. m. 122-123 In CS, the original Trombone 1 Reorganize Insignificant material is played/doubled by the Oboe. m. 124-126 In CS, the original Trombone 1 Reorganize Insignificant material is played/doubled by the Flute two octaves higher. m. 139 (beat In CS, the original Trombone 1 Reorganize Insignificant 2) -140 material is played/doubled by the (beat 1) / Clarinet. 142 (beat 2) - 143 (beat 1) m. 178-180 In CS, the original Trombone 1 Reorganize Insignificant & 184-186 material is played/doubled by the Flute two octaves higher. m. 192-195 In CS, the original Trombone 1 Reorganize Insignificant material is played/doubled by the Horn. m. 196-208 In CS, the original Trombone 1 Reorganize Insignificant material is played/doubled by the Flute two octaves higher. m. 231-232 In CS, the original Trombone 1 Reorganize Insignificant & 234 material is played/doubled by the (beats 1-3) Horn. m. 233 In CS, the original Trombone 1 Reorganize Insignificant (beats 1-3) material is played/doubled by the Oboe one octave higher. m. 249 (beat In CS, the original Trombone 1 Reorganize Insignificant 4) - 251 material is played/doubled by the (beat 1) Flute two octaves higher. m. 251 (beat In CS, the original Trombone 1 Elimination Minimally No significant difference. 2) - 253 material is eliminated. All original Significant pitch material is provided in other instruments.
220 m. 254 -255 In CS, the original Trombone 1 Reorganize Insignificant (beat 2) material is played/doubled by the Flute two octaves higher. m. 255 (beat In CS, the original Trombone 1 Elimination Minimally No significant difference. 3) - 256 material is eliminated. All original Significant pitch material is provided in other instruments. m. 276- 277 In CS, the Horn plays the original Reorganize Insignificant (beat 2) Trombone 1 material. m. 284-285 In CS, the original Trombone 1 Reorganize Insignificant material is played/doubled by the Bassoon. m. 286 In CS, the original Trombone 1 Reorganize Insignificant (beats 1-3) material is played/doubled by the Clarinet. m. 286 (beat In CS, the original Trombone 1 Reorganize Insignificant 4) - 287 material is played/doubled by the Horn. m. 287 In CS, the original Trombone 1 Reorganize Insignificant (beats 3-4) material is played/doubled by the & 288 Oboe one octave higher. (beats 3-4) m. 288 In CS, the original Trombone 1 Reorganize Insignificant (beats 1-2) material is played/doubled by the & 289-290 Clarinet one octave higher. m. 310-311 In CS, the original Trombone 1 Reorganize Insignificant (beat 3) & material is played/doubled by the m. 312 (beat Horn. 4) - 316 m. 311 (beat In CS, the original Trombone 1 Reorganize Insignificant 4) - 312 material is played/doubled by the (beat 3) Clarinet. m. 341-344 In CS, the Horn plays the original Reorganize Insignificant (beat 3) Trombone 1 material. m. 347-348 In CS, the original Trombone 1 Reorganize Insignificant (beat 2) material is played/doubled by the Horn. m. 348 In CS, the original Trombone 1 Reorganize Insignificant (beats 3-4) material is played/doubled by the Oboe one octave higher. m. 349 In CS, the original Trombone 1 Reorganize Insignificant material is played/doubled by the Flute two octaves higher. Mvt. 7 m. 40-41 In CS, the Flute plays the original Reorganize Insignificant Trombone 1 material. m. 42 In CS, the original Trombone 1 Reorganize Insignificant material is doubled/played by the Bassoon one octave lower. m. 43 In CS, the original Trombone 1 Elimination Significant No significant difference. material is eliminated. No other instrument plays this material. The tenor voice does sing this material.
221 m. 40-48 In CS, the Clarinet plays the original Reorganize Insignificant 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 Elimination Minimally No significant difference. pattern has been eliminated. With Signficiant the exception of m. 47, all pitch material is present in a variety of other instruments. m. 76-79 In CS, the Flute plays the original Reorganize Insignificant Trombone 1 material. m. 81-84 In CS, the Flute plays the original Reorganize Insignificant Trombone 1 material. The final pitch (downbeat of 84) is played by the Clarinet 1 one octave higher. m. 131-132 In CS, the original Trombone 1 Reorganize Insignificant material is played by the Oboe. m. 140-141 In CS, the original Trombone 1 Reorganize Insignificant material is played by the Oboe. m. 145-146 In CS, the original Trombone 1 Elimination Significant No significant difference. 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 Reorganize Insignificant material is doubled/played by the Oboe. The resolution pitch on the third beat of m. 159 is played by the Horn. m. 166 In CS, the original Trombone 1 Reorganize Insignificant material is played by the Horn.
Trombone 2
Measures Chamber Ensemble Notes Classification / Relevance Brahms Reduction Notes
Mvt. 1 m. 34-37 In CS, the original Trombone 2 Reorganize Insignificant material is doubled/played by the Horn for m. 34, and then played by the Clarinet. m. 45-47 In OS, the Bassoon 2 doubles the Reorganize Insignificant Trombone 2. In CS, this material is played by the Bassoon. m. 56 / 89 In CS, the Bassoon plays the original Reorganize Insignificant Trombone 2 material. m. 57 In CS, the Horn plays the original Reorganize Insignificant (beats 1-3) Trombone 2 material. / 90 (beats 1-3)
222 m. 57-58 / In CS, the Bassoon plays the original Reorganize Insignificant 90-91 Trombone 3 material. Portions of the Trombone 2 material are added in m. 58. m. 74 (beat In CS, the Bassoon doubles/plays Reorganize Insignificant 4) - 76 the original Trombone 2/3 material. m. 123-126 In CS, the original Trombone 2 Elimination Minimally Not a significant difference. material is eliminated. The original Significant Brahms is able to play one full pitch material is present in other chord with one hand. Linckelmann instruments with the same rhythm. is rearranging pitches and Eliminating duplicates. Both versions maintain the integrity of the chord.
Mvt. 2 m. 22 (beat In CS, the Horn plays the original Reorganize Insignificant 3)-m. 26 Trombone 2 material. (beat 2) / 146-150 m. 26 (beat In CS, the Bassoon plays the original Reorganize Insignificant 3) - m. 30 Trombone 2 material. (beat 1) / 150 (beat 3) - 154 (beat 1) m. 30 (beat In CS, the Horn plays the original Reorganize Insignificant 3)-m. 33 Trombone 2 material. (beat 2) m. 49-54 In CS, the Bassoon plays the original Reorganize Insignificant (beat 2) / Trombone material. Tromb 3 - m. 173-178 49,50 / Tromb 2 - m. 51, 52 / Tromb (beat 2) 1 - m. 53,54 m. 54 (beat In CS, the original Trombone 2 Elimination Minimally Similar Elimination in BR 3) - 62 / material is eliminated. The original Significant 178-186 pitch material is present in a variety of other instruments but with different rhythms. m. 63 - 65 In CS, the Horn plays the original Reorganize Insignificant (beat 1) / Trombone 1 material. 187-189 m. 198-201 In CS, the original Trombone 2 Reorganize Insignificant material is played by the Clarinet. m. 202-206 In CS, the original Trombone 2 Elimination Minimally Similar Elimination in BR material is eliminated. The original Significant pitch material is present in a variety of other instruments but with different rhythms. m. 219-223 In CS, the original Trombone 2 Elimination Minimally Similar Elimination in BR material is eliminated. The original Significant pitch material is present in a variety of other instruments but with different rhythms.
223 m. 224-225 In CS, the original Trombone 2 Reorganize Insignificant material is doubled/played by the Clarinet one octave higher. m. 249 In CS, the Horn plays the original Reorganize Insignificant (beat 3) - Trombone 2 material. 251 (beat 1) m. 251 In CS, the original Trombone 2 Elimination Minimally Similar Elimination in BR (beat 2) - material is eliminated. The original Significant 253 pitch material is present in a variety of other instruments but with different rhythms. m. 255-261 In CS, the original Trombone 2 Reorganize Insignificant material is played by the Clarinet. m. 273-275 In CS, the original Trombone 2 Reorganize Insignificant material is played/doubled by the Clarinet one octave higher but with a different rhythm. m. 287 In CS, a majority of the original Reorganize Insignificant (beat 4) - Trombone 2 material is 290 played/doubled by the Horn. m. 291-297 In CS, the original Trombone 2 Elimination Minimally Similar Elimination in BR material is eliminated. The original Significant pitch material is present in a variety of other instruments but with different rhythms. m. 329 In CS, the Clarinet plays the original Reorganize Insignificant (beat 3) - Trombone 2 material. 333 (beat 1) m. 337 In CS, the original Trombone 2 Reorganize Insignificant material is played/doubled by the Oboe one octave higher. Mvt. 3 m. 39-40 In CS, the original Trombone 2 Reorganize Insignificant material is played/doubled by the Clarinet one octave higher. m. 54-55 In CS, the original Trombone 2 Elimination Minimally No significant difference material is eliminated. The original Significant pitch material is present in the Violin 2 but with a different. m. 61 In CS, the original Trombone 2 Reorganize Insignificant material is played/doubled by the Horn. m. 62 In CS, the original Trombone 2 Reorganize Insignificant material is played/doubled by the Clarinet one octave higher. m. 118-119 In CS, the Horn plays the original Reorganize Insignificant / 122-123 Trombone 2 material. m. 126 In CS, the Clarinet plays the original Reorganize Insignificant Trombone 2 material. m. 128 In CS, the Clarinet plays the original Reorganize Insignificant Trombone 2 material.
224 m. 129 In CS, the original Trombone 2 Reorganize Insignificant (beat 1) material is played/doubled by the Oboe one octave higher. m. 143 In CS, the Clarinet plays the original Reorganize Insignificant Trombone 2 material. m. 144 In CS, the original Trombone 2 Reorganize Insignificant (beat 1) material is played/doubled by the Flute two octave higher. m. 150-158 In CS, the original Trombone 2 Elimination Minimally Similar Elimination in BR material is eliminated. The original Significant 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. 154-155 In CS, the Horn plays portions of the Reorganize Insignificant Trumpet 1 & 2 and Trombone 2 original material. m. 163-169 In OS, the original Cello 1 doubles Reorganize Minimally Brahms is able to maintain the the Bass at the higher octave. In CS, Significant octave doubling and also provide the Cello plays the original the Trombone 2 material. Trombone 2 material. This content doubles/supports the Bass Voice. m 170 (beat In CS, the original Trombone 2 Elimination Minimally No significant difference 3) - 172 material is eliminated. The original Significant pitch material is present in a variety of other instruments but with different rhythms. m. 173-175 In CS, the Horn plays the original Reorganize Insignificant Trombone 1 & 2 material. m. 176 In CS, the Horn plays the original Reorganize Insignificant (beat 3) - Trombone 1 & 2 material. 178 (beat 1) / 179 - 180 (beat 3) m. 181 In CS, the Horn plays the original Reorganize Insignificant (beat 3) - Trombone 1 & 2 material. 183 (beat 1) m. 184 In CS, the Horn plays the original Reorganize Insignificant (beats 1-3) Trombone 1 & 2 material. / 187 (beats 1-3) m. 190-191 In CS, the Horn plays the original Reorganize Insignificant (beat 1) / Trombone 1 & 2 material. 192 (beats 1-2) m. 193-195 In OS, the Trombone 1/2 doubles Reduction / Minimally DIFFERENCE - In BR, this material (beat 2) & the Trombone 3/Tuba one octave Reorganization Significant has been eliminated. The original 197 (beat higher. In CS, this has been reduced Bass material is very similar, and it 3) - 199 to only the upper octave and played is used in BR. by the Bassoon. Mvt. 4 TACET
225 Mvt. 5 TACET Mvt. 6 m. 68-70 In CS, the original Trombone 2 Reorganize Insignificant (beat 2) material is played by the Clarinet. m. 70 (beat In CS, the original Trombone 2 Reorganize Insignificant 3) -72 (beat material is played by the Horn. 2) m. 72 (beat In CS, the original Trombone 2 Reorganize Insignificant 3) - 77 material is played/doubled by the Clarinet. m. 78 (beat In CS, the original Trombone 2 Reorganize Insignificant 1) material is played/doubled by the Horn. m. 78 (beat In CS, the original Trombone 2 Reorganize Insignificant 3) - 80 material is played/doubled by the Bassoon. m. 82-83 / In CS, the original Trombone 2 Reorganize Insignificant 128-129 material is played/doubled by the Clarinet. m. 84-85 / In CS, the original Trombone 2 Elimination Minimally Similar Elimination in BR - Portion 130-131 material is eliminated. All original Significant of original material present in same pitch material is present but in a manner. different rhythm. m. 87 (beat In CS, the Horn plays the original Reorganize Insignificant 2) -89 / Trombone 2 material. 133-135 m. 90-91 / In CS, the original Trombone 2 Elimination Minimally In BR, a majority of the original 136-137 material is eliminated. All original Significant material is present as it is in the OS. pitch material is present but In a variety of instruments with different registers. m. 93 In CS, the original Trombone 2 Reorganize Insignificant (beats 2-3) material is played/doubled by the / 139 Horn. m. 94 (beat In CS, the original Trombone 2 Reorganize Insignificant 1) & 97 material is played/doubled by the (beat 1) / Bassoon. 140 & 143 m. 96 In CS, the original Trombone 2 Reorganize Insignificant (beats 2-3) material is played/doubled by the / 142 Flute two octaves higher. m. 99-101 / In CS, Linckelmann creates a new Reorganize Insignificant 145-147 Clarinet part that includes portions of the original Trombone 2 & 3 material. m. 101 In CS, the original Trombone 2 Reorganize Insignificant (beat 2) - material is played by the Clarinet. 104 (beat 1) / 147- 150 m. 104 In CS, the original Trombone 2 Reorganize Insignificant (beat 3) - material is played/doubled by the 107 Oboe one octave higher.
226 m. 108 In CS, the original Trombone 2 Reorganize Insignificant (beat 1) material is played/doubled by the Clarinet. m. 122-123 In OS, the Flute 1, Oboe 2, and Reduction Significant No significant difference. 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 In CS, the original Trombone 2 Reorganize Insignificant (beat 1) material is played/doubled by the Oboe two octaves higher. m. 124 In CS, the original Trombone 2 Reorganize Insignificant (beat 3) - material is played/doubled by the 125 (beat Clarinet. 1) m. 125 In CS, the original Trombone 2 Reorganize Insignificant (beat 3) - material is played/doubled by the 126 (beat Bassoon one octave lower. 1) m. 152 In OS, the Trombone 2 doubles the Reduction / Minimally No significant difference Trombone 3 one octave higher. In Reorganization Significant CS, this has been reduced to the higher octave and played by the Horn. m. 155 In CS, the original Trombone 2 & 3 Reorganize Insignificant material is played/doubled by the Horn. m. 156 & In CS, the original Trombone 2 & 3 Reorganize Insignificant 159 material is played/doubled by the Clarinet. m. 178-180 In CS, the original Trombone 2 Reorganize Insignificant & 184-186 material is played/doubled by the Clarinet one octave higher. m. 192-193 In CS, the original Trombone 2 Reorganize Insignificant material is played/doubled by the Clarinet one octave higher. m. 194-195 In OS, the Flute 1, Bassoon 1, Reduction Minimally No significant difference. Trombone 3, and Tuba all play the Significant same pitch material over four octaves. In CS, this has been reduced to only the Bassoon at the lowest octave. m. 196-208 In CS, the original Trombone 2 Reorganize Insignificant material is played/doubled by the Oboe one and two octave higher. m. 204-208 In OS, the Flute 2, Oboe 2, Horn 1,2, Reduction / Minimally In BR, this has been reduced to two Trumpet 2, and Trombone 3 all play Reorganization Significant octaves (highest and lowest). the pitch of C in three octaves. In CS, this has been reduced to the lowest octave and is played by the Horn.
227 m. 231-234 In CS, the original Trombone 2 Elimination Minimally No significant difference. material is eliminated. All original Significant pitch material is present but in a variety of instruments and registers. m. 249-256 In CS, a majority of the original Reorganize Insignificant Trombone 2 material is played/doubled by the Clarinet. Pitches not present in the Clarinet are normally presented by the Horn. m. 274-275 In CS, the Horn plays the original Reorganize Insignificant Trombone 2 material. m. 276-277 In CS, the original Trombone 2 Elimination Minimally No significant difference. (beat 2) material is eliminated. All original Significant pitch material is present but in a variety of instruments and registers. m. 277 In CS, the Horn plays the original Reorganize Insignificant (beat 3) - Trombone 2 material. 280 (beat 1) m. 280 In CS, the original Trombone 2 Elimination Minimally No significant difference. (beat 2) - material is eliminated. All original Significant 281 pitch material is present but in a variety of instruments and registers. m. 282-285 In CS, the original Trombone 2 Reorganize Insignificant material is played/doubled by the Bassoon. m. 286-287 In CS, the original Trombone 2 Reorganize Insignificant & 289-290 material is played/doubled by the Horn. m. 287 In CS, the original Trombone 2 Reorganize Insignificant (beat 3) - material is played/doubled by the 288 (beat Oboe one octave higher. 2) m. 288 In CS, the original Trombone 2 Reorganize Insignificant (beats 3-4) material is played/doubled by the Clarinet one octave higher. m. 310-316 In CS, the Horn plays the original Reorganize Insignificant Trombone 2 material. m. 341-344 In CS, the original Trombone 2 Reorganize Insignificant material is played/doubled by the Clarinet. m. 347-349 In CS, the original Trombone 2 Reorganize Insignificant 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 Reorganize Insignificant 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. 76-79 In CS, the Clarinet plays the original Reorganize Insignificant Trombone 2 material.
228 m. 81-83 In CS, the Clarinet plays the original Reorganize Insignificant Trombone 2 material. m. 81-83 In CS, the Clarinet plays the original Reorganize Insignificant Trombone 2 material. m. 84 In CS, the Horn plays/doubles the Reorganize Insignificant original Trombone 2 material. m. 131-132 In CS, the original Trombone 2 Elimination Minimally Similar Elimination in BR material is eliminated. The pitch Significant material is present in a variety of instruments but not with the same melodic pattern. m. 140-141 In CS, the original Trombone 2 Elimination Minimally Similar Elimination in BR material is eliminated. The pitch Significant material is present in a variety of instruments but not with the same melodic pattern. m. 145-146 In CS, the Clarinet plays the original Reorganize Insignificant Trombone 2 material. m. 158-159 In CS, the original Trombone 2 Reorganize Insignificant 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 Reorganize Insignificant material is played by the Clarinet one octave higher.
Trombone 3
Measures Chamber Ensemble Notes Classification / Relevance Brahms Reduction Notes
Mvt. 1 m. 34-37 In CS, the Bassoon plays the original Reorganize Insignificant Trombone 3 material. m. 57-58 / In CS, the Bassoon plays the original Reorganize Insignificant 90-91 Trombone 3 material. Portions of the Trombone 2 material are added in m. 58. m. 74 (beat In CS, the Bassoon doubles/plays Reorganize Insignificant 4) - 76 the original Trombone 2/3 material. m. 119-122 In OS, the Bassoon 2 doubles the Reorganize Insignificant Trombone 3. In CS, this material is played by the Bassoon. m. 123-127 In CS, the Bassoon plays the original Reorganize Insignificant Trombone 3 material. Mvt. 2 m. 49-54 In CS, the Bassoon plays the original Reorganize Insignificant (beat 2) / Trombone material. Tromb 3 - m. 173-178 49,50 / Tromb 2 - m. 51, 52 / Tromb (beat 2) 1 - m. 53,54
229 m. 54-65 / In CS, the Trombone 3 original Reorganize Minimally No significant difference. m. 178-189 material (which is almost a Significant 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 In CS, the Bassoon plays the original Reorganize Insignificant (beat 3) - Trombone 3 material. 200 (beat 1) m. 200 In CS, the original Trombone 3 Elimination Minimally A majority of the original material is (beat 2) - material is eliminated. The original Significant presented in BR. A portion of this 203 pitch material is present in a variety material is presented in a different of other instruments but with register or with a different rhythm. different rhythms. m. 206-207 In CS, the original Trombone 3 Reorganize Insignificant material is played by the Bassoon but with a slightly different rhythm. m. 219 & In CS, Linckelmann merges the Reorganize Minimally No significant difference. 221 original Bassoon 2 and Trombone 3 Significant material to create a new part with a new rhythm. This material is played by the Bassoon. m. 219-222 In CS, the original Trombone 3 Reorganize Insignificant material is played by the Bass but with a different rhythm. m. 223-224 In CS, the Trombone 3 original Reorganize Insignificant In BR, the Trombone 3 original material is played by the Bassoon. material is omitted. The pitch The third beat which is played as an material and rhythm are still A2 was originally an A3 in the present but in a different octave. Trombone 3 part. This is played by the right hand of the Piano 1 part. m. 250 In CS, the original Trombone 3 Elimination Insignificant material is eliminated. The original pitch material is present in the Viola but with a different rhythm. m. 250-253, In CS, the Bassoon plays/doubles Reorganize Insignificant 255-256, & the original Trombone 3 material. 259-260 The octave is occasionally changed. m. 271-290 In CS, the Trombone 3 original Reorganize Insignificant In BR, the Trombone 3 part is material is played by the Bassoon played by the left hand of Piano 2. (the Bassoon doubled the The final note is also omitted. Trombone 3 in the OS). The final note B2 is omitted, but played by the Bassoon 1 octave higher. m. 291-297 In CS, the Trombone 3 original Elimination Minimally In BR, the Trombone 3 original material is omitted. The clarinet Significant material is omitted. The brass plays a similar rhythm, but this it is chords and rhythm is presented in playing another brass instrument. the right hand of Piano 2, but the The String Bass presents the same register is considerably different pitch material until m. 294, but the than that of the Tuba. rhythm is different. m. 329 In CS, the Horn plays the original Reorganize Insignificant (beat 3) - Trombone 3 material. 333 (beat 1)
230 m. 337 In CS, the original Trombone 3 Reorganize Insignificant material is played/doubled by the Bassoon. Mvt. 3 m. 39-40 In CS, the Bassoon plays the original Reorganize Insignificant Trombone 3 material. m. 54-55 In CS, the Horn plays the original Reorganize Insignificant Trombone 3 material. m. 61-62 In CS, the Bassoon plays the original Reorganize Insignificant Trombone 3 material. m. 118-119 In CS, the Bassoon plays the original Reorganize Insignificant No significant difference / 122-123 / Trombone 3/Tuba material. 126-127 m. 128-129 In CS, the original Trombone 3 Elimination Minimally All pitch material is present but in a material is eliminated. All original Significant different register. pitch material is played by other instruments but with a different rhythm. m. 143 & In CS, the Bassoon plays the original Reorganize Insignificant 146 (beat 5) Trombone 3 material. - 147 (beat 1) m. 144-153 In CS, the original Trombone 3 Reorganize Insignificant material is played/doubled by the Bass one octave lower. m. 154-156 In CS, the Bassoon plays the original Reorganize Insignificant (beat 2) Trombone 3 material. m. 156 In CS, the original Trombone 3 Reorganize Insignificant (beat 3-157 material is played/doubled by the (beat 2) & Bass one octave lower but in a 158 different rhythm. m. 157 In CS, the Bassoon plays the original Reorganize Insignificant (beat 3) - Trombone 3 material. 158 (beat 1) m. 163 In CS, the Bassoon plays the original Reorganize Insignificant (beat 3) - Trombone 3 material. 169 m. 170-172 In CS, the original Trombone 3 Reorganize Insignificant material is played/doubled by the Bass one octave lower. m. 173 - In OS, the String Bass part is divided Reduction / Minimally No significant difference 208 into two parts an octave apart, Reorganize Significant 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.
231 m. 193-195 In OS, the Trombone 1/2 doubles Reduction / Minimally DIFFERENCE - In BR, this material (beat 2) & the Trombone 3/Tuba one octave Reorganization Significant has been eliminated. The original 197 (beat 3) higher. In CS, this has been reduced Bass material is very similar, and it - 199 to only the upper octave and played is used in BR. by the Bassoon. (String Bass continues throughout) Mvt. 4 TACET Mvt. 5 TACET Mvt. 6 m. 68-70 In CS, the Horn plays the original Reorganize Insignificant (beat 2) Trombone 3 material. m. 70 (beat In CS, the Clarinet plays the original Reorganize Insignificant 3) - 72 (beat Trombone 3 material. 2) m. 72 (beat In CS, the Horn plays the original Reorganize Insignificant 3) -74 / 76- Trombone 3 material. 78 m. 75 In CS, the original Trombone 3 Reorganize Insignificant material is played/doubled by the Oboe two octaves higher. m. 78 (beat In CS, the original Trombone 3 Reorganize Insignificant 3) - 80 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 / In CS, the original Trombone 3 Reorganize Insignificant 128-131 material is played/doubled by the Oboe two octaves higher. The first beat of m. 84 is different. m. 87-89 / In CS, the original Trombone 3 Reorganize Insignificant 133-135 material is played/doubled by the Clarinet one octave higher. m. 90-91 / In CS, Linckelmann creates a new Reorganize Insignificant 136-137 melodic pattern that includes portions of Trombone 1 and Trombone 3 material. m. 93 (beat In CS, the Bassoon plays the original Reorganize Insignificant 2-3) / 139 Trombone 3 material. m. 94 (beat In CS, the original Trombone 3 Reorganize Insignificant 1) / 140 material is played/doubled by the Horn. m. 96 (beat In CS, the original Trombone 3 Reorganize Insignificant 2) - 97 (beat material is played/doubled by the 1) / 142- Horn. 143 m. 99-101 / In CS, Linckelmann creates a new Reorganize Insignificant 145-147 Clarinet part that includes portions of the original Trombone 2 & 3 material. m. 102-104 In CS, the original Trombone 2 Reorganize Insignificant / 148-150 material is played/doubled by the Flute two octaves higher.
232 m. 104 In CS, the original Trombone 2 Reorganize Insignificant (beat 3) - material is played/doubled by the 106 (beat 1) Bassoon. The leap is in the opposite direction as OS. m. 106 In CS, the Horn plays the original Reorganize Insignificant (beat 3) - Trombone 3 material. 107 m. 108 In CS, the original Trombone 3 Reorganize Insignificant (beat 1) material is played/doubled by the Oboe one octave higher. m. 122-124 In OS, the original Trombone 3 Reduction / Minimally No significant difference. (beat 1) doubled the Tuba one octave Reorganize Significant higher. In CS, this has been reduced to the lower octave and played by the Bassoon. m. 124 In CS, the original Trombone 2 Reorganize Insignificant (beat 3) - material is played/doubled by the 126 (beat 1) Oboe two octaves higher. m. 152 In OS, the Trombone 2 doubles the Reduction / Minimally No significant difference Trombone 3 one octave higher. In Reorganization Significant CS, this has been reduced to the higher octave and played by the Horn. m. 155 In CS, the original Trombone 2 & 3 Reorganize Insignificant material is played/doubled by the Horn. m. 156 & In CS, the original Trombone 2 & 3 Reorganize Insignificant 159 material is played/doubled by the Clarinet. m. 178-180 In CS, the original Trombone 3 Reorganize Insignificant & 184-186 material is played/doubled by the Horn. m. 192- 208 In CS, the original Trombone 3 Reorganize Insignificant material is played/doubled by the Bassoon one octave lower. m. 232 & In CS, the original Trombone 3 Elimination Minimally In BR, all original pitch material is 234 material is eliminated. All original Significant present but not always in the same pitch material is played by other register. instruments but with a different rhythm. m. 233 In CS, the original Trombone 3 Reorganize Insignificant material is played/doubled by the Horn. m. 248-250 In CS, the original Trombone 3 Reorganize Insignificant (beat 2) material is played by the Horn. m. 250 In CS, the original Trombone 3 Reorganize Insignificant (beat 3) - material is doubled/played by the 266 Bassoon. m. 273-276 In CS, the original Trombone 3 Reorganize Insignificant (beat 1) material is doubled/played by the Bassoon.
233 m. 276 In CS, the original Trombone 3 Elimination Minimally No significant difference. (beat 2) - material is eliminated. All original Significant 277 (beat 3) pitch material is played by other instruments but with a different rhythm. m. 277 In CS, the original Trombone 3 Reorganize Insignificant (beat 4) - material is doubled/played by the 280 Cello. m. 281 In CS, the original Trombone 3 Reorganize Insignificant (beat 4) - material is doubled/played by the 284 Bassoon. m. 285 In CS, the original Trombone 3 Reorganize Insignificant material is doubled/played by the Cello. m. 286-289 In CS, the original Trombone 3 Reorganize Insignificant material is doubled/played by the Bassoon. m. 289-290 In CS, the original Trombone 3 Reorganize Insignificant material is doubled/played by the Cello. m. 304-310 In CS, the original Trombone 3 Reorganize Insignificant material is doubled/played by the Cello. m. 309-310 In CS, the original Trombone 3 Reorganize Insignificant material is doubled/played by the Bassoon. m. 311-312 In CS, the original Trombone 3 Reorganize Insignificant (beat 2) material is doubled/played by the Bass. m. 312 In CS, the original Trombone 3 Reorganize Insignificant (beat 3) - material is doubled/played by the 316 Bassoon. m. 329-330 In CS, the original Trombone 3 Reorganize Insignificant material is doubled/played by the Bassoon. m. 341-344 In CS, the original Trombone 3 Reorganize Insignificant material is doubled/played by the Bassoon. m. 347-349 In CS, the original Trombone 3 Reorganize Insignificant material is doubled/played by the Bassoon. Mvt. 7 m. 40-43 In CS, the Bassoon plays the original Reorganize Insignificant Trombone 3 material. m. 44-48 In CS, the Bassoon plays the original Reorganize Insignificant Trombone 3 material. m. 76-84 In CS, the Bassoon plays the original Reorganize Insignificant Trombone 3 material. m. 131-132 In CS, the original Trombone 3 Reorganize Insignificant material is doubled/played by the Bass.
234 m. 140 In CS, the original Trombone 3 eliminated Minimally Similar Elimination in BR material is eliminated. The pitch Significant material is present in a variety of instruments but not with the same melodic pattern. m. 141 In CS, the original Trombone 3 Reorganize Insignificant material is played/doubled by the Cello. m. 145-146 In CS, the Bassoon plays the original Reorganize Insignificant Trombone 3 material. m. 158-159 In CS, the original Trombone 3 Reorganize Insignificant material is played/doubled by the Cello/Bass. m. 166 In CS, the original Trombone 3 Reorganize Insignificant material is played by the Bassoon.
Tuba
Measures Chamber Ensemble Notes Classification / Relevance Brahms Reduction Notes
Mvt. 1 TACET Mvt. 2 m. 54-65 / In CS, the Tuba original material Reorganize Insignificant In BR, the original Tuba material is m. 178-189 (which is almost a complete doubling combined with the rhythm of the of the String Bass an octave higher) is timpani and doubled an octave played by the Bassoon for m. 54-62 / lower to cover the string bass part. 178-186. For m. 63-65 / 187-189, the original tuba material is played by the Cello. m. 223-224 In CS, the Tuba original material is Reorganize Insignificant DIFFERENCE - Brahms chooses to played by the Bassoon. The third eliminate this material. The pitch beat which is played as an A2 was is provided but in a much different originally an A3 in the Tuba part. register. m. 271-290 In CS, the Tuba original material is Reorganize Insignificant Similar. The final note is also played by the Bassoon (the Bassoon omitted. doubled the Tuba in the OS). The final note B2 is omitted, but played by the Bassoon 1 octave higher. m. 291-297 In CS, the original Tuba material is Elimination Minimally Similar reduction in BR eliminated. The original pitch Significant material is present in other instruments but with different rhythms. m. 331-337 In CS, the original Tuba material is Reorganize Insignificant No significant difference played/doubled by the String Bass. Mvt. 3 m. 118-119 In CS, the Bassoon plays the original Reorganize Insignificant No significant difference / 122-123 / Trombone 3/Tuba material. 126-127 m. 143-144 In CS, the Bassoon plays the original Reorganize Insignificant No significant difference Trombone 3/Tuba material.
235 m. 173 - 208 In OS, the String Bass part is divided Reduction / Minimally No significant difference into two parts an octave apart, Reorganize Significant 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 In OS, the Trombone 1/2 doubles the Reduction / Minimally DIFFERENCE - In BR, this material (beat 2) & Trombone 3/Tuba one octave higher. Reorganization Significant has been eliminated. The original 197 (beat 3) In CS, this has been reduced to only Bass material is very similar, and it - 199 the upper octave and played by the is used in BR. Bassoon. Mvt. 4 TACET Mvt. 5 TACET Mvt. 6 m. 68 - 78 In CS, the Tuba original material is Reorganize Insignificant No significant difference 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 Reorganize Insignificant No significant difference played/doubled by the String Bass one octave lower. m. 82-93 In OS, the Tuba double the Bassoon 2 Reduction Minimally DIFFERENCE - Brahms chooses to part at the lower octave (until m. Significant eliminate this material. The pitch 88). In the CS, the Bassoon plays the is provided but in a much different lower Tuba original material and the register. The original Tuba higher octave doubling is omitted. material is not omitted for m. 87. m. 93-96 In OS, the Tuba original material Reduction Insignificant No significant difference doubled the Cello part. In CS, the Cello plays this material. m. 99-108 In OS, the Tuba doubled both the Reduction Insignificant 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 Reorganize Insignificant played by the Bassoon. m. 124-126 In OS, the Tuba doubled the Cello. In Reorganize Insignificant CS, there is only the Cello to play this content. m. 128-139 In CS, the Tuba original material is Reorganize Minimally DIFFERENCE - Brahms chooses to played by the Bassoon. (Very similar Significant eliminate this material. The pitch to m. 82-93) is provided but in a much different register. The original Tuba material is not omitted for m. 133. m. 142-143 In OS, the Tuba original material Reduction Insignificant No significant difference doubled the Cello part. In CS, the Cello plays this material. m. 145-150 In OS, the Tuba doubled both the Reorganize Insignificant Cello and Bassoon 1. In CS, the
236 original Tuba material is most closely presented by Bassoon part. The Cello also plays a very similar part. m. 178-180 In CS, the original Tuba material is Reorganize Insignificant In BR, the original Tuba material is / 184-186 / played/doubled by the Bassoon. presented one octave higher, and 192-193 in the correct octave but with a different rhythm. m. 194-195 In OS, the Flute 1, Bassoon 1, Reduction Minimally In BR, the original pitch material is Trombone 3, and Tuba all play the Significant presented but at a higher octave same pitch material over four with a slightly different rhythm. octaves. In CS, this has been reduced to only the Bassoon at the lowest octave. m. 196-200 In CS, the original Tuba material is Reorganize Insignificant In BR, the original pitch material is played by the Bassoon. presented but at a higher octave with a slightly different rhythm. m. 201-208 In CS, the original Tuba material is Reorganize Insignificant No significant difference played by the Bassoon. m. 231-234 In CS, the original Tuba material is Elimination Minimally Similar reduction in BR eliminated. The original pitch Significant material is present in other instruments but with different rhythms. m. 282-286 In CS, the original Tuba material is Reorganize Insignificant No significant difference (beat 2) played/doubled by the Cello. m. 286 In CS, the original Tuba material is Reorganize Insignificant DIFFERENCE - In BR, the original (beat 3) - played/doubled by the Bassoon. Tuba material is eliminated. All 288 pitch material remains but with a different rhythm. m. 289-290 In CS, the original Tuba material is Reorganize Insignificant No significant difference played/doubled by the Cello. m. 309-312 In CS, the original Tuba material is Reorganize Insignificant (beat 2) played/doubled by the String Bass m. 312 In CS, the original Tuba material is Reorganize Insignificant Similar - m. 314-315 contain the (beat 4)-316 played by the Bassoon. The third same pitches but not always the beat of m. 312 has been eliminated. same rhythm. Mvt. 7 TACET
Timpani
Measures Chamber Ensemble Notes Classification / Relevance Brahms Reduction Notes
Mvt. 1 TACET Mvt. 2 NO CHANGE Mvt. 3 m. 33 In OS, there is one quarter note on the Elimination Insignificant first beat of this measure. In CS, this note has been omitted. Possible mistake? (There is no apparent reason for the omission)
237 Mvt. 4 TACET Mvt. 5 TACET Mvt. 6 NO CHANGE Mvt. 7 TACET
Harp
Measures Chamber Ensemble Notes Classification / Relevance Brahms Reduction Notes
Mvt. 1 mm.48 & 50 In CS, original harp material played by Reduction Minimally Violin I and Clarinet. Slight variation - Significant 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 Reduction Minimally Clarinet. Slight variation - Original Significant 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 Reduction Minimally Clarinet. Slight variation - Original Significant 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 Reduction Minimally Clarinet and Flute. Slight variation - Significant 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 Reduction Minimally played by Clarinet and Flute. In the OS, Significant 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 Reorganize More In BR, original harp material is played by Bass, Cello, Viola, Clarinet, Significant played by Piano I. 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. Mvt. 2 238 m. 3-13 / In the CS, the orginal harp material is Elimination Significant In BR, original harp material is m. 127-137 completely omitted. The violin I, violin integrated into the Piano II part. II, and clarinet play the same chords, but with a different rhythm. m. 17-21 / In the CS, the orginal harp material is Elimination Significant In BR, the original harp material is m. 141-145 completely omitted. Pitch material is also ommitted. Pitch material is present in other voices but with a present in other voices but with a different rhythm. different rhythm. m. 23-33 / In the CS, the orginal harp material is Elimination Significant In BR, original harp material is m. 147-157 completely omitted. The violin I, violin integrated into the Piano II part. II, and clarinet play the same chords, but with a different rhythm. m. 37-41 / In the CS, the orginal harp material is Elimination Significant In BR, the original harp material is m. 161-165 completely omitted. Pitch material is also ommitted. Pitch material is present in other voices but with a present in other voices but with a different rhythm. different rhythm. m. 54-65 / In the CS, the orginal harp material is Elimination Significant In BR, the original harp material is m. 178-189 completely omitted. also ommitted. m. 69-73 / In the CS, the orginal harp material is Elimination Significant In BR, the original harp material is m. 193-197 completely omitted. Pitch material is also ommitted for m. 69-70 / 193- present in other voices but with a 194. The original harp material is different rhythm. 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 Reduction Insignificant In BR, the original harp material is flute with a lower doubling at the presented in only the higher octave. The only unique measure for octave (which is also the flute the harp was m. 106. In the CS, the material). harp material is omitted but the original flute material is present. 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 Reduction Minimally Clarinet and Flute. Slight variation - Significant 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 Ommission Significant In BR, original harp material is material is ommitted. The only pitchs Reduction played by Piano II. 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?? mm. 162-166 In the CS, the original harp material is Reorganize More In BR, original harp material is played by Bass, Cello, Viola, Clarinet, Significant played by Piano II. and Flute. Five instruments are used in this reorder to play the original harp 239 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
Measures Chamber Ensemble Notes Classification / Relevance Brahms Reduction Notes
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 Reorganize Minimally SIMILAR REDUCTION in Brahms. Flute 2 part one octave lower. In CS, / Significant This passage also demonstrates the Violin 1 plays the original Viola 2 Reduction slight alterations to parts when material and the Flute doubling is Reorganized. The downbeat of m. removed. 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 Reorganize Insignificant by the Violin 1. m. 37-42 In CS, the original Viola 1 part is played Reorganize Minimally REDUCTION IN ONLY BRAHMS. by the Violin 1. Significant Starting in m. 39, Brahms eliminates the Violas, which double the Cello part. m. 48 & 50 In CS, the original Harp material is Reorganize Insignificant played by Violin 1. m. 53-62 In CS, the original Viola 1 part is played Reorganize Insignificant by the Violin 1. m. 71- 76 In CS, the original Viola 1 part is played Reorganize Insignificant by the Violin 1. m. 80-95 In CS, the original Viola 1 part is played Reorganize Insignificant by the Violin 1. m. 117-119 In CS, the original Viola 1 part is played Reorganize Insignificant by the Violin 1. m. 124-126 In CS, the original Viola 2 part is played Reorganize Insignificant by the Violin 1. m. 127-132 In CS, the original Viola 1 part is played Reorganize Insignificant Treated differently than m. 37-42 by the Violin 1. because the Cello does not double the Violas. This passage covers more of the original material, but will be more difficult to play. m. 134-140 In CS, the original Viola 2 part is played Reorganize Insignificant by the Violin 1. m. 142-144 In CS, the original Cello 1 material is Reorganize Minimally played by the Violin 1. Minimally Significant significant because the Cello material has not been played by Violin up to this point. m. 145-153 In CS, the original Viola 2 part is played Reorganize Insignificant (beat 2) by the Violin 1.
240 m. 153 (beat In CS, the original Viola 1 part is played Reorganize Minimally ELIMINATION - Brahms chooses to 3) -158 by the Violin 1. Significant 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 Reorganize Minimally played by the Violin 1 and Violin 2 but Significant 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, Reorganize Significant Reorganize / Partial Elimination - In these 3 parts are integrated into the OS, the woodwinds double much of Violin I, Violin II, and Viola parts. The the original pitch material of the original Viola parts do not stay violas but not with enough consistently with the same instrument consistency to state that one in the CS. Each change to a different instrument is paired with another. part at the third beat of m. 24, the Brahms uses the Piano 1, RH to play third beat of 26, and the third beat of this material. However, the range 28. - WHY? 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 In CS, the Violin 1 plays the original Reorganize Insignificant (beat 2) Viola 2 material. This is also the same as the Flute 1 material one octave lower. m. 24 (beat In CS, the Violin 1 plays the original Reorganize Insignificant 3) - 26 (beat Viola 1 material. 2) m. 26 (beat In CS, the Violin 1 plays the original Reorganize Insignificant 3) - 28 (beat Viola 2 material. 2) m. 28 (beat In CS, the Violin 1 plays the original Reorganize Insignificant 3) - 33 Viola 1 material. m. 35-41 In CS, the Violin 1 plays the original Reorganize Insignificant Elimination - In BR, the original Flute 1 material. Flute 1 material is eliminated. The original pitch material is occasionally present in other instruments but not at the same octave. m. 54 (beat In CS, the original Violin 1 material is Reorganize Insignificant 3) -62 played by the Flute. m. 54 - 62 / In this passage, Linckelmann combines Significant Very Diffference - In BR, the original m. 178-186 a variety of pitch and rhythmic Reorganize Significant pitch material for the strings is material to create a new layer. The presented very close to the original Violin 1 provides portions of the Viola score. The harp part is eliminated. 3, Harp, and Horn original material.
241 m. 146-157 In OS, there are 3 Viola parts. In CS, Reorganize Significant See prior note 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? m. 146-148 In CS, the Violin 1 plays the original Reorganize Insignificant (beat 2) Viola 2 material. This is also the same as the Flute 1 material one octave lower. m. 148 (beat In CS, the Violin 1 plays the original Reorganize Insignificant 3) - 150 (beat Viola 1 material. 2) m. 150 (beat In CS, the Violin 1 plays the original Reorganize Insignificant 3) - 152 (beat Viola 2 material. 2) m. 152 (beat In CS, the Violin 1 plays the original Reorganize Insignificant 3) - 157 Viola 1 material. m. 159-165 In CS, the Violin 1 plays the original Reorganize Insignificant Flute 1 material. Mvt. 3 m. 3-16 In OS, there are 5 string parts - Viola I, Reorganize Minimally No significant difference Viola II, Cello 1, Cello 2, and Bass. In / Significant CS, the top four parts are integrated Reduction into the Violin I, Viola, and Cello parts. Since there are only 3 parts at any one time, the doubled pitches are removed. m. 3-14 In CS, the Violin plays the original Viola Reorganize Insignificant 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 Reorganize Insignificant 1 material. m. 16 In CS, the Violin plays the original Cello Reorganize Insignificant 2 material up one octave. m. 158-163 In CS, the Violin plays the original Horn Reorganize Insignificant 1 material. Mvt. 4 NO CHANGES Mvt. 5 NO CHANGES Mvt. 6 m. 335 In OS, the original Violin 1 plays an A4. Reorganize Insignificant In CS, the Violin 1 plays a C5. This is the original Oboe 2 pitch. Mvt. 7
242 m. 74-76 In CS, the original Viola part is played Reorganize Insignificant by the Violin 1. The Viola plays the original Cello 1 part. mm. 160-161 In the CS, a majority of the original Reorganize Minimally harp material is omitted. The only Significant pitches to remain are added to the Violin 1 part. In the OS, the harp played chords that doubled the strings.
Violin 2
Measures Chamber Ensemble Notes Classification / Relevance Brahms Reduction Notes
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 In CS, the original Viola 1 part is played Reorganize Minimally MINIMALLY SIGNIFICANT 1) by the Violin 2. Significant BECAUSE OF TIMBRE CHANGE - NOT RELEVANT TO COMPARISON m. 9-13 In CS, the original Viola 2 part is played Reorganize Minimally MINIMALLY SIGNIFICANT by the Violin 2. Significant BECAUSE OF TIMBRE CHANGE - NOT RELEVANT TO COMPARISON m. 34-42 In CS, the original Viola 2 part is played Reorganize Insignificant by the Violin 2. m. 49-50 In CS, the original Viola 1 part is played Reorganize Insignificant COMPARE TO m. 30-31. by the Violin 2. The first beat of m. 50 Brahms must also change the has been Eliminated, but the pitch is first beat of the final measure. present in the Viola part. m. 51-53 In CS, the original Cello 1 & 2 material is Reorganize Insignificant (beat 2) played by the Violin 2. m. 53 (beat In CS, the original Viola 2 part is played Reorganize Insignificant 3)-62 by the Violin 2. m. 73-77 In CS, the original Viola 2 part is played Reorganize Insignificant by the Violin 2. m. 80 & 82 In CS, the original Viola 2 part is played Reorganize Insignificant by the Violin 2. m. 81 & 83 In CS, the original Cello 1 material is Reorganize Insignificant played by the Violin 2. m. 84-87 In CS, the original Viola 2 part is played Reorganize Insignificant (beat 2) by the Violin 2. m. 87-88 In CS, the original Cello 1 material is Reorganize Insignificant (beat 1) played by the Violin 2. m. 88-95 In CS, the original Viola 2 part is played Reorganize Insignificant by the Violin 2. m. 98-100 In CS, the original Cello 1 material is Reorganize Insignificant Another comparison for the (beat 1) played by the Violin 2. necessity to make minor changes in voicing (see m. 49- 50) m. 115-117 In CS, the original Viola 2 part is played Reorganize Insignificant Example of reduction in (beat 2) by the Violin 2. Brahms. In OS, the Viola 2, Oboe 1, and Flute 1 all play the same material in 3 octaves. In
243 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 Reorganize Insignificant played by the Violin 2. m. 127-132 In CS, the original Viola 2 part is played Reorganize Insignificant by the Violin 2. m. 134-135 In CS, the original Cello 1 & 2 material is Reorganize Insignificant played by the Violin 2. m. 137-140 In CS, the original Cello 1 material is Reorganize Insignificant In the BR, the necessity to played by the Violin 2. 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 In CS, the original Viola 2 part is played Reorganize Insignificant (beat 1) by the Violin 2. m. 145-146 In CS, the original Cello 1 material is Reorganize Insignificant played by the Violin 2. m. 149-153 In CS, the original Cello 1 material is Reorganize Insignificant Reorganize - Brahms chooses played by the Violin 2. 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 In CS, the original Viola 2 part is played Reorganize Insignificant 4) - 154 by the Violin 2. m. 156-158 In CS, the original Cello 2 material is Reorganize Insignificant played by the Violin 1 and Violin 2 but at the higher octave. Mvt. 2 m. 2-6 (beat In OS, the Violin 2 part doubles the Flute Reduction Minimally In BR, both hands of Piano 1 2) / 126-132 part and the Viola 1 part one octave Significant play the original string higher. In CS, the Violin 2 plays its material. The octave doubling original material and the doublings are does not have to be reduced. eliminated. m. 19-21 / In CS, the original Viola 1 material is Reorganize Insignificant Insignificant 143-145 played by the Violin 2. m. 19-21 / In CS, the original Violin 2 material is Reorganize Insignificant Insignificant 143-145 played / doubled by the Oboe. m. 22-33 / In OS, there are 3 Viola parts. In CS, Reorganize Significant See note in Violin 1 146-157 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? m. 22-24 / In CS, the Violin 2 plays the original Viola Reorganize Insignificant Insignificant 146-148 3 material. m. 25-26 In CS, the Violin 2 plays the original Viola Reorganize Insignificant Insignificant (beat 2) / 2 material. 149-150
244 m. 26 (beat In CS, the Violin 2 plays the original Viola Reorganize Insignificant Insignificant 3) - m. 28 3 material. (beat 2) / 150-152 m. 28 (beat In CS, the Violin 2 plays the original Viola Reorganize Insignificant Insignificant 3) - 29 (beat 2 material. 1) / 152-153 m. 29 & 30 In CS, the Violin 2 doubles the original Reorganize Insignificant Insignificant (beat 2) / Viola 1 material. 153-154 m. 29 (beat In CS, the Violin 2 plays the original Viola Reorganize Insignificant Insignificant 3) - 30 (beat 2 material. 1) / 153-154 m. 30 (beat In CS, the Violin 2 plays the original Viola Reorganize Insignificant Insignificant 3) - 33 / 154- 2 material. 157 m. 35-41 / In CS, the Violin 2 plays the original Flute Reorganize Insignificant Elimination - In BR, the original 159-165 2 material. Flute 2 material is eliminated. The original pitch material is occasionally present in other instruments but not at the same octave. m. 54 - 62 / In this passage, Linckelmann combines a Significant Significant Diffference - In BR, the original m. 178-186 variety of pitch and rhythmic material to Reorganize pitch material for the strings is create a new layer. The Violin 2 presented very close to the provides portions of the Violin 2 (1), original score. The harp part is Violin 2 (2), Viola 2 original material. eliminated. m. 65 (beat In CS, the Violin 2 plays the original Flute Reorganize Insignificant 3) - 66 2 material. m. 71-73 In CS, the Horn plays the original Violin 2 Reorganize Insignificant material. m. 317 In CS, the original Violin 2 material is Reorganize Insignificant (beats 3-4) played by the Violin 1 but in a different rhythm. Mvt. 3 m. 158-163 In CS, the Violin 2 plays the original Horn Reorganize Insignificant 2 material. Mvt. 4 NO CHANGES Mvt. 5 NO CHANGES Mvt. 6 m. 34 In OS, the Violin 1 and Violin 2 play an Reduction Insignificant F#4 for one beat. In CS, this has been reduced to only the Violin 1. m. 34-39 In CS, the Violin 2 plays the original Viola Reorganize Insignificant (beat 2) 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 Reorganize Insignificant 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. 245 m. 62-66 In CS, the original Violin 2 material for Elimination Minimally No significant change. m. 62 is Eliminated (one beat), but the / Significant pitch material is still present in the Viola Reorganize 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. m. 305 POSSIBLE ERROR - In OS, the Violin 2 Change Minimally No significant change. plays an A3. This pitch is changed to a Significant 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 Change Insignificant 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, Change Insignificant 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 In CS, the Violin 2 plays the original Viola Reorganize Insignificant 3) - 147 1 material.
Violin 2 (2nd Part)
Measures Chamber Ensemble Notes Classification / Relevance Brahms Reduction Notes
Mvt. 1 TACET Mvt. 2 m. 2-8 / 126- In OS the Violin 2(2) doubles the Viola 3 Reduction Minimally No significant difference. 132 one octave higher. In CS, this has been Significant reduced to the lower octave and is played by the Viola. m. 42-54 In CS, a majority of the Violin 2 (2) Reorganize Minimally A majority of the original material (beat 2) / material is played/doubled by the Viola. Significant is presented in BR. Similar to CS, a 166 - 178 Small portions of the original material few notes are eliminated or (beat 2) are not provided by the Viola, but all doubled an octave higher or lower. pitch material is provided by other strings. m. 54 - 62 / In this passage, Linckelmann combines Significant Significant Diffference - In BR, the original m. 178-186 a variety of pitch and rhythmic material Reorganize pitch material for the strings is to create a new layer. The Violin 2 presented very close to the original provides portions of the Violin 2 (1), score. The harp part is eliminated. Violin 2 (2), Viola 2 original material. m. 72 (beat In CS, the Horn plays the original Reorganize Insignificant 2) - 73 / 196 Bassoon 1 & Violin 2 (2) material. (beat 2) - 197
246 m. 317 In CS, the original Violin 2 (2) material is Reorganize Insignificant (beats 1-2) played/doubled by the Horn. m. 318 In CS, the original Violin 2 (2) material is Reorganize Insignificant (beats 1-2) played/doubled by the Horn. m. 318 (beat In CS, the original Violin 2 (2) material is Reorganize Insignificant 3) - 319 played by the Clarinet. m. 320-322 In CS, the original Violin 2 (2) material is Reorganize Insignificant 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 Reorganize Insignificant played by the Viola. Mvt. 7 TACET
Viola 1
Measures Chamber Ensemble Notes Classification / Relevance Brahms Reduction Notes
Mvt. 1 m. 7-9 (beat In CS, the original Viola 1 part is played Reorganize Insignificant 1) by the Violin 2. m. 37-42 In CS, the original Viola 1 part is played Reorganize Minimally EXAMPLE of Reduction. Starting in by the Violin 1. Significant m. 39, Brahms Eliminates the Violas, which double the Cello part. m. 37-42 In CS, the original Cello 1 material is Reorganize Insignificant played by the Viola. m. 47-50 In CS, the original Cello 2 material is Reorganize Insignificant played by the Viola. m. 49-50 In CS, the original Viola 1 part is played Reorganize Insignificant COMPARE TO m. 30-31. Brahms by the Violin 2. The first beat of m. 50 must also change the first beat of has been Eliminated, but the pitch is the final measure. present in the Viola part. m. 53-62 In CS, the original Viola 1 part is played Reorganize Insignificant by the Violin 1. m. 53 (beat In CS, the original Cello 1 & 2 material is Reorganize Insignificant 3) - 63 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 Reorganize Insignificant by the Violin 1. m. 73-75 In CS, the original Cello 2 material is Reorganize Insignificant played by the Viola. m. 76-77 In CS, the original Cello 1 material is Reorganize Insignificant played by the Viola. m. 80 & 82 In CS, the original Cello 2 material is Reorganize Insignificant played by the Viola.
247 m. 84-88 In CS, the original Cello 2 material is Reorganize Insignificant played by the Viola. m. 89 - 96 In CS, the original Cello 1 & 2 material is Reorganize Insignificant 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. m. 90-94 In CS, the original Cello 2 material is Reorganize Insignificant played by the Viola. m. 80-95 In CS, the original Viola 1 part is played Reorganize Insignificant by the Violin 1. m. 117-119 In CS, the original Viola 1 part is played Reorganize Insignificant by the Violin 1. m. 127-132 In CS, the original Viola 1 part is played Reorganize Insignificant by the Violin 1. m. 127-132 In CS, the original Viola 1 part is played Reorganize Insignificant Treated differently than m. 37-42 by the Violin 1. 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 In CS, the original Viola 1 part is played Reorganize Minimally Reduction - Brahms chooses to 3) -158 by the Violin 1. Significant reduce parts of the original Viola 1 to play the original harp material (m. 151). m. 153 (beat In CS, the original Cello 1 material is Reorganize Insignificant 4) -154 played by the Viola. (beat 1) Mvt. 2 m. 2-8 / 126- In OS, the Violin 1 doubles the Viola 1 Reduction Minimally No significant difference. 132 one octave higher. In CS, this has been Significant reduced to only the Violin 1 at the higher octave. m. 2-8 / 126- In CS, the Viola plays the original Viola 3 Reorganize Insignificant 132 material. m. 9-10 / In CS, the original Viola 1 material is Reorganize Minimally 133-134 played / doubled by the Clarinet Significant starting on beat 2 of m. 9. m. 19-21 / In CS, the original Viola 1 material is Reorganize Insignificant 143-145 played by the Violin 2. m. 22-33 / In OS, there are 3 Viola parts. In CS, Reorganize Significant Reorganize / Partial Elimination - In 146-157 these 3 parts are integrated into the OS, the woodwinds double much Violin I, Violin II, and Viola parts. The of the original pitch material of the original Viola parts do not stay violas but not with enough consistently with the same instrument consistency to state that one in the CS. Each change to a different instrument is paired with another. part at the third beat of m. 24, the third Brahms uses the Piano 1, RH to beat of 26, and the third beat of 28. - play this material. However, the WHY? 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.
248 m. 42-50 In OS, the Viola 1 doubles the Violin 1 Reduction Minimally No significant difference. (beat 2) / one octave lower. In CS, this has been Significant 166-174 reduced to the Violin 1 at the higher octave. m. 51-54 / In CS, the original Viola 1 material is Reorganize Minimally No significant difference. 175-178 integrated into the new Viola layer. Significant Portion that are not included are doubled/played by other string instrument but not always at the same register. m. 42-54 In this passage, Linckelmann combines Reorganize Significant No significant difference. (beat 2) / a variety of pitch and rhythmic material 166-178 to create a new layer. The Viola provides portions of the Viola 1,2,3 and Violin 2 (2) original material. m. 54 - 62 / In this passage, Linckelmann combines Reorganize Significant Diffference - In BR, the original m. 178-186 a variety of pitch and rhythmic material pitch material for the strings is to create a new layer. The Viola presented very close to the original provides portions of the Viola 1, 2, 3 score. The harp part is eliminated. and Violin 2, Violin 2 (2) original material. Mvt. 3 m. 3-16 In OS, there are 5 lower string parts - Reorganize Minimally No significant change. Viola I, Viola II, Cello 1, Cello 2, and / Significant Bass. In CS, the top four parts are Reduction 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. 85, 87 - In CS, the original Viola 1 material is Elimination Minimally In BR, Brahms reduces multiple 88 (beat 2), eliminated. All pitch material is played Significant string parts. Portions of the Viola 1 89 by other instruments but in a different material remain. rhythm. m. 124-125 In CS, the Cello plays the original Viola 1 Reorganize Insignificant part. m. 127-128 In OS, the Viola 1 doubles the Violin 1 Reduction Minimally No significant change. one octave lower. In CS, this has been Significant reduced to the Violin 1 at the higher octave. Mvt. 4 m. 49-52 In OS, the original Viola 1 part is a Reduction Insignificant Similar Reduction - Brahms also doubling of the Violin 1 part one octave chooses to reduce this doubling. lower. In CS, the original Viola 1 material is eliminated, reducing the part to only the Violin 1. m. 53-55 In CS, the original Viola 1 part is Elimination Minimally SIMILAR - Brahms eliminated. The original pitch material Significant eliminates/changes both of the is preserved in the Violin 1 part (one original Viola parts. The pitch octave higher), but with a different material is still provided by the rhythm. 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 In CS, the original Viola 1 material is Reorganize Insignificant 1 &2) played / doubled by the Oboe.
249 m. 101 (beat In CS, the original Viola 1 material is Change Insignificant 3) played one octave lower on the second half of the 3rd beat. m. 124 (beat POSSIBLE ERROR - In CS, the original Change Minimally 2) Viola 1 material (B3) is replaced by a Significant G3. Both notes are in the chord. The original pitch is not played by any other part. Mvt. 5 m.12 (beat In OS, the original Viola 1 part is a Reduction Insignificant Similar Reduction - Brahms also 4) - 13 doubling of the Violin 1 part one octave chooses to reduce this doubling in lower and a doubling of the Flute two the same manner. octaves lower. In CS, the original Viola 1 material is eliminated, reducing the part only the two upper octaves. m. 35-38 In CS, the original Viola 1 material is Reorganize Insignificant played by the Clarinet. m. 58 (beat In OS, the original Viola 1 part is a Reduction Insignificant No significant change 4) - 60 (beat doubling of the Violin 1 part one octave 1) lower. In CS, the original Viola 1 material is eliminated, reducing the part to only the Violin 1. Mvt. 6 m. 30-31 In CS, the original Violin 2 (2) material is Reorganize Insignificant played by the Viola. m. 34-39 In CS, the Violin 2 plays the original Reorganize Insignificant (beat 2) 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 Reorganize Insignificant 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 Elimination Minimally No significant change. m. 62 is eliminated, but the pitch / Significant material is still present in the Viola at Reorganize 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. Mvt. 7 m. 7-8 In CS, the Viola plays the original Viola 2 Reorganize Insignificant material in the second beat of m. 7 and / the first beat of m. 8. The original Viola Reduction 1 material is retained one octave higher in the Violin 1 part. m. 74-76 In CS, the original Viola part is played by Reorganize Insignificant the Violin 1. The Viola plays the original Cello 1 part. m. 84-87 In CS, the Viola plays the original Horn 2 Reorganize Insignificant (beat 1) material.
250 m. 146 (beat In CS, the Violin 2 plays the original Reorganize Insignificant 3) - 147 Viola 1 material. m. 162-163 In CS, the Viola plays the original Harp Reorganize Minimally material. In m. 162, the pitches are Significant doublings of pitch material played by the Cello.
Viola 2
Measures Chamber Ensemble Notes Classification / Relevance Brahms Reduction Notes
Mvt. 1 m. 9-13 In CS, the original Viola 2 part is played Reorganize Minimally MINIMALLY SIGNIFICANT BECAUSE by the Violin 2. Significant OF TIMBRE CHANGE - NOT RELEVANT TO COMPARISON m. 13-14 In CS, the original Viola 2 part is played Reorganize Insignificant (beat 1) by the Cello. m. 17 & 19 In CS, the original Viola 2 part is played Reorganize Minimally / doubled by the Horn, one octave / Significant lower. Reduction m. 18 In OS, the original Viola 2 part was Elimination Significant In BR, the original pitch material is doubled by the Horn 1. Both parts not eliminated. have been eliminated in CS. m. 27-29 In CS, the original Viola 2 part is played Reorganize Insignificant (beat 1) by the Horn. m. 30-31 In OS, the Viola 2 part doubles the Flute Reorganize Minimally SIMILAR REDUCTION in Brahms. 2 part one octave lower. In CS, the / Significant This passage also demonstrates Violin 1 plays the original Viola 2 Reduction slight alterations to parts when material and the Flute doubling is reorganized. The downbeat of m. removed. 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 Reorganize Insignificant by the Violin 1. m. 34-42 In CS, the original Viola 2 part is played Reorganize Insignificant by the Violin 2. m. 53 (beat In CS, the original Viola 2 part is played Reorganize Insignificant 3)-62 by the Violin 2. m. 73-77 In CS, the original Viola 2 part is played Reorganize Insignificant by the Violin 2. m. 77 In CS, the original Viola 2 material is Reorganize Insignificant played by the Cello. m. 80 & 82 In CS, the original Viola 2 part is played Reorganize Insignificant by the Violin 2. m. 84-87 In CS, the original Viola 2 part is played Reorganize Insignificant (beat 2) by the Violin 2. m. 87 (beats In CS, the original Viola 2 part is played Reorganize Insignificant 3 & 4) by the Cello. m. 88-95 In CS, the original Viola 2 part is played Reorganize Insignificant by the Violin 2. m. 115-117 In CS, the original Viola 2 part is played Reorganize Insignificant Example of reduction in Brahms. (beat 2) by the Violin 2. In OS, the Viola 2, Oboe 1, and Flute 1 all play the same material in 3 octaves. In the BR, this has been
251 reduced to only the middle octave played by both right hands. m. 119 (beat In CS, the Viola 2 part is doubled / Reorganize Insignificant 1) played by the Violin 1. / Reduction m. 124-126 In CS, the original Viola 2 part is played Reorganize Insignificant by the Violin 1. m. 127-132 In CS, the original Viola 2 part is played Reorganize Insignificant by the Violin 2. m. 134-140 In CS, the original Viola 2 part is played Reorganize Insignificant by the Violin 1. m. 141-144 In CS, the original Viola 2 part is played Reorganize Insignificant (beat 1) by the Violin 2. m. 145-153 In CS, the original Viola 2 part is played Reorganize Insignificant (beat 2) by the Violin 1. m. 153 (beat In CS, the original Viola 2 part is played Reorganize Insignificant 4) - 154 by the Violin 2. Mvt. 2 m. 2-8 (beat In OS, the Violin 2 (1) doubles the Viola Reduction Minimally No significant change 2) / 126-132 2 one octave higher. In CS, this has / Significant (beat 2) been reduced to only the Violin 2 at the Elimination 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. m. 22-33 / In OS, there are 3 Viola parts. In CS, Reorganize Significant Reorganize / Partial Elimination - In 146-157 these 3 parts are integrated into the OS, the woodwinds double much Violin I, Violin II, and Viola parts. The of the original pitch material of the original Viola parts do not stay violas but not with enough consistently with the same instrument consistency to state that one in the CS. Each change to a different instrument is paired with another. part at the third beat of m. 24, the third Brahms uses the Piano 1, RH to beat of 26, and the third beat of 28. - play this material. However, the WHY? 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 In OS, the Viola 2 doubles the Violin 2 Reduction Minimally No significant change (beat 2) (1) for a majority of the time one Significant 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 In CS, the original Viola 2 material is Reorganize Insignificant No significant change (beat 2) 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. m. 54 - 62 / In this passage, Linckelmann combines Reorganize Significant Diffference - In BR, the original m. 178-186 a variety of pitch and rhythmic material pitch material for the strings is to create a new layer. The Viola presented very close to the original provides portions of the Viola 1, 2, 3 score. The harp part is Eliminated.
252 and Violin 2, Violin 2 (2) original material. Mvt. 3 m. 3-16 In OS, there are 5 string parts - Viola I, Reorganize Minimally No significant change Viola II, Cello 1, Cello 2, and Bass. In CS, / Significant the top four parts are integrated into Reduction the Violin I, Viola, and Cello parts. Since there are only 3 parts at any one time, the doubled pitches are removed. m. 86, 88 In CS, the original Viola 2 material is Elimination Minimally In BR, Brahms reduces multiple (beats 3-4), eliminated. All pitch material is played Significant string parts. Portions of the Viola 1 90 by other instruments but in a different material remain. rhythm. Mvt. 4 m. 63 (beat In CS, the original Viola 2 material is Reduction Insignificant 3) doubled by both the Clarinet and Violin 2. Mvt. 5 m. 72-74 In CS, the Cello 1 plays the original Viola Reorganize Minimally No significant change (beat 2) 2 part. This part doubles the Bass voice / Significant part. The original Cello 1 material Elimination doubled the Bass at the higher octave. These pitches have been eliminated. Mvt. 6 m. 282-286 In CS, the original Viola 2 material is Elimination Significant No significant change 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. Mvt. 7 m. 6 / 107 In OS, the original Viola 2 material Reduction Insignificant doubled the Violin 2 part one octave / lower. In CS, the Viola 2 material has Elimination been eliminated, reducing the part to only the Violin 2. m. 7 - 9 In CS, the original Viola 2 pitch material Elimination Minimally No significant change (beat 1)/ m. is provided by a variety of instruments - / Significant 108-110 Bassoon, Viola, Violin 2. This content is Reorganize (beat 1) provided in a variety of octaves other than the original. The only missing pitch content is the third beat of m. 8 / 109.
253 Viola 3
Measures Chamber Ensemble Notes Classification / Relevance Brahms Reduction Notes
Mvt. 1 TACET Mvt. 2 m. 2-8 / 126- In OS the Violin 2(2) doubles the Viola Reduction Minimally No significant difference. 132 3 one octave higher. In CS, this has Significant been reduced to the lower octave and is played by the Viola. m. 22-33 / In OS, there are 3 Viola parts. In CS, Reorganize Significant Reorganize / Partial Elimination - 146-157 these 3 parts are integrated into the In OS, the woodwinds double Violin I, Violin II, and Viola parts. The much of the original pitch material original Viola parts do not stay of the violas but not with enough consistently with the same instrument consistency to state that one in the CS. Each change to a different instrument is paired with another. part at the third beat of m. 24, the Brahms uses the Piano 1, RH to third beat of 26, and the third beat of play this material. However, the 28. - WHY? 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 In CS, the Viola plays the original Viola Reorganize Insignificant 2) / 166- 168 3 material. (beat 2) m. 44 (beat 3 ) In CS, the original Viola 3 material is Elimination Insignificant / 168 omitted for this one beat. However, / the pitch is doubled by the Violin 1 Reduction original material two octaves higher. m. 45-48 / In CS, the Viola 3 material is played by Reorganize Insignificant 169-172 the Viola for the 1st beat and by the Cello for the 2nd and 3rd beats. m. 54 - 62 / In this passage, Linckelmann combines Reorganize Significant Diffference - In BR, the original m. 178-186 a variety of pitch and rhythmic pitch material for the strings is material to create a new layer. The presented very close to the Viola provides portions of the Viola 1, original score. The harp part is 2, 3 and Violin 2, Violin 2 (2) original eliminated. material. m. 54 (beat 3) In CS, the Viola 3 original material is Reorganize Minimally No significant difference. - m. 55 (beat played / doubled by the Violin 1 at the Significant 1), m. 56 (beat higher octave. (Rhythm is different, so 1) / a tenuto is indicated). Corresponding 178, 179, 180 m. 55, 56, 57 In CS, the Viola 3 original material is Reorganize Insignificant No significant difference. (beats 2 & 3) played by the Cello. & m. 58 (beat 1) / 179, 180, 181, 182 m. 58 (beat 2) In CS, the Viola 3 original material is Reorganize Insignificant / 182 played by the Violin 2. 254 Mvt. 3 TACET Mvt. 4 TACET Mvt. 5 TACET Mvt. 6 TACET Mvt. 7 TACET
Cello 1
Measures Chamber Ensemble Notes Classification / Relevance Brahms Reduction Notes
Mvt. 1 m. 13 (beat In CS, the original Cello 1 material is Elimination Significant SIMILAR - Brahms also elects to 2) -14 (beat eliminated. The original pitch material eliminate the original Cello 1 1) is presented in other instruments but material for these beats. The with different rhythms. original pitch material, however, is not present. m. 17-19 In OS, the Cello 1 and the Viola 1 Reduction Insignificant 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 Reorganize Insignificant played by the Bassoon 1. m. 30-33 In CS, the original Cello 1 material is Reorganize Insignificant played by the Clarinet. m. 37-42 In CS, the original Cello 1 material is Reorganize Insignificant played by the Viola. m. 51-53 In CS, the original Cello 1 material is Reorganize Insignificant (beat 2) played by the Violin 2. m. 53 (beat In CS, the original Cello 1 & 2 material Reorganize Insignificant 3) - 63 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 In CS, the original Cello 1 material is Reorganize Insignificant 3) -75 played by the Bassoon 1. Beats 3 & 4 of m. 75 are doubled/played by the Horn. m. 76-77 In CS, the original Cello 1 material is Reorganize Insignificant played by the Viola. m. 77 In CS, the original Viola 2 material is Reorganize Insignificant played by the Cello. m. 81 & 83 In CS, the original Cello 1 material is Reorganize Insignificant played by the Violin 2. m. 87 (beat In CS, the original Cello 1 material is Reorganize Insignificant 3) - 88 (beat played by the Violin 2. 1) m. 87 (beats In CS, the original Viola 2 part is Reorganize Insignificant 3 & 4) played by the Cello. m. 89 - 96 In CS, the original Cello 1 & 2 material Reorganize Insignificant is played by the Viola. In m. 90, the
255 first beat of the original Cello 1 material is doubled/played by the Violin 1 at the octave. m. 98-100 In CS, the original Cello 1 material is Reorganize Insignificant (beat 1) played by the Violin 2. m. 102-104 In CS, the original Cello 1 material is Reorganize Insignificant (beat 1) played by the Horn. m. 118 In CS, the original Cello 1 material is Reorganize Insignificant played/doubled by the Horn for the first two beats of m. 118. m. 124-126 In CS, the original Cello 1 material is Reorganize Insignificant played by the Violin 2. m. 127-133 In CS, the original Cello 1 material is Reorganize Insignificant played by the Viola. m. 134-135 In CS, the original Cello 1 & 2 material Reorganize Insignificant is played by the Violin 2. m. 137-140 In CS, the original Cello 1 material is Reorganize Insignificant ELIMINATION - In the BR, the played by the Violin 2. 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. 142-144 In CS, the original Cello 1 material is Reorganize Insignificant played by the Violin 1. m. 145-146 In CS, the original Cello 1 material is Reorganize Insignificant played by the Violin 2. m. 149-153 In CS, the original Cello 1 material is Reorganize Minimally Reorganize - Brahms chooses to played by the Violin 2. Significant 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 In CS, the original Cello 1 material is Reorganize Insignificant 4) -154 played by the Viola. (beat 1) m. 156-158 In CS, the original Cello 1 material is Reorganize Insignificant played by the Violin 1 and Violin 2 but at the higher octave. Mvt. 2 m. 41 (beat In OS, the Bass doubles the Cello at Elimination Minimally No significant change 3) - m. 42 / the octave. In CS, the original Bass Significant m. 165 (beat material is omitted and the Bass plays 3) - m. 166 the original Cello part. m. 45-58 / In OS, the original Cello part doubles Reduction Insignificant m. 169 - 182 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 / In CS, the Cello part plays a unique Reduction Significant ELIMINATION - Brahms chooses to m. 184-186 melodic pattern for these two eliminate the original harp measures that does not exist exactly material. The cello part is very in any other part from the OS. A few similar, but the timpani rhythm has of the original pitches are retained been added (same pitch material). with a new rhythm. The fourth beat
256 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 - Reorganize Minimally No significant change Viola I, Viola II, Cello 1, Cello 2, and / Reduction Significant 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 In CS, the original Cello 1 material is Reorganize Insignificant 3&4) played / doubled by the Horn. m. 6 In CS, the original Cello 1 material is Reorganize Insignificant played by the Viola. m. 8 In CS, the original Cello 1 material is Reorganize Insignificant played by the Bassoon. m. 9-11 In CS, the original Cello 1 material is Reorganize Insignificant (beat 2) played by the Viola. m. 13 (beat In CS, the original Cello 1 material is Reorganize Insignificant 3) - 14 (beat played by the Bassoon. 2) m. 14 (beat In CS, the original Cello 1 material is Reorganize Minimally 3) - 15 played by the Violin one octave Significant higher. m. 16 In CS, the original Cello 1 material is Reorganize Insignificant played by the Viola. m. 65 In OS, the original Cello 1 material Reorganize Minimally SIMILAR - Brahms likewise plays an A2 and a Bb2. In the CS, the Significant eliminates the A from the original Cello plays only the Bb2. The A2 is still cello pattern. The A2 is still provided by the Bass but at the lower provided in a sustained pitch that is octave (A1). 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 Reorganize Minimally No significant change Horn 2 part for one measure. In OS, Significant 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 In CS, the Cello 1 plays the original Reorganize Insignificant (beat 1) Viola 1 part. m. 163-169 In OS, the original Cello 1 doubles the Reorganize Significant Brahms is able to maintain the Bass at the higher octave. In CS, the octave doubling and also provide Cello plays the original Trombone 2 the Trombone 2 material. material. This content doubles/supports the Bass Voice. m. 170 In CS, the Cello 1 plays the original Reorganize Insignificant (beats 3&4) Bassoon 1 material. m. 171 In CS, the Cello 1 plays the pitch of A3. Reorganize Insignificant 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.
257 Mvt. 4 NO CHANGES Mvt. 5 m. 52-53 In CS, the Cello plays the original Reorganize Insignificant (beat 1) Bassoon 2 material. m. 66 (beat In CS, the Cello 1 plays the original Reorganize Insignificant 4) - 67 Bassoon 2 part. These are the same pitches one octave higher than the original Cello part. m. 72-74 In CS, the Cello 1 plays the original Reorganize Minimally No significant change (beat 2) Viola 2 part. This part doubles the Bass / Significant voice part. The original Cello 1 Elimination material doubled the Bass at the higher octave. This doubling has been eliminated. Mvt. 6 m. 32 In CS, the original Cello 1 material is Reorganize Insignificant played up one octave m. 61 In CS, the Cello plays the original Cello Reduction Insignificant 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. In CS, the original Cello 1 material is Reorganize Insignificant 131 played down the octave for 1/2 of the measure m. 116-117 In OS, the original Cello 1 material for Reorganize Minimally No significant change this measure is doubled by Bass (one Significant 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 Reduction Minimally DIFFERENCE - In OS, all of the this measure is doubled by Bass. In Significant strings play a quarter note on the CS, this is reduced to only the Bass. downbeat of m. 120. In BR, this has been eliminated. Both piano parts play the woodwind parts. m. 120-121 In OS, several instruments have the Reorganize Minimally No significant change pitch of C (Flute 1, Oboe 2, and Horn 1 / Reduction Significant &2) over multiple octaves. In CS, this pitch material is played by the Cello. m. 270 In CS, the Cello 1 plays the original Reorganize Insignificant 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 Reorganize Insignificant Cello 1. The original Cello 1 part is played by the Viola. m. 118 In CS, the Cello plays the 3rd and 4th Reorganize Insignificant 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 Reorganizes Minimally No significant change material. Significant
258 Cello 2
Measures Chamber Ensemble Notes Classification / Relevance Brahms Reduction Notes
Mvt. 1 m.2-15 In CS, the original Cello 2 material is Reorganize Insignificant played by the Bassoon 1. m. 28-36 In CS, the original Cello 2 material is Reorganize Minimally In BR, the addition of the first two played by the Bassoon. One pitch is Significant beats of m. 34 also occurs. added on the first two beats of m. 34. This material is from the Trombone 3 part. m. 47-50 In CS, the original Cello 2 material is Reorganize Insignificant played by the Viola. m. 51-53 In CS, the original Cello 2 material is Reorganize Insignificant (beat 2) played by the Violin 2. m. 53 (beat In CS, the original Cello 2 material is Reorganize Insignificant 3) - 55 played by the Viola. m. 57-60 In CS, the original Cello 2 material is Reorganize Insignificant played by the Viola. m. 61 In CS, the Cello plays the original Cello 2 Reduction Insignificant material on beat 1, the original Cello 3 material on beat 3, and the original Cello 2 material on beat 4. m. 63 In OS, the original Cello 2 part plays a Elimination Insignificant In BR, the Piano 1 part sustains the half-note Db2. In CS, the Cello plays the Db2 for a half-note. 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. m.66-72 In CS, the Bassoon 1 part plays the Reorganize Insignificant 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. 73-75 In CS, the original Cello 2 material is Reorganize Insignificant played by the Viola. m. 77-79 In CS, the original Cello 2 material is Reorganize Insignificant played by the Bassoon 1. m. 80 & 82 In CS, the original Cello 2 material is Reorganize Insignificant played by the Viola. m. 84-88 In CS, the original Cello 2 material is Reorganize Insignificant played by the Viola. m. 90-94 In CS, the original Cello 2 material is Reorganize Insignificant played by the Viola. m. 102-104 In CS, the original Cello 2 material is Reorganize Insignificant played by the Bassoon 1. m. 115-118 In CS, the original Cello 2 material is Reorganize Insignificant played by the Bassoon 1. m. 134-135 In CS, the original Cello 2 material is Reorganize Insignificant played by the Violin 2.
259 m. 139 In OS, the Cello 2 plays a half-note on Elimination Insignificant 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 Reorganize Insignificant played by the Bassoon but at the lower octave. m. 156-158 In CS, the original Cello 2 material is Reorganize Minimally played by the Violin 1 and Violin 2 but Significant 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 Reorganize Insignificant the Bassoon. The second beat of m. 5 is omitted. m. 3-16 In OS, there are 5 string parts - Viola I, Reorganize Minimally No significant change Viola II, Cello 1, Cello 2, and Bass. In CS, / Significant the top four parts are integrated into Reduction the Violin I, Viola, and Cello parts. Since there are only 3 parts at any one time, the doubled pitches are removed. m. 12-13 In CS, the original Cello 2 material of Elimination Minimally SIMILAR - Brahms also removes two whole notes on the pitch of A1 has Significant the original Cello 2 material, but been Eliminated. The pitch material maintains pitch content in other remains in a variety of voices (Bassoon, parts. Violin 1, Viola) Mvt. 4 TACET Mvt. m. 49-50 In OS, the original Cello 2 part doubled Reduction Insignificant the Bass on the same pitch. In CS, this / has been reduced/Eliminated to only Elimination the Bass. m. 78-79 In OS, the original Cello 2 part doubled Reduction Insignificant the Bass on the same pitch. In CS, this / has been reduced/Eliminated to only Elimination the Bass. m. 80-81 In CS, the Bass plays the original cello 2 Reorganize Insignificant material. Mvt. 6 TACET Mvt. 7 m. 74-76 In CS, the Cello 2 part is played by the Reorganize Insignificant Cello 1. The original Cello 1 part is played by the Viola. m. 146-147 In CS, the Bass plays the original Cello 2 Reorganize Insignificant material. m. 157 In CS, the Bass plays the original Cello 2 Reorganize Insignificant (beats 3&4) material.
260 Cello 3
Measures Chamber Ensemble Notes Classification / Relevance Brahms Reduction Notes
Mvt. 1 m. 1-19 In OS, the Cello 3 doubles the Bass one Reduction Minimally DIFFERENCE - In BR, the doubling is octave higher. In CS, this is reduced to Significant present. 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. m. 28-36 In OS, the Cello 3 doubles the Bass one Reduction Minimally DIFFERENCE - In BR, the doubling is octave higher. In CS, this is reduced to Significant present. 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 Reduction Minimally DIFFERENCE - In BR, the doubling is octave higher. In CS, this is reduced to Significant present. only the Bass at the lower octave. mm. 47-51 In OS, the Bass doubles the Cello 3 one Reduction Minimally DIFFERENCE - In BR, the doubling is octave lower. In CS, this is reduced to / Significant present. the only the Bass but at the higher Reorganize octave. WHY Eliminate the lower octave? m. 61 In CS, the Cello plays the original Cello 2 Reduction Insignificant material on beat 1, the original Cello 3 material on beat 3, and the original Cello 2 material on beat 4. m. 62 In OS, the Cello 3 doubles the Bass one Reduction Minimally DIFFERENCE - In BR, the doubling is octave higher. In CS, this is reduced to Significant present. only the Bass at the lower octave. m. 67-72 In OS, the Cello 3 doubles the Bass one Reduction Minimally DIFFERENCE - In BR, the doubling is octave higher. In CS, this is reduced to Significant present. only the Bass at the lower octave. mm. 80-81 / In OS, the Bass doubles the Cello 3 one Reduction Minimally DIFFERENCE - In BR, the doubling is m. 83 octave lower. In CS, this is reduced to / Significant present. the only the Bass but at the higher Reorganize octave. WHY Eliminate the lower octave? m. 84-88 In OS, the Cello 3 doubles the Bass one Reduction Minimally In BR, the doubling is present. (beat 1) octave higher. In CS, this is reduced to Significant However, for the first time the only the Bass at the lower octave. doubling is presented as octaves between the two Piano parts. Normally, it was one player playing in octaves with the same hand. m. 115-118 In OS, the Bassoon 2, Cello 2, and Cello Reorganize Insignificant 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. 140 In OS, the Cello 3 doubles the Bass one Reduction Minimally DIFFERENCE - In BR, the doubling is octave higher. In CS, this is reduced to Significant present. only the Bass at the lower octave.
261 m. 152-154 In OS, the Cello 3 doubles the Bass one Reduction Minimally DIFFERENCE - In BR, the doubling is octave higher. In CS, this is reduced to Significant present. only the Bass at the lower octave. Mvt. 2 TACET Mvt. 3 TACET Mvt. 4 TACET Mvt. 5 TACET Mvt. 6 TACET Mvt. 7 TACET
Bass
Measures Chamber Ensemble Notes Classification / Relevance Brahms Reduction Notes
Mvt. 1 mm. 47-51 In OS, the Bass doubles the Cello 3 one Reduction Minimally DIFFERENCE - In BR, the doubling is octave lower. In CS, this is reduced to / Significant present. the only the Bass but at the higher Reorganize octave. WHY Eliminate the lower octave? mm. 80-81 / In OS, the Bass doubles the Cello 3 one Reduction Minimally DIFFERENCE - In BR, the doubling is m. 83 octave lower. In CS, this is reduced to / Significant present. the only the Bass but at the higher Reorganize octave. Mvt. 2 m. 41 (beat In OS, the Bass doubles the Cello at the Elimination Minimally DIFFERENCE - In BR, the doubling is 3) - m. 42 / octave. In CS, the original Bass material Significant present. m. 165 (beat is eliminated and the Bass plays the 3) - m. 166 original Cello part.
m. 333-335 In CS, the Bass plays the original Reorganize Insignificant (beat 1) Bassoon 2 material. Mvt. 3 m. 173 - 208 In OS, the Bass part is divided into two Reduction Minimally Elimination - Brahms only focuses parts an octave apart, playing Significant on the Bass and reproduces it alternating whole notes (4/2 time) on without change. The original Cello the pitch of D. In CS, Linckelmann material is Eliminated in BR. reduces this pattern to repeating half notes on the lower octave. Mvt. 4 m. 3 In OS, the Bass plays a single Bb quarter Elimination Minimally No significant difference. note. In CS, this pitch has been Significant Eliminated - POSSIBLE MISTAKE (no apparent reason for Elimination)
262 m. 177-179 In OS, the Bass plays in unison with Reorganize Minimally Similar Doubling in BR Cello on E2. In CS, Linckelmann has the Significant bass play in octaves with cello on E1. (Possibly an edition issue) Mvt. 5 m. 1-3 (beat In OS, the Bass doubles the cello at the Elimination Minimally DIFFERENCE - In BR, the doubling is 1) octave. In CS, Linckelmann instructs Significant present. 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 Elimination Minimally DIFFERENCE - In BR, the doubling is octave. In CS, the bass part is Significant present. eliminated removing the doubling. WHY? At m. 62-69, this elimination does not occur! m. 28-32 In OS, the Bass doubles the cello at the Elimination Minimally DIFFERENCE - In BR, the doubling is (beat 3) octave. In CS, the bass part is Significant present. eliminated removing the doubling. m. 39-43 In OS, the Bass doubles the cello at the Elimination Minimally DIFFERENCE - In BR, the doubling is (beat 1) octave. In CS, the bass part is Significant present. eliminated removing the doubling. m. 46 In OS, the Bass plays a single D2 quarter Elimination Insignificant Similar - In BR, this pitch is also note. In CS, this pitch has been eliminated because the left hand eliminated. of the Piano II is continuing to play the cello material. m. 80-81 In CS, the Bass plays the original Cello 2 Reorganize Insignificant part. Mvt. 6 m. 174 In OS, the Bass plays in unison with Reorganize Insignificant No significant difference. Cello. In CS, Linckelmann doubles the Cello at the octave. m. 215 (beat In OS, the Bass doubles the Cello at the Elimination Minimally No significant difference. 4) - m. 223 octave. In CS, the Bass part is Significant eliminated removing the doubling. Mvt. 7 NO CHANGES
263 BIBLIOGRAPHY
Abercrombie, E. Wayne. "A Conductor's Analysis of Johannes Brahms's Ein Deutsches Requiem, Opus 45." Doctoral Dissertation. West Hartford, Conn.: University of Hartford, 1974.
Abercrombie, E. Wayne. "What's in a Label? Structure and Emotion in Brahms's Requiem, Movement Six, Finale." The Choral Journal 38, no. 2 (September 1997): 17-21.
Avins, Styra. Johannes Brahms, Life and Letters. New York: Oxford University Press, 1997.
Bell, A. Craig. Brahms: The Vocal Music. Madison, NJ: Farleigh Dickinson University Press, 1996.
Blum, Klaus. Hundert Jahre Ein deutsches Requiem von Johannes Brahms. Tuzing: Hans Schneider, 1971.
Boyd, Malcolm. "Brahms's Requiem: A Note on Thematic Integration." The Musical Times 113 (1972): 140-1.
Bozarth, George, ed. Brahms Studies: Analytical and Historical Perspectives. Oxford: Clarendon, 1990.
Del Mar, Norman. Conducting Brahms. New York: Oxford University Press (Clarendon), 1993.
Ernst, Frances Elaine. "Johannes Brahms' Ein Deutsches Requiem: A Study in Word-Tone Relationships." Thesis, University of Texas at Austin, 1970.
Frisch, Walter, ed. Brahms and His World. Princeton: Princeton University Press, 1990.
Gardiner, John Eliot. "Brahms and the "Human" Requiem." Gramophone, April 1990: 1809-10.
Gardner, John. "A Note on Brahms's "Requiem"." The Musical Times 95 (1964): 649.
Geiringer, Karl. Brahms: His Life and Work. reprint of the 2nd edition (1948). New York: Da Capo Press, 1981.
Linckelmann, Joachim. Foreword to "Ein deutsches Requiem, op. 45, Johannes Brahms, arrangement for Chamber Ensemble. Translated by John Coombs. Carus-Verlag, October 2010.
McDonald, Malcomb. Brahms (The Master Musicians). London: Dent, 1990.
Musgrave, Michael. A Brahms Reader. New Haven: Yale University Press, 2000.
Musgrave, Michael, ed. Brahms 2: Biographical, Documentary and Analysical Studies. Cambridge: Cambridge University Press, 1985.
—. Brahms: A German Requiem. Cambridge, 1996.
264 Musgrave, Michael. "Historical Influences of Brahms's "Requiem"." Music and Letters 53, no. 1 (January 1972): 3-17.
—. The Music of Brahms. Oxford: Clarendon Press, 1994.
Newman, William S. "A "Basic Motive" in Brahms "German Requiem"." Music Review 24 (1963): 190.
Pascal, Robert. "Historical Perspectives on Brahms Ein deutsches Requiem." Notes to the Norrington recording EMI CD CDC754658-2, n.d. 2-8.
Pascal, Robert. "The Organ and Contrafagotto in Brahms's German Requiem." The Musical Times 133 (January 1992): 7.
Reynolds, Christopher. "A Choral Symphony by Brahms?" Nineteenth-Century Music 9, no. 1 (1985): 3-25.
Rudolf, Max. "A Recently Discovered Composer-Annotated Score of the Brahms Requiem." Bach 7 (October 1976): 2-33.
Swafford, Jan. Johannes Brahms: A Biography. New York: Alfred Knopf, 1997.
Vail, James. "A Study and Performance of A German Requiem by Johannes Brahms." Unpublished Master's Thesis. University of Southern California, 1973.
Van Camp, Leonard. A Practical Guide for Performing, Teaching, and Singing the Brahms Requiem. Alfred, 2002.
Windt, Nathan. "Joachim Linckelmann's Arrangement of Ein Deutches Requiem for Chamber Ensemble." Choral Journal 52, no. 4 (November 2011): 18-31.
Zeileis, Friedrich G.K. "Two Manuscript Sources of Brahms's German Requiem." Music and Letters 60 (1979): 149-55.
265