UCLA

The present essay addresses the double embodiment of Piano Trio No. 1 in B Major, Op. 8 by Johannes Brahms. The 1854 “original version” and the 1891 “revised version” symbolize distinct compositional periods in the life of the composer, whose lack of authoritative opinion toward the two Trios’ relationship created complications. Today, appreciation of Brahms’s B Major Trio in its first incarnation requires an effort of historical reconstruction, and for musicians steeped in his music, an ability to look beyond the imposing image of the replacement trio, a work from 1889 and published in 1891. My research seeks to restore the 1854 Trio to its position of prominence as Brahms’s first ambitious work of chamber music. This research extends to an exploration of Brahms’s aesthetic environment during the early 1850s, from his poetic affinity with E.T.A. Hoffmann and his alter ego Johannes Kreisler to the artistic influence of Robert and Clara Schumann. The disparity between the two Trios suggests that “revision” is an inadequate description of Brahms’s far-reaching reshaping of the original work. The aging composer’s emphasis on structural cohesion resulted in passages from three of the four original movements being substantially compressed or removed. While the re-envisioned version is economical and thematically compact, the original version possesses its own remarkable qualities: ambitious scope, diverse musical material, and potent allusiveness that encourages a different approach to analysis and performance. By examining the shared and divergent elements of both Trios, I aim to clarify their relationship, cast light on stylistic and historical factors, and promote a heightened appreciation of the music for performers and interpreters. A link to my lecture recital from May 2022, including performances of the first movement of the 1854 Trio and the complete 1891 Trio, can be found at the following link: https://www.youtube.com/watch?v=sFytCe10bOM. These performances are intimately connected to my dissertation, as parts of a larger effort to integrate artistic practice and scholarly research.