Texte remanié de: Dissertation--Theologische Fakultät--Zürich, 1985. / Bibliogr. p. 271-283.

Inaug.-diss.--Tübingen. / "Belege und verweise": p. [209]-226.

Texte remanié de: Diss.--Theologische Fakultät--Basel--Universität, 1995. Titre de soutenance : Der junge Alois Emanuel Biedermann. Lebensweg und theologische Entwicklung bis zum Eintritt ins Pfarramt 1843. / Bibliogr. p. 399-448. Index.

Inaug.-diss.--Leipzig. / Vita.

Thesis (Ph. D.)--University of Wisconsin--Madison, 1970. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.

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.