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O rd e r N u m b e r 8 920348
UMI
300 N. Zeeb Rd.
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BRAHMS THE ALLUSIVE:
OF JOHANNES BRAHMS
A DISSERTATION
PRESENTED TO THE FACULTY
OF PRINCETON UNIVERSITY
IN CANDIDACY FOR THE DEGREE
OF DOCTOR OF PHILOSOPHY
JUNE 1989
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Kenneth Ross Hull, 1989
All Rights Reserved
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Table of Contents
ABSTRACT..................................................... iii
ACKNOWLEDGEMENTS................................. v
BIBLIOGRAPHY............................................... 271
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Abstract
contain them.
i i i
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criteria, which consider the historical context, and the
-iv-
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Acknowledgements
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and Professor Jean Chick, who assisted me with some
vi
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CHAPTER ONE
way that was fundamentally new for its time. From the first
with echoes from the past, echoes that embrace both a broad
previous composer. 2
past has always been an aspect of how his music has been
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2
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observation that the finales of Beethovens Ninth and
and his own music for chorus reveals many broad stylistic
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4
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5
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6
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7
allusions.
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8
study of the late Schubert song for voice, piano and horn,
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9
the song and its text, and also suggests that the song had a
which it grew.
open sea, where "no song can penetrate from the shore". One
confirms that this was his reading of the poem too. The
a whole.
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10
homage to Beethoven.
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11
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12
Schauffler:12
Least of all
Your devoted
J. BR.
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13
messages:
Now when the final movement is done and you have played
it through, please send it to me immediately. Its not
worth playing through more than once, and you would
have to have a nice, soft, rainy evening to give the
proper mood (Brahms 1977, 80).
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14
resemble one another. But the remark seems to have been one
as well:
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The significance of this abusive retort has been
and had presumably hoped he would "get away with it" without
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16
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17
-----------
Singstimme T O - -
: I/....-.
m
^
4 * . . ..
T O =* V f
---------
f
|tf f t f l j b
Pianoforte-
u
D.SeuItUI
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18
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19
Brahms was only having Henschel on, he carried the joke very
with the word "alienum," and only later decided that to use
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20
took this form met the same fate. His close friendship with
composition.^
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21
actually says makes clear that he does not in fact deny the
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22
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23
others will be discussed for the first time. The case for
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24
of allusion.
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25
NOTES
CHAPTER ONE
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26
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27
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17 The allusion will in fact be interpreted as a
reference to the Werther "programme" in a forthcoming paper.
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29
CHAPTER TWO
AND METHOD
more with how this device functions within the text which
literature:
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30
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by acts of misreading or "misprisions", deliberately (though
poets not less original, but more so (Bloom 1973, 7).^ The
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32
Bloom,
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33
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the part of the composer and significant for our
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35
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36
on parody.
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37
cri tic's).
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38
intertextualist position.
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39
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669]. When that background is actually grafted onto the
text, as in the form of parody, such contextualism
cannot be avoided....
Certainly parody demands of the (real and inferred)
parodist much skill, craftsmanship, critical
understanding, and, often, wit....But the reader too
must share a certain amount of this sophistication, if
not skill, for it is the reader who must effect the
decoding of the superimposed texts by means of his or
her generic competence. This is not a matter (as in
intertextuality) of a general ability to call upon what
one has read, but, rather, it is specific to the
particular text or conventions being parodied (Hutcheon
1985, 23-24, 96).
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41
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42
novel, writes:
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43
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44
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45
coined over forty years ago in the now famous article of the
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46
objectionable.
did the author set out to do? Was his plan reasonable and
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47
1968, 222).12
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48
is, and about what kinds of evidence should and should not
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49
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50
intertextuality:
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51
practice:
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52
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53
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54
of the perceiver.
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55
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music since an allusive phrase functions as a rton-allusive
discovery.
resemblances.
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57
poem.
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58
investigation.)
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59
1) Recognition of a marker,
2) Identification of the evoked text,
3) Modification of the initial local interpretation,
and
*1) Activation of the evoked text as a whole, in an
attempt to form maximum intertextual patterns,
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60
composer's style.
final stage.
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61
they are thinking of. since they are concerned entirely with
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62
1: EXACTITUDE
uses of the musical phrase "Niram sie hin denn, diese Lieder"
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illustration. There are four commonly acknowledged uses of
Example 2:1.)
and metre. (The fact that all of the Schumann quotations are
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64
Beethoven, An die
ferne Geliebte,
pp -f-
/ mm.256-267
P m i Schumann, Op.17/i,
coda
^ - * - 0 H --------- ^
1 4 4tvFFP= mm.32-34.
Schumann,
-------
Op.42/6,
...
Schumann, 0p.6l/iv,
letter "T
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65
2: SINGULARITY
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66
years. Thus any claim to hear the second theme of the first
1959, 119-122).23
3: MULTIPLICITY
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67
positions.
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68
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69
MOZART
Allegro # .
HAYDN
Allegro
Example 2:2.
MOZART
HAYDN
Vn.l
V n.2
B
Va.
Vc.
Example 2:3-
nnn\nnn
I I I
Example 2:4.
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70
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71
which have in common only the fact that they are drawn from
principles as well.
4: HISTORICAL PLAUSIBILITY
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72
made between its composer and the work which is referred to:
source work must first have been written, not all claims of
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73
veneration for their subject which does not allow the bald
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74
of resemblance.
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75
model earlier.
piece.
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76
BRAHMS C H O PIN
Rasch und feurig Presto
mmmf
H I'Znjl-i
s o h o voce
!ti
3
*
Example 2:5.
BRAHMS
CH OPIN
Example 2:6.
BRAHMS
CHOPIN
co n anim o
JL
Example 2:7.
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77
footnote:
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78
colouring.
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The Tristan quotation in Debussys "Golliwogs
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80
postlude of "Widmung."
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81
2 Floten
2 Oboen
2 Klarinetten in B
2 Fagotte
K ontrafagott
inC
4 Horner
inF]
2 Trompeten in F
T
3 Posaunen
Pauken in F. C
l.Violine
2.Violine
Bratsche
Violoncell
KontrabaB
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82
*=fcEB? |g=
4m.
:4m,
4m,
4im,
4im.
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Example 2:8C. Schumann, Symphony #1 in B-flat, second
movement, mm.66-79.
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84
this unusual case when the context for the possible origin
occurrences.
6: FUNCTION
of the work which contains it. This means that a case for an
first five may collapse at this point. What would then have
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other hand, the case for establishing the presence of an
obvious resemblance.
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86
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87
Piano Sonata Op.1, and the Allegro non troppo of the finale
point.
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88
["Ave Maria"]
Eric Sams has observed that the Riickert text presents human
angel; her gaze transfigures the poet. But if the poet stops
another setting of the same text would have the served the
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89
Clara (Clara Schumann 1885, 281), and that Clara was indeed
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90
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91
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92
NOTES
CHAPTER 2
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93
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94
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95
CHAPTER THREE
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Herzogenberg all expressed reservations before the first
3'
performance.
like theme for the finale from the last movement of Bach
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evidence for the existence of this extra-compositional
and the other previously unknown, which are the focal points
as a "Trauer-Symphonie."
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98
n.
P
>.
4 - ....
* m u p r.
MMT.
-< w.,lj_=^===
It
K lu . =*- . ... Q : I , . . : . in
(A) A UJlf :f------ f:...7 = .J f ' - J...-
F* Ift- .... ip-iV T.. :-----
r '
fj| '"
te)
* ^ 4 - --------- ----------- ---
Hi. . f J - -------------------------- JZ i. .1L ^
(C)
i ' ---------
n.
Y m
PB-- -i ---:---n
t.Viol.
9 11 " * 1 * ijj^J ^ .r g r
* | # VM
IV10L
Bi.
iJ I j ,
Vd. *=*. T = .. -
,,
K.-B. Tift r --------
a.vioi.
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99
.
There is, however, a structural disjunction as well.
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100
the horns, which opened the movement, and which now bring3
it to a close.
after the other the first two times it occurs; only the
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101
P M
s rrv
I
m
m
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respect to what follows. As well, the use of clarinets by
both composers for the first four measures, ar.d the change
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103
melodic units.
coda,
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104
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105
theme presents only its second half, but again the theme
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106
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107
the finale. That the second theme appears only three tiroes,
failed to "work out the form far enough" (pace Tovey), but
> .. p
a :3 : :: p :
y c -
r = j!p- - - - - .... ..
P- : : - : ------
4 -
. .v
Example 3:4.
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108
from the flow of the movement, and also unfolds over a pedal
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109
melodic outline, the two Brahms themes are even more closely
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110
Example 3:5.
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111
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112
which clearly make use of it: the C-minor Symphony and the.
10 , 1876 :
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113
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114
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115
the Fifth shares with the Brahms a basic triple metre, and
informs the theme. The rhythmic cell from which the Brahms
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116
'
Flute I
r
rfffr-T
'
Flute II
Jf 5--
Oboe* ri i-m 7-*, ^ - r r T a 'i ,
J
Clarinets in A LL-
pr. t 2*^ F TT r
Bassoons
P
Horns in A f-i-----
Violin I it
ID-- "^ , & = =
Violin II Iv -
A ndante moderato
2 Flflten
2 Oboen
2 K larinettea in A
2 F agotte
in
4 H orner
in
2 Trompeten in E
Itak en in E u. H
l.VioIine
2.Vioune
Bratsche
Violoncell
KontrabaB
Andante moderato
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117
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118
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119
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120
Larghetto
re 1 7 r --- p t -- j -- \-
Igf** = = = ^ = ----- v 0------ k U J
Scbau htn, and sleb, icbau bin, nnd sleb; wer kennet solcbeQutlen
r 1 3
1 #7-- 7 ( "
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121
usw.
if lm x
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122
fla u to
4 ----------
- .
Oboi
C larinstti
in S A
fagotti
,
. .....................
\
.
Como . ....... ........
in Sol
ft'ofa
p
m m
fio jonctllo
t Bastp
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123
(1983, 150) and Musgrave (1985, 224), for example, all adopt
say that "as any ass could see, Brahms opened his symphony
of the opening theme. This is not the only place Brahms made
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124
death.
Tod, das ist die kuhle Nacht," Op.96/1, the second of the
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125
not derived from outside his own music. But like quotation
derive just from its shape as a musical gesture per se, but
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126
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127
dolee
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128
3:11.)
for alto, viola and piano, was composed about five years
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129
death, which meets the strict criteria for the falling third
motif.
the repeated notes of the vocal line are not consistent with
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130
dim.
dim.
dim.
dim.
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131
set apart from the rest of the song by the same means as in
energy. The text phrase for which the third motif' has been
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132
- . 4 0
l B.l ---- - 11 ' M l 1 I '# *
dehntein Ber . ges - rii - ckensich, ein brei . ter, und hier nicht, drii . ben gehts bin .
frrTfiffj
i S3
p
i:
1 m
I ff
dim.
Singslimme
0 hj _ J ..n
Steig auf, ge.lieb.ter Schat.ten, vor mir in to . ter
r.zd..- .= ^ r | i. |
-yUtd-ii IfIs | y
Pianoforte
~l -"f
(itWI >
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"Auf dem Kirchhofe," Op.105/4, was written sometime
m m .9 -10. )
motif with the idea of death are the first three songs of
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13 1*
who has not yet been). (See Example 3:17.) Both of these
which begin the section in which the two uses of the motif
the first two passages. The entire section from m.37 to m.56
praises the dead and those who have not been born. The
the falling third idea into the following phrases which are
Op.119/1.)
but in his arrangement of the text for the song, Brahms both
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135
benkonn.ten. Da
PP
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136
addressed not twice but four times in the song, and three of
these occasions use the phrase "0 Tod twice. The falling
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137
f_* ,
Singstimme 3 = 5= = ^
O Tod, 0 'rod, wie bit . ter, wie bit .
c -1-- 1- -- - =\ j---
Pianoforte E l/UJ p H
I j? i P- ^ ,
~a.
5:
3 I -
3 ^
Example 3:18. Brahms, #3 of Vier ernste Gesange.
mm.1-4.
tust dui
mnHI----------f
y _ _ 1-- an 11 1 I
wie wohl) wie wohl tust du.
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138
Es fahrt an nen
JL
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This concludes the survey of songs from the late group
of your death may soon waft around me. That it may raise me
accompanies them.
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140
j * .. "" um
. de fleht dein Cind: Gib, dafi er mich bald .
, rT -n ^ l ^ r i r r n i V rih lH fr
f9
Jib H
it fe-------------
.j ,
,= f -
4
I lU
^ 4=^4+-gHN = ^ = >
* ..... i y - 1j j h v jl* -- jdes- -.... V V--------------------*
we . . he, d ei. . nes To - Le . . bena-wind.
IP a* #J#
A
w f f
Example 3:21. Brahms, "Todessehen," Op.86/6, mm.42-51.
3 ^
&
mm
s
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141
ft*
P SchaummitHan . den g rei. .fen, o. .d e rm it den hei .
fienWan . gen
3^ r r ~ M *
I ins verborg.ne L e. .ben, drang bis ins v e r. borg. . ne Le . ben.
flDu..,,r
I
ifimtvt.
BfiP. u M , . J y
if |d ^u A
y flr t LHa___ a Mprgt
t * f f
r r
Example :5:24. Brahms, "Regenlied," Op 59/^3, mm .88-92.
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142
very early work. Here, the motif is not found in the voice
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143
use of the falling third motif. This compares with only two
or three late songs which mention death and lack the motif*
death. There are about thirteen such songs after 1879, out
after.
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144
from the last five years of Brahms's life, the falling third
thirds. These works all date from the years just before the
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145
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146
the unison and octave distance from the theme itself. The
Allegro nontro(/po
2 F loten
2 Oboen
2 Klarinetten in A
2 F ag o tte
in E j;
4 H o m er ]
in C jl
2 Trom peten in E
Faukcn in iiu .H
l.V io lin e
2 .V ioline
Bratsche
Violoncell
KontrabaB
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147
The use of the falling third motif in "0 Tod" from the
had been completed first, a good case could have been made
share the same key. They also both use the motif as an
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11*8
symphony shares with the song the use of both the upright
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149
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150
cherries here don't become sweet, you would not eat them"
his life that any suggested models for the opening measures
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151
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152
passion for her was at its height (Litzmann 1913, II, 448).
ascending thirds.
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153
allusion.
1 9 0 9 , 286 ).
movement as well.
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Dahlhaus has pointed out, echoing Schenker, that with
Wta&BfiU
etc.
etc.
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155
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156
recapitulation.
apart.
mm.255-258.
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157
which twice employs the a figure in the violins (at ram.9 and
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158
2 .V io l!
p to/to voee
4 perdendo . <8& * 4
w una eorda
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There is a tradition apparently an exclusively oral
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160
NOTES
CHAPTER THREE
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161
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162
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CHAPTER FOUR
454).
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164
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165
Analysis
other.
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166
progression.
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\
"De >Ja\ot><\e n
V - tawuol*.
- dowviVawt ^eda\
?
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168
progression.
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phrases.
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170
role: it stands apart from the rest of the movement like the
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171
and 21, 28 and 29, and 30 and 31 and less obvious in 18 and
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172
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173
Statements 2, 3 and 4.
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relationship went unnoticed in print until the original
tonic.
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175
remains until the end of the movement. The two halves are
on, and the text setting becomes more discursive: the final
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176
middle section sets the middle two couplets, cne line for
4.
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177
first movement.
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178
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179
intentionality as well.
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180
Example 4:2.)
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181
2 Oboen
2 Klarinctten in A
2 Fagotte
Kontra/agott
in
4 Horner
in C
W*
Trompeten in
3 Posaunen
Pauken in G .H .
Urn*
l.Violine
Bratsche
Violoncell
KontrabaB
Allegro energico e passionato
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182
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183
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184
knew, and which may have been in his mind at the time of the
point.
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185
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186
above):
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187
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188
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189
movement, and the return to the minor mode marks the exact
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190
movement (mm.1-24) and does not recur until the last two
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191
16, which close both the major mode section and the first
minor mode sections and coda begin with the theme itself as
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192
moves in the same rhythm as the theme; arid the major mode
section.
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193
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(o ):
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195
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196
form.
all.usions.
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Example 4:4. Couperin, 3me couplet of the Passacaille,
Pieces de Clavecin, 2me livre. and Brahms. Svmnhony *4.
finale, ram. 15-27.
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198
7<r C O U P L E T
ioo 7. 5____ 5 5 4 5 5 * - _ _
, . _ * 4 5 5 8
j . m n t k *
i
r
j
i
w
J - J u - a
-i-- atiZZZrZZZ 4 ,,h *
f f-
"f * m 7
r r P--- .c.
-J---- 4 ~ r . ---
T % '
( U
l.V io l.
J.Viol.
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199
with the finale of the Fourth Symphony: the form, the key,
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200
follow.
same as that of the Brahms finale, and also that its text is
movement involves not just the chaconne theme, but the sense
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201
metre is 3/2, and the last three of which are in the major
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202
15 and 16, are more closely linked than any in the first
the last measure slows, and the fermata on the last sonority
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203
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204
it.
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205
-1 eben.
reference are both five notes long, and both played by solo
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206
(J=J)
iin riu ii
ts p ra s ttv o
Fl.
J . f - ,
yr/^'rj.CT:feSf>!?*rr ri@
poeo e rne .
Ob.
Klar.
(A)
Fag.
(E)
Hr. < j dele* poeo erase
(C)l
M o l.
P dote* poeo crate.
2.V10I.
j dole* poeo erase.
Br.
p dole* poeo erase.
Vcl.
KrB.
' U.-J)
FI.
piatriprrrfr
1.___
Ob.
*t= _____ :
-- -----i
T^ .- --- =
U a I f-r^=--=
= - *- Mpmi.
* _____
Klar. =
(A )
.
J-- jg -1. 1 _ - jTr=
--------= <qmit o
Fag.
ij.
l.Viol.
f Lii M
d im .
*
d ole .
i~r t p n r =
KrB.
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207
108
n.
Ob.
Klar.
<A)
U
Hr.
lV io l.
dim .
S.Vtol.
Urn.
Br.
Vcl.
m
KrB.
113
F I.
Ob.
Klar.
(A)
Hr.
Poa. rr.
rrr
l.V io l.l
2.Viol.|
Br.
(fir.
Vcl.
d o lc t
K.-B.
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208
420
FJ.
I J:--- y j O .. j - t - s=i L f
Ob. op r t -------------- ^
PP
r t ** 18-%-
O' P=~
f i h = =
A) -~ 7 T
PP P=~ 1
Fas-|
/ utfJk .. -- ~ 4 4 4 - - 4 j r t - J-,1 ,nj
..... j-j B V n
P=~
=1= d - = S = F *
(E) & ------------------ ------- ^ ------ gf--------------- -4 -3
p |J , = =
Po*.'
=
^=R a l=~*"=j 3J=! F v t-
t r r -------------
j-j rr r-l
jj
4j
/> >
r-N r s
F T -~ | t 1"
1 V - f i * rJ --------- f ~ J -
PP S r^
P >
Pk.
l.VioL
2.Viol.
KrB.
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209
126 r it
SE
Ob.
PP
KUr.
PP
PP
Hr.
PP
Trpt.
Foa.
dim.
Pk.
1.Viol. |
dim. PP
Br.
dim. PP
Vcl.
dim -
PP
KrB.
rit.
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210
ago pointed out Brahms's use of the melody of "Nimm sie hin
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211
notes each, one phrase for each of the four lines of text
on the one hand and solo wind writing in the Brahms on the
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wllst duniiht sie te-hen, du g.lieb.ter,plieb. ter Mann! Lebhafler
IS
Bleib anmei _ nemOer.zoJ full . led e s. seoSchlig, dassith fest undfe . rter nur dichdru.cken
<S&. *
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213
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214
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215
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216
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217
n .26 ). )
Schumann's idea was that proceeds from the sale of the work
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218
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219
in the coda of the cycle. But the woman who speaks through"
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220
means.
apart from that in Statement 14, but the presence and nature
suggestive.
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221
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Example 4:8. Schumann, Frauenliebe und -leben
postlude.
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22 3
ironic one.
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22H
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225
the cycle.
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226
her life?
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227
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228
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229
NOTES
CHAPTER FOUR
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230
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231
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232
CHAPTER FIVE
CONCLUSIONS
unmentioned in print for over 100 years. For whom were they
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233
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234
significant.
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235
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236
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237
later, in 1884, the very year that Brahms was completing the
which pointed out in print for the first time the existence
246, n.26). Thus by the time Brahms came to revise the Opus
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238
what was in fact the case: that the two uses of this phrase
Simrock,
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239
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240
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241
"parenthet ical."
"Regenlied" (Op.78).
piece.^
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242
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243
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24*f
929
K lu .
W.? Pi f TCf
Fg-
H r. 1.
(D) 2.
P
<w
rp r g i s
'fjETFff' " " *
2. Viol
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the impression that Brahms has suddenly and briefly donned
in Schumann.
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246
uj SOW '
j q ir Aodante esproasiro (J.< )
armjft m 4CA.
Andante espreasivo
162
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247
share the key of A-flat. That it may have been the key
Rosen's: that Brahms took as his model for the movement the
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248
Chopin
A g itato
t - i- U
4* %x 4* ^
* $&. * %af * # *3
rita rd a n d o . a tempo g
* * <Ssi' *
Widmung.
N? 1. F.Rlckrrt.
Innig,leMiaft.
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249
and fifth fingers of the right hand, while thumb and index
5:7. )
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Allegro con fuoco <1-72 Opu* 25 Nr. 10 B I 78
250
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251
m m
u m pret
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252
Opiu 10 Nr. 2 BI 59
Allegro J *144
sempre legale
419
FI.
Ob.
Fag.
K!av.
l.Viol.
2.Viol.
Br.
Vcl.
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253
KUv.
i.Viol.
Br.
Vd.
KrB.
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allusive. In the case of Statement 14 of the symphony
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255
But this does not mean that only those allusions which we
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256
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also at the beginning of Statement 13 in the last movement.
13. that the motif was found both prominently used, at the
Allegro motto
Urn
w w4^
t 4
u
______
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258
these three criteria are met here, but not the other: there
other two movements. All three are set apart from the rest
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259
I |pHpllJ3S HB rt!
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260
predominantly piano.
solo horn in F, and the fourth by solo oboe. (Note here also
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261
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262
Statement 1).
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263
model.
movement.
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264
progressive."
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265
between the music and the two individuals with which its
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266
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background of the expressive context within which it is
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268
NOTES
CHAPTER FIVE
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269
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270
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271
BIBLIOGRAPHY
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272
_______ . 1977. Schumann, 4th ed. London: J.M. Dent & Sons.
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273
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274
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275
Gay, Peter. 1978. Freud, Jews and Other Germans; Masters and
Victims in Modernist Culture. New York: Oxford
University Press.
...____ . 1982b. Brahms; His Life and Work, 3rd ed. New York:
Da Capo. (Original German edition, 193^; First English
edition, 1947. )
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276
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277
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278
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279
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280
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281
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282
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283
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284
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