Wind Music

Serenade No. 1

Johannes Brahms

A reconstruction by Tony Turrill of a chamber version




for excerpts click here


To listen to it in full:

Mvt 1 Allegro

Mvt 2 Scherzo

Mvt 3 Adagio

Mvt 4 Minuets

Mvt 5 Scherzo

Mvt 6 Rondo


The serenade was originally written for a chamber group, a nonet of wind and strings (Fl./2Cl./Bsn/Hn/Vn/Va/Ce./Bass). Brahms completed this version in 1858, sent it to his publishers and it was performed in concert in Hamburg in 1859 but not well received.  However, a year later he had added a second flute, two oboes, a second bassoon, three horns, two trombones, a timpani and a full orchestra of strings.  It is this version that was finally published and is the one we know today.  The score of the nonet was lost, quite possibly destroyed by Brahms himself; unlike some who retained their sketches, he habitually destroyed completed scores that he subsequently changed.

The nonet was abnormal in that it had  two clarinets and no oboes, unusual but a cursory examination of today’s score quickly explains why. Brahms uses the clarinet pair in ways that demonstrate his complete understanding of the tonal qualities of the instrument that he was later to use to the full in the symphonies, the trio, the sonatas and best of all the magnificent quintet. 

There are times in the final version when he retains the woodwind  exactly as they must have been in the original nonet.  The most obvious is the first minuet, still largely written for nothing but two clarinets and a bassoon, joined briefly by the flute and tacet for the rest of the band  but there are many more, for example the concluding section of the first movement,  the divine introduction of the adagio,  the emotional entry of the two clarinets and horn at bar 199, the conclusion of  the same movement and the theme of the final rondo.

It is relatively easy to identify the skeleton of the chamber original and reverse Brahms’ re-orchestration exposing the original chamber group. This is the result. Listening to it, it is very difficult to understand why the audience received the 1859 performance badly.  There are a  few  changes to Brahm’s original following the lead he gave when producing the orchestral setting.  A second violin has been included to improve the balance between wind and strings. He also wrote two aditional movements, both scherzos. These have both been included

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make a note of the  ref. no. NM2161; used with the composer and title it will help identify the work 


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