In 1889, Brahms told Clara Schumann that he was recomposing his early B-major piano trio and, with characteristic understatement, said that he did not give it a wig, but simply recombed and restyled its hair.  He did recognize that it was not a mere revision, despite its eventually being issued as a “new edition” and retaining the same opus number used in the original 1854 publication.  Indeed, the publisher Simrock, who had offered Brahms the opportunity to newly edit and possibly revise his early works, had to create an entirely new set of plates.  He probably assumed that “revisions” would be simple retouching of details, not a wholesale restructuring into a new entity.  The publication was delayed until 1891 after several public performances because Brahms wanted to be sure of the new trio’s effectiveness before committing to it.  Perhaps too much emphasis is given to the differences between the two versions, and to call them “two entirely separate compositions,” while not incorrect, ignores just how much the original inspiration dictated the final product 35 years later.  Perhaps this explains why Brahms did not seriously consider the idea, suggested to Clara probably in jest, that he could now call it Opus 108 instead of Opus 8.  The main themes of the first, third, and fourth movements are all retained basically intact, and the scherzo movement was virtually untouched structurally except for the odd and ineffective pizzicato ending.  Even that movement was given some retouching in scoring.  The second themes of the other three movements were replaced with entirely new thematic complexes.  In the case of the first and fourth movements, both in a version of sonata-allegro form, this necessitated completely new development sections and codas.  The first movement is abbreviated by more than 200 measures, and its new second theme, based on a “leaning,” meter-obscuring upbeat, is far more interesting than the diffuse second group of the original version.  The development section is also tighter.  Other notable features include the wonderfully disguised and understated arrival of the recapitulation and the languid reverie of the coda, which contrasts greatly with the histrionic coda of the original.  The coda of the scherzo now emerges more organically and effectively.  In the slow movement, the Schubert song quotation in E major, beautiful as it was, is replaced by an equally radiant and eloquent cello melody in G-sharp minor.  While the varied restatement of the main theme is retained intact, the “Allegro” interruption is simply excised, creating a more straightforward ternary design.  The finale was probably changed the most on a structural level.  In addition to a new second theme, the development and recapitulation were telescoped in a manner seen in other later works such as the finale of the First Symphony.  The new second theme in D major is surprisingly square and simple, and the left hand of the piano part, with its continual repeated off-beat octaves, is not particularly imaginative.  But in the context of the whole, it is more compatible with the febrile, persistent, and obsessive rhythms of the main theme.  Clara did not care for the new theme, especially compared to the lush Beethoven quotation in F-sharp major that it replaced, which had a personal connection to Robert Schumann.  But one of Brahms’s aims was to remove the “personal” element, and the new theme with its stamping left hand certainly does that.  In the coda, Brahms surprisingly returns to material from the original version, but the conclusion is again more organic and less rhetorical.  As noted, retaining the ending in the minor key is especially true to the Trio’s original inspiration.  This is a late masterpiece created out of a wildly youthful composition.  The reasons for keeping the original opus number are sound, but inevitably misleading, as is the continued designation of “Piano Trio No.1,” since it really is his last of four rather than his first of three.

This guide is constructed in such a manner that it can be used independently of that for the original version, but I found it impossible to avoid references and comparisons at the points of departure and differentiation.  Indeed, such comparison enriches the study, enjoyment, and appreciation of the revised version.  Where the music is essentially the same as the original version, the text from that guide is typically reproduced almost exactly, with adjustments made at the points of divergence.

IMSLP WORK PAGE
ONLINE SCORE FROM IMSLP (First Edition from Brahms-Institut Lübeck)
ONLINE SCORE FROM IMSLP (First Edition [monochrome] from the Royal Danish Library--includes violin and cello parts)
ONLINE SCORE FROM IMSLP (From Breitkopf & Härtel Sämtliche Werke)

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1^st Movement: Allegro con brio (Sonata-Allegro form). B MAJOR, Cut time [2/2], with 4 nonconsecutive measures of 3/2.
EXPOSITION
0:00 [m. 1]--Theme 1.  The piano begins on an upbeat, playing the first four measures of the full-hearted, broadly lyrical melody in the tenor range.  A middle voice is established with up-down alternating notes on narrow intervals of a second, third, or fourth while the left hand establishes a “pedal point” on the low keynote B and the “dominant” note F-sharp above it, stressing the second beat of the measure.  After four measures, the cello enters a third above the melody.  The violin entry from the original version is removed.
0:15 [m. 9]--In the last four measures of the twelve-measure melody, the piano moves above the cello and the direction of the middle voice is reversed.  The left hand allows one intrusion of the “subdominant” note E amid the constantly reiterated B and F-sharp.  The removal of the violin figures constitutes the only major change from the original version in the presentation of Theme 1.  The phrase reaches full closure.
0:23 [m. 13]--In a contrasting phrase, the cello takes the lead and moves above the piano.  The middle voice of the piano begins to introduce mild syncopation.  After three measures, the left hand reluctantly abandons its “pedal point” and becomes slightly more active.  There is a slight buildup in intensity, then the cello soars up to a half-cadence as the piano’s middle voice becomes more strongly syncopated.
0:38 [m. 21]--The violin now takes over the leading role, its first entry in the revised version, playing the slightly varied main melody above cello harmonies.  The piano gives up its melodic role and concentrates more on its syncopation, which now also becomes strong in the left-hand bass.  In the fourth measure, the syncopation is emphasized with strong octaves in both hands moving down a half-step.  The next four measures are varied from the beginning, moving earlier to a full B-major cadence with thicker piano harmonies and increasing excitement.  The four measure extension from 0:15 [m. 9] is dropped.
0:53 [m. 29]--The piano takes over the lead, finally reaching out of the middle range, and begins the contrasting phrase.  The cello moves to leaping syncopation, supporting the piano bass, then joining the piano harmony.  After two measures, the violin harmonizes the piano a third below and the cello moves to broken octaves.  The buildup in volume has become pronounced, and the contrasting phrase stalls on its fifth measure.  The piano reiterates the fourth measure, the cello taking over the harmony from the violin, and then all three instruments play strong, powerful chords in half notes leading to a highly dramatic and anticipatory half-close.  The phrase is shortened to seven total measures.
1:06 [m. 36]--All three instruments sing forth the beginning of the theme in a grand manner, in the version heard at 0:38 [m. 21].  Both the cello and violin lines are covered in the piano’s high right-hand chords.  The left hand plays upward leaps between B and F-sharp in strong syncopation.  After the first four-measure unit, the right hand joins these syncopations, with both hands soaring up in octaves, then quickly back down.  The next unit returns to the original pitch level, but it is reduced to three measures, stalling on the second and repeating it as the third.  This isolates a strong three-note descending motion that has always been present in the theme.
1:20 [m. 43]--The phrase is broken off by another grand rhetorical gesture.  The three-note descent that has been newly emphasized is now stated in long half notes over full chords, still in all three instruments.  The piano then plays a strong sequel to this, using a long-short dotted rhythm to move to a dissonant chord.  This “suspended” chord then resolves to an F-sharp-major chord, where another statement of the pattern with long chords and the dotted-rhythm sequel seems to suggest D-sharp minor (“relative” to the “dominant” key of F-sharp).
1:34 [m. 51]--A third statement of the three-note descent in long chords moves back to F-sharp.  There follows the first of four inserted 3/2 measures.  These insertions invariably contain the same basic material: a shortened version of the three-note descent, here played by the strings in thirds, followed by the same faster descent from the piano.  This pattern is given a second time (a fourth statement of the long chords), with the harmony now moving a step lower, to the “dominant” chord suggesting A major.  The second 3/2 measure follows with the same pattern of shorter descents, colored by the new harmony.
1:44 [m. 55]--Suddenly much quieter, the cello plays a more mysterious version of the theme that wavers between B minor and D minor.  The piano originally played an accompaniment like the patterns at the beginning, but over a “diminished seventh” harmony with an E-sharp “pedal point” in the bass.  In the revised version, these “diminished seventh” patterns were changed to arching arpeggios in contrary motion between the hands.  After two measures, the pattern is varied with the cello and piano right hand moving higher and the bass moving off its “pedal point.”  The violin originally played arpeggios like those now removed from the beginning.  In the revision, the violin enters at this point and harmonizes with the cello.
1:51 [m. 59]--Suddenly the troubled harmony emerges back home in the warm, comforting B major.  The violin and cello harmonize on the first three notes of the theme.  This is interrupted by the third 3/2 measure.  It contains the same twofold statement of the shorter three-note descent, but the right hand of the piano plays both, the second an octave higher than the first, while the strings continue to draw out the theme.  The same two-measure pattern begins an octave higher, but at the fourth and last 3/2 measure the piano moves back down to its original octaves.  In the revised version, the second three-note descent is omitted, and the transition begins with a full upbeat.
2:00 [m. 63]--Transition.  This is the point where the original and revised versions deviate, and they are basically two entirely different movements going forward from here.  In the new transition, which seems smoother and more organic than the original, the piano begins a triplet rhythm on the upbeat with the hands playing in unison an octave apart.  They play a grand sweeping gesture that begins very low and incorporates scales and arpeggios, along with some arching motion.  Meanwhile, the strings complement this with another rhetorical gesture using a long-short rhythm and full harmony. 
2:03 [m. 65]--The entire sweeping motion is repeated with the instruments reversing roles and the strings taking the triplets, the cello leading for a couple of beats before the violin joins it an octave higher.  The second measure is now reiterated, with the strings repeating the measure’s triplets an octave higher.  The piano’s rhetorical gesture with the long-short rhythm is an octave lower in the reiteration and changes the bass note from E-sharp to E-natural, creating a major chord instead of a “diminished” one.
2:08 [m. 68]--The strings rush into a downward arching figure, still in the triplet rhythm.  This is quickly passed to the piano, which repeats it a bit lower, with the hands very slightly and distinctively offset.  It is passed back to the strings, again a bit lower, before the piano plays an upward motion, still with the “offset” hands.  The whole pattern is played again at a lower level with the entries reversed, the piano leading and the cello (without the violin) playing the last upward motion.  The harmony strongly suggests the preparatory “dominant” for G-sharp minor, where Theme 2 will occur.
2:13 [m. 70]--The cello expands the upward motion in triplets, repeating it three more times in the next measure as the piano plays punctuating chords.  The rising triplet is then passed to the violin a step lower, with the piano still playing chords.  The cello takes over again, moving the pattern down another step, and then it breaks from the triplets, playing an upward “questioning” gesture in straight rhythm, which is continued by the violin.  These figures and the piano chords under them become quieter.  The piano chords are more isolated under the “questioning” gestures.  The strings then prolong over the bar line a descending leap that confirms the arrival of G-sharp minor and sets up the beginning of Theme 2.
2:25 [m. 76]--Theme 2 (G-sharp minor).  The new Theme 2 is quite simply an arching arpeggio, falling, then rising in octaves split between the hands of the piano.  Its interest lies in its metric displacement, as the downward and upward motions both begin on the upbeats of the measure.  The arching line is followed by a gently rising one in long-short rhythm, placed in the middle voice of chords.  This arrives on the “dominant” harmony in G-sharp.  The whole pattern is repeated a step higher, with minor variants and a full arrival on G-sharp.  The string contributions are minimal, consisting of two held notes over bar lines at the beginning of each statement.
2:42 [m. 84]--The rising line in long-short rhythm, surrounded by chords, is now isolated and brought down to the piano’s tenor register.  The strings become more active, playing a syncopated descent in long unison notes.  The expression and volume slightly build as the piano expands the rising line.  It then descends with two-note slurs, harmonized by the strings, who are still in unison with each other.  They reach upward at the end of the gesture, preparing for another one.  The key briefly moves back to B major.
2:51 [m. 88]--The piano moves its right hand back to the higher register, and with richer harmony, the rising line in long-short rhythm is played again, a step higher than the last time.  The strings play the same long syncopated descent in unison.  The piano’s expansion of the rising line is again followed by the descent, harmonized by the strings, which again reach upward.  The key briefly moves to C-sharp major.
3:00 [m. 92]--Throughout the previous patterns, the metric orientation has remained focused on the upbeats.  This now becomes even more pronounced as the upward string reach is expanded.  The piano echoes the strings on their preceding upward reach but makes each note of the reach a broken octave and exchanges the hands on these broken octaves.  This upward reach is played three more times, with the unison strings leading the “broken octave” piano, each time moving higher, as the excitement and intensity build.  This reaches a breaking point as the piano finishes its fourth upward reach on a dissonant chord.
3:09 [m. 96]--With grand sweep, Theme 2 is now taken by the strings in unison.  The piano punctuates it with forceful chords on the first and last beats of each measure.  The left hand on the beat is immediately followed by the right hand off the beat.  The arching line is played as expected, but the gently rising line that had followed it is now replaced by two measures of leaping octaves in the unison strings.
3:18 [m. 100]--The piano chords, which have been moving steadily upward under the leaping octaves, now become continuous as the strings shift their octave up a step.  The excitement has steadily increased and now erupts into near euphoria as the G-sharp-minor key briefly gives way back to the home key, its “relative” of B major.  This happens as the strings play a full, warm, and rich turn on a rhythmically asymmetrical five-note group.  After they play this turn a second time, the minor key quickly returns as the strings rise to a trill.  Still in unison, with emphatic piano chords, they play a decisive cadence.
3:39 [m. 110]--Closing material.  Instead of a new “closing theme,” Brahms returns to the triplet rhythm of the transition, with its downward turns on each triplet figure.  First the violin echoes the cello, and the piano right hand continues the figure in high octaves.  The string pattern is then reversed, with the violin playing first, and the piano continuation is now in the low bass.  The third pattern has the cello leading the violin again, but now the piano continuation is a rising arpeggio followed by a full measure of the “turning” triplets in high octaves.  Finally, the violin leads the cello in a fourth pattern, followed by a plunging piano arpeggio.
3:48 [m. 115a]--First ending.  The strings drop out and the “turning” triplets move to the low bass.  The right hand is in the tenor register, playing a chord progression that leads smoothly back home to B major.  The bass triplets slow down to straight rhythm eighth notes, then quarter and half notes, with one held over the bar line.  The distinctive upbeat to the main theme is heard closing the third and last measure of the marked first ending (m. 117a).
EXPOSITION REPEATED
3:57 [m. 1]--Theme 1 as at the beginning.  Initial presentation of the first four measures by the piano, then the next four with the cello entry.
4:12 [m. 9]--Four-measure closure with cello moving above the piano, as at 0:15.
4:20 [m. 13]--Contrasting phrase with syncopation and buildup in intensity, as at 0:23.
4:35 [m. 21]--Violin takes over the lead with piano syncopation and increasing excitement, as at 0:38.
4:51 [m. 29]--Contrasting phrase led by piano, moving to half-close with powerful chords, as at 0:53.
5:04 [m. 36]--Grand statement of thematic opening with syncopated piano leaps, then isolation of three-note descending motion, as at 1:06.
5:17 [m. 43]--Statements of three-note descent in long, full chords and dotted-rhythm sequel, as at 1:20.
5:30 [m. 51]--Third and fourth statements of long chords, each followed by 3/2 measures, as at 1:34.
5:40 [m. 55]--Mysterious cello statement of theme over “diminished seventh” harmony, with changes from the original version, as at 1:44.
5:48 [m. 59]--Re-emergence of B major, then music including two more 3/2 measures, as at 1:51.
5:56 [m. 63]--Transition.  Point of divergence from original version.  Sweeping piano gesture in triplet rhythm with rhetorical long-short complement from the strings, as at 2:00.
6:00 [m. 65]--Reversal of roles in restatement of sweeping gesture, then extension by reiteration, as at 2:03.
6:04 [m. 68]--Downward arching figure and upward motion passed between instruments, as at 2:08.
6:09 [m. 70]--Expansion of upward motion in triplets, then “questioning gesture,” as at 2:13.
6:21 [m. 76]--Theme 2 in G-sharp minor.  Arching arpeggio with metric displacement, then gently rising line in long-short rhythm, followed by repetition of the pattern a step higher, as at 2:25.
6:39 [m. 84]--Long-short rising line with syncopated strings, then descent in two-note slurs, as at 2:42.
6:47 [m. 88]--Extension of preceding material with brief motion to C-sharp major, as at 2:51.
6:56 [m. 92]--Expansion of upward reach with “broken octave” piano, as at 3:00.
7:05 [m. 96]--Grand statement of Theme 2 by unison strings emerging into leaping octaves, as at 3:09.
7:14 [m. 100]--Steady increase in excitement with continuous piano chords and five-note string turns, then decisive cadence in G-sharp minor, as at 3:18.
7:34 [m. 110]--Closing material.  Downward turns in triplet rhythm with varied instrument order, as at 3:39.
DEVELOPMENT
7:43 [m. 115b]--In the second ending, the harmony of the piano chord is changed and the triplets in the low bass are moved down a third.  Most importantly, the strings do not drop out, but play a harmonized descending line against piano chords in the tenor register.  This first statement stays in G-sharp minor, but a second statement of the same material, with the low bass triplets and the descending string line, shifts down to E major.  This breaks into two rising piano arpeggios, still in triplets, against detached string chords, during which E major is quickly changed to E minor.
7:56 [m. 121]--The key signature changes to one sharp, signifying E minor or G major.  The pattern at the second ending is reversed, with the cello playing the low bass triplets and the piano playing the harmonized descending line.  The first statement briefly suggests G major, while the second re-confirms E minor.  As before, the second statement is followed by arpeggios and detached chords, now with the strings playing the arpeggios, passed from cello to violin, and the piano the chords.  The second arpeggio changes to “straight” rhythm and is played pizzicato.
8:09 [m. 127]--The downward-turning triplets are now used for a suddenly passionate outburst.  The piano plays two such figures in octaves, the first in the bass, followed quickly by a second in the right hand.  The cello and violin then follow with their own triplets.  After this, the piano breaks into a sweeping upward arpeggio on B major, now the “dominant” harmony in E minor.  The pattern is repeated with subtle changes.  The piano right hand and violin triplets are moved up an octave and the cello one is moved down a half-step.  The piano arpeggio that follows has a similar contour, but it is over a completely new chord, that of F major.
8:16 [m. 131]--The triplet patterns are now passed in the same way, piano left hand, piano right hand, cello, and violin, but without the intervening arpeggios.  Over two measures, the figures move steadily upward, and the piano left hand joins the cello on its second figure.  Over the next two measures, the distribution of the triplet figures is varied, still with the steady upward motion.  The piano right hand adds harmony to its octaves, along with two rapidly sweeping arpeggios.  Then, in the two measures after that, the piano dovetails the turning figures between the hands, with one hand beginning before the other finishes, the right hand still in harmony.  The strings punctuate with chords, and the key center has arrived back home on B.
8:28 [m. 137]--The arrival on B is in minor, not major, and the violin sings forth the opening of Theme 1 in a minor-key transformation.  The cello drops out for five measures.  Against the statement, the piano plays an arching line in two-note harmonies, with a slight offset between the hands, the right just lagging after the left.  The violin statement of Theme 1 breaks, isolating a downward stepwise figure and then plunging down in an arpeggio.  The piano repeats its upward motion and then, against the violin arpeggio, the right hand moves to undulations against rising arpeggios in the left, the right hand still lagging slightly behind.
8:38 [m. 142]--The cello takes over from the violin, and the Theme 1 pattern begins again, now in F-sharp minor.  The first three measures correspond closely, although the initial descent in the piano’s right hand is now in octaves.  The offset between the hands continues.  The cello follows the pattern by isolating the downward stepwise figure, but then it changes it by replacing the plunging arpeggio with a slow stepwise descent.  The piano also changes here, still moving to undulations, but much slower ones that break the offset between the hands.  The harmonic motion is sidestepped when the violin re-enters, echoing and slightly changing this stepwise descent.
8:53 [m. 149]--Beginning in F-sharp minor, a highly dynamic and unstable passage begins with the cello murmuring ominously in its low register.  The piano again sets up the offset between the hands, which play an octave apart.  It begins with a two-note alternation and descent, moving toward C-sharp minor.  The violin re-enters, echoing the piano’s alternation and descent.  As it does, the piano plays its familiar arching motion in two-note harmonies.  There then follows a descending sequence on the pattern, with each entry coming a third lower.  These entries are from piano, then cello, then piano again.  The piano plays the arching motion under the cello entry.
9:04 [m. 154]--The piano finally breaks after very briefly bringing the hands together.  The violin begins a similar pattern, alternating melodic notes with its low open G.  It begins not a third, but a step below the piano’s previous statement, and the cello briefly enters at the end.  The piano follows the violin, again a step lower, with its right hand imitating the violin motion, but in octaves instead of with the constant lower note.  The left hand enters in low octaves as the cello had done.  The strings in unison begin the familiar two-note alternation over broken octaves in the piano right hand, the left hand playing a slower turn.
9:11 [m. 157]--The tension has been steadily building, and now Brahms unleashes it in a powerful buildup.  The piano left hand takes the lead in low octaves on the familiar turn, with the right hand following in broken octaves.  The strings move to sustained octaves that leap up and down.  The volume builds.  For two measures, the string octaves and the piano bass remain anchored to the note G while the right hand moves steadily up by half-step.  The piano bass then gradually moves up as well as the strings begin to leap in syncopation, still on the note G.  Finally, the instruments come together for a massive cadence in the unexpected key of C.  It seems as if the arrival will be on C minor, but the cadence is diverted to major.
9:22 [m. 162]--In powerful chords and octaves, with some syncopation, the piano begins the alternation while the strings play a fragment of Theme 1.  While the piano begins in C major, the Theme 1 fragment is in F minor.  Everything then erupts in another C-major cadence, with wide leaps between chords and octaves in the right hand against forcefully descending arpeggios in the left, the strings playing chords in triple and quadruple stops.
9:27 [m. 165]--An unexpected element returns, the opening of the transition passage, familiar from the exposition as the point of divergence from the original version.  The strings play the sweeping gesture in triplet rhythm, with the cello leading on the upbeat.  The piano plays the rhetorical complement with long-short rhythm.  C major reluctantly yields to F minor, becoming its “dominant.”  The pattern is stated again, now with the roles reversed, the piano playing the sweeping motion with some added harmonic thirds, reaching higher.  F minor is confirmed in an extension beginning with a cello descent in straight rhythm over agitated piano chords, still in triplets split between the hands.  These continue another measure.
9:37 [m. 170]--After the violin leads in with agitated triplets, both strings take over the role that the piano played at 9:22 [m. 162], and that passage is varied with instrument roles reversed and the key shifted up a step, to D major.  The piano plays the Theme 1 fragment, keeping the turning triplets in the low bass.  The powerful cadence follows in D major, as it had in C before, again with the roles of the instruments largely reversed.  The strings do not include the rapid arpeggios that the left hand had played before.
9:43 [m. 173]--Following the pattern at 9:27 [m. 165], the triplets and rhetorical long-short rhythm of the transition passage follow in the expected key of G minor.  The piano plays the triplets, beginning with powerful octaves in the low bass before the hands are doubled in octaves, and the strings play the long-short rhythm.  As expected, the pattern begins with a reversal and with the strings taking the triplets.  But halfway through this second statement the triplets pass back to the piano, the long-short rhythm restarts in the strings and the harmony is almost magically diverted to A major.
9:51 [m. 177]--The extension using the cello descent in straight rhythm and the piano chords in triplets split between the hands is lengthened and used to settle things down.  A lingering fragment of the “transition” triplets is added to the mix.  The key moves from A major to E major, albeit with a slight minor-key inflection using the note C-natural.  This E-major harmony is extended over three measures.  The music attempts to settle down, fighting two surges before finally yielding its energy.
10:00 [m. 181]--The one-sharp key signature changes back to the five sharps of B major and G-sharp minor.  The piano straightens out its rhythm, abandoning the triplets, and descends in octaves, still with alternating hands.  The strings hold the note G-sharp, still as part of the harmony in E major.  But then they, leading the piano, move gently but decisively to G-sharp minor.
10:10 [m. 185]--Re-transition.  The piano moves back to the triplets, using the downward turning figure that was so pervasive throughout the development and will continue as the recapitulation begins.  It alternates between the right hand and the low left-hand bass.  Meanwhile, the strings begin a clear statement of Theme 1 in G-sharp minor, reminiscent of the minor-key statements heard earlier.  After two measures, the rising line is reiterated twice, moving upward and gently building.  The key smoothly moves from G-sharp minor to its “relative,” which happens to be the home key of B major.   The piano triplets become continuous in the right hand.  Here, the recapitulation sneaks in.
RECAPITULATION
10:19 [m. 189]--In the original version, the recapitulation of Theme 1 had been literal.  Here, it is varied and abbreviated.  The re-transition has smoothly and imperceptibly led into the reprise, which begins with the passage originally heard at 0:38 and 4:35 [m. 21].  This arrival is further disguised by a sighing figure leaning into the familiar first melodic note.  The violin leads melodically, harmonized by the cello.  Instead of the syncopation it played before, the piano now continues with the turning triplet rhythm as it had been established in the development, played mostly in octaves alternating between hands.  The third and fourth measures establish continuous triplets in the right, then the left hand, and the fourth measure has a brief return to the original syncopation with strong octaves moving down a half-step, but only in the right hand.
10:27 [m. 193]--The second half of the phrase follows the same pattern with the expected full arrival and cadence on B major.  The turning triplets again alternate between hands in octaves.  At the end of the phrase, the right hand has a powerful upward arpeggio in straight rhythm that is an entirely new addition not heard in the exposition.  This adds a new level of grandeur and excitement to the B-major cadence.
10:36 [m. 197]--The contrasting phrase is skipped, and Brahms moves to the climactic one from 1:06 and 5:04 [m. 36].  The already full-hearted phrase is made even richer and more brilliant through the continuing triplet motion, which is heard in the piano bass and the violin in alternation.  The violin triplets are especially breathtaking.  The cello plays its original line an octave higher.  The cello joins the triplets in the third measure.  In the last three measures, the piano bass plays the original syncopated leaping octaves, but the cello takes the original violin line and the violin continues its thrilling triplets.
10:51 [m. 204]--Transition.  The remainder of the Theme 1 complex, including the 3/2 measures, is cut.  The three-note descent in long chords from 1:20 and 5:17 [m. 43] is heard, but then things deviate toward the sweeping triplets from the transition.  The clear connection between the dotted-rhythm sequel to the chords and the long-short complement from the transition itself becomes apparent.  The sweeping triplets are heard in the piano bass (doubled for one beat by the cello) and the long-short chords in the right hand.  But then the strings play a familiar descent that turns to minor as the triplets continue in piano octaves.
10:58 [m. 208]--The key signature changes to two sharps for B minor.  Theme 2 must appear in the home key center, but it remains a minor-key theme.  The triplets begin again in the strings, with the long-short rhythm in the piano.  The triplets quickly pass to the piano as the strings move again to the familiar descent, with an offset between them, as one of them always holds notes over bar lines and strong beats.  They then repeat the descent in faster notes, with the violin playing staccato as the piano triplets continue in octaves between hands.  The descent begins on an upbeat and is clearly derived from Theme 2, hence its familiarity.
11:05 [m. 211]--The new transition now settles to its cadential pattern.  The piano triplets are repeated four times at the same level, beginning on the second beat of the measure, now in contrary motion between the hands.  They and the strings, which play held notes against the triplets, move to a forceful cadence in B minor on the third beat of the measure.  The same pattern and cadence are then repeated with the right hand and violin beginning an octave lower.  This time a fifth triplet is added as an upbeat (originally heard as a downbeat, not in contrary motion, ending the previous sequence).  The cadence is thus shifted back a beat.  It now ends with an upward string leap, a questioning gesture setting up the full return of Theme 2.
11:13 [m. 215]--Theme 2.  In the original version, it was Theme 2 that was totally replaced by new material after the literal recapitulation of Theme 1.  Here in the revised version, with Theme 1 varied and abbreviated, Theme 2 is presented in full, with relatively minor alterations, but of course transposed to the home key center.  This first statement corresponds closely to 2:25 and 6:21 [m. 76].  It is presented with new scoring.  The main arching arpeggio beginning on the upbeat is now played by the strings in octaves.  They made minimal contributions before.  The piano adds a new and decorative arpeggio against it, moving in notes twice as fast and in contrary motion to the main theme.  The gently rising line is slightly changed, moving to the top of the piano chords under held string notes.
11:22 [m. 219]--The repetition of the Theme 2 phrase a step higher, with full arrival on B minor, follows as expected, still in the strings and incorporating the new decorative piano arpeggio.  The gently rising line includes octaves in the piano, and it is again on the outside of the piano harmony under the string notes.
11:31 [m. 223]--Analogous to 2:42 and 6:39 [m. 84].  Essentially, the string and piano contributions are reversed, with the strings playing the rising line and the piano the syncopated descent.  They come together as before on the two-note slurs.  Despite the basic reversal, the piano still provides the harmony and the strings still play in unison.
11:41 [m. 227]--Analogous to 2:51 and 6:47 [m. 88].  Again, the strings and piano are reversed from the exposition, with the piano again playing the syncopated descent but adding harmony to it.  The strings are still in unison.  The brief harmonic motion is to E major.
11:51 [m. 231]--Analogous to 3:00 and 6:56 [m. 92].  The reversal of material between piano and strings continues, but now it is especially artful.  The piano has reached upward, and the strings echo on the upbeat.  The three additional overlapping exchanges follow as expected, with the piano leading the strings.  In these three exchanges, the piano plays in broken octaves, as it had in the exposition, but because of the reversal, the broken octaves are metrically displaced.  The last upward string reach breaks the pattern.
12:00 [m. 235]--At this point of high tension, the reversal breaks, and the instruments follow the exposition more closely.  The grand statement of Theme 2 corresponds to 3:09 and 7:05 [m. 96].  The strings play the theme against the piano chords, then break into leaping octaves.
12:09 [m. 239]--The buildup in excitement, continuous piano chords, and five-note string turns (with brief motion to D major) correspond to 3:18 and 7:14 [m. 100].  The last five measures are subtly intensified and changed from minor to major in a departure from the exposition.  After the second five-note turn, the strings add more notes to their upward motion, and the metric placement of the piano chords is changed leading into and under the trill.  The trill is placed a step higher, and the cadence, in B major, not minor, is approached from a full octave above the arrival.  Two more piano chords are added to the cadence measure.
12:30 [m. 249]--Closing material.  The five-sharp key signature for B major returns.  The scoring and sequence correspond exactly to 3:39 and 7:34 [m. 110], but the change to major makes the familiar triplets sound triumphant instead of tragic.  The plunging piano arpeggio that had led into the first and second endings now emerges into a highly satisfying cadence measure that corresponds to neither.  The strings hold their note over up-down chord alternations in the piano that cross over the triplet rhythm.  This second B-major cadence within a few measures serves to confirm the definitive arrival of major before the coda.
CODA - Tranquillo
12:42 [m. 255]--At the point of the cadence, the cello begins to sing forth the opening of Theme 1, dolce.  The piano, which is suddenly quieter, remains in the triplet rhythm, but the right hand’s bell-like figures are in groups of two, a higher harmony and a lower note in alternation.  These groups of two “cross” the triplets and essentially make a six-note group over two beats.  To make things even more complex, the left hand plays a continuous upward series of leaps from B to F-sharp in “straight” syncopation over two octaves.  After the initial rise of the theme, the cello gently embellishes the next measure with a descending arpeggio as the piano right hand breaks its continuous motion, creating more conventional arching triplets.
12:48 [m. 257]--The violin takes over the continuation of the theme, which reverses the direction of the cello motion.  The piano’s bell-like triplets also reverse direction, moving upward, still using the complex “cross” groupings.  The left hand repeats the same syncopated two-octave pattern of leaps from B to F-sharp for a third and fourth time.  Again, the second measure is embellished with a descending arpeggio.
12:53 [m. 259]--The cello takes over, continuing the theme, and the piano plays its same patterns with the bell-like descents.  This time, the arpeggio in the second measure is a six-note group in triplet rhythm, notated as such, which arches up at the end.  Here, the left hand finally changes slightly, now leaping from B to E.  The violin takes over as expected with a reversal in direction, also adding the six-note group.  Now the left-hand leaps outline the full chord on F-sharp.
13:04 [m. 263]--The violin isolates the figure in the last measure with the held note and the six-note group, moving down a step.  The piano continues its same patterns for one measure, now with the left hand outlining the full B-major chord.  The violin repeats this figure four more times, descending in sequence.  The piano abandons its complex rhythm, playing a left-hand arpeggio in the first half of each measure, with the right hand harmonizing the violin’s six-note group in the second half.  The cello also enters for this sequence, adding a layer of complexity with an upward arpeggio in “straight” rhythm against the six-note groups in the violin and piano.  The violin deviates slightly from the sequence in the last two measures, leaping down to dissonant held notes anticipating the six-note groups, then reaching up for those groups.
13:21 [m. 268]--The sequence finally breaks.  The violin and cello hold long notes on E and G-sharp.  The volume is pianissimo and both instruments are marked perdendo, “dying away.”  The piano plays an arpeggio in contrary motion, moving inward, on the “subdominant” E-major harmony suggested by the long string notes.  Both hands are now in “straight” rhythm, abandoning the triplets.  In the next measure and a half, the piano plays descending arpeggios doubled in both hands, but these now reverse the previous rhythmic complexity.  They are in three-note groups in “straight” rhythm that cross over the beat.  There are four of these groups, moving steadily downward.  Then there is a break for one beat.
13:30 [m. 271]--Beginning on the upbeat, the piano gently plays a gentle reminiscence of Theme 2, holding the notes as it descends.  The violin holds a note, then reaches up as the piano breaks.  This pattern is then repeated with the cello replacing the violin.  In the repetition, the piano moves its last note up a half-step, creating a colorful “diminished” harmony.  Brahms indicates a slowing over these echoes of Theme 2.
13:44 [m. 275]--Brahms indicates that the tempo should return to a steady, but sustained pace.  The piano swells outward with the hands in contrary motion.  The left hand plays the opening of Theme 2 twice, the second time an octave lower.  The right hand follows it, reaching up a half-beat behind.  Against this, the violin plays double stops with the cello joining the harmony.  The strings then reverse the pattern of the piano, with the violin playing the Theme 2 opening and the cello rising against it (but not following behind).  Against the strings, the piano plays B-major chords, the right hand moving steadily down.
13:56 [m. 279]--A gradual buildup has begun.  The strings break into contrary-motion arpeggios in faster notes, one moving outward, then two moving inward.  The cello begins above the violin.  The violin adds a lower voice on another string.  This lower violin voice and the cello add dissonant suspended notes and resolutions.  Both hands of the piano, in alternation, play octaves on the “dominant” note F-sharp, each of them leaping in opposite directions over the course of four measures.  The climax is reached with the tempo still held back as the strings end their arpeggios at a point of maximum tension and anticipation.
14:10 [m. 283]--With forceful sweep, the tension is resolved in a series of outward string leaps from upbeats to downbeats, at first moving steadily upward, then leaping down and up in octaves.  The piano plays highly distinctive arpeggios against these.  They are in groups of six (triplet rhythm), with the first note of the group a low bass octave followed by a descent doubled in octaves between the hands.  The last note of the six-note group, however, is omitted, creating a sense of excitement as the “holes” are filled by string upbeats.  These joyously sweeping gestures continue for four measures, with two in each measure.
14:17 [m. 287]--Although less rhetorical in character, the “plagal” cadence from the original version is maintained, as the last two measures of sweeping gestures are on the “subdominant” E major and minor.  The instruments come together on a full-measure fortissimo B-major chord with the “third,” D-sharp, on top in the violin.  This is followed by two shorter chords with the piano bass moving higher and the violin playing triple stops with the keynote on top.  Finally, the violin leaps down an octave and the piano leaps down two octaves (three in the low bass) for the last held chord, to which the cello adds notes.
14:31--END OF MOVEMENT [289 mm.]

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2^nd Movement: Scherzo – Allegro molto; Meno allegro (Scherzo and Trio). B MINOR, 3/4 time.
SCHERZO
0:00 [m. 1]--Part 1.  This first section presents two twelve-bar units, subdivided into three four-bar segments, each following the same basic rhythmic pattern.  An upbeat in eighth notes leads into three bars of straight quarter notes, followed by a closing downbeat.  The upbeat to the next segment is in the same bar as the downbeat.  The first four bars are presented by the cello, which plays the basic form of the theme, a closed, arching phrase, at first played lightly and quietly.
0:02 [m. 5]--It is often said that Brahms’s only revision to this movement was the replacement of the coda.  He did make minor adjustments elsewhere.  This is one of the most significant of these.  The piano immediately responds with the same phrase, harmonized in the right hand.  The left hand enters a measure later in canon, imitating the right hand directly an octave lower.  Originally, it was the cello that entered in canon.  Brahms must have felt it did not project well enough.  The right hand begins the third segment, which consists of downward leaping octaves on F-sharp, as the left hand completes the canon.  Against the octaves, the left hand and cello add thematic harmonies, slightly redistributed from the original version.
0:07 [m. 13]--The violin makes its first entry on the original line, now in F-sharp minor instead of B minor.  It is harmonized directly by the cello while the piano rests.  Everything remains quiet and light.  The violin then repeats its line, but now the piano enters in canon, harmonized in the left hand.  The cello harmonies are changed, moving to a repeated “pedal point” note to accommodate the piano’s canon.  In the third segment, the piano does not quite finish its canon, but moves to upward leaping octaves on C-sharp, which the strings punctuate with upbeat-downbeat figures in harmony.
0:14 [m. 25]--The first part closes with a transitional flourish.  The strings move to and hold the “dominant” chord in B minor, pivoting back there, while the piano plays two cascading arpeggios, each one moving from the right hand to the left over two measures.  The second begins and ends lower than the first, but the entire arpeggio sequence outlines a colorful “diminished seventh” chord.
0:16 [m. 29a]--The four-measure first ending emerges out of the cascading arpeggios and simply consists of the piano left hand gradually zigzagging upward in upbeat-downbeat figures leading into the repeat.
0:19 [m. 1]--Part 1 repeated.  First twelve-bar unit begins with cello statement, as at the beginning.
0:21 [m. 5]--Piano response with canon, then downward leaping octaves, as at 0:02.
0:26 [m. 13]--Second twelve-bar unit.  Violin with cello harmony, repetition with piano canon, and upward leaping octaves, as at 0:07.
0:33 [m. 25]--Transitional flourish with cascading arpeggios, as at 0:14.
0:35 [m. 29b]--Second ending.  After everything has been completely quiet, there is a loud outburst.  The strings move to a bright G-major chord, and the piano plays a continuous four-bar descending arpeggio on that chord, articulating each measure with a small upward leap.  The first three measures are notated in seven-note groups, creating a sense of asymmetry.  The piano lands on a low G, after which the cello, then the violin, play the familiar upbeat from the theme and hold the downbeat, each confirming G major.
0:40 [m. 37]--Part 2.  The long central section is organized in units of eight bars instead of twelve, still subdivided into four-bar segments and following the same rhythmic pattern as before.  As the strings hold their G-major chord, the piano plays the theme, which now has a noble character instead of an ominous and skittish one.  The left hand adds reiterations of the upbeat figure.  The second segment is a new consequent or “answer” to the first one.  This “answer” was not heard in the repetitions and canons of Part 1.
0:44 [m. 45]--The next unit moves to E minor (“relative” to G major).  In full harmony, high in the right hand, the piano plays the theme.  The cello holds a drone fifth while the left hand holds an octave E.  The violin adds upbeat figures and a cadential gesture derived from the leaping octaves.  As with the G-major statement, the second four-measure segment is a consequent or “answer” to the first.
0:49 [m. 53]--The next unit is similar to the previous one, but each “segment” is in a different key.  The new addition is the violin using its upbeat figures to shoot upward from the “dominant” note to the “tonic” note in each key.  The left hand and the cello now reiterate their harmonies, again with upbeat-downbeat motion.  The first segment is in C major, the second (the consequent or “answer”) a step higher, in D minor.
0:54 [m. 61]--This unit adds downward-rushing figures in piano octaves.  These figures turn, then plunge downward over each four-measure segment.  The violin takes the lead on the thematic material, reaching very high, with the cello playing the upbeat figures and leaping octaves.  The first four-bar segment is in another new key, C-sharp minor, while the second one moves toward the home key of B, but this is apparently B major, not minor, as it was in Part 1.  In this “answering” segment, the violin continues upward instead of making the typical downward motion at the end.  The high violin adds to the excitement.
0:59 [m. 69]--The climax comes with a full eight-bar unit in B major.  It follows the statement and answer pattern, but remains in the same key, as did the first two units of Part 2.  The violin doubles the top note of the piano’s high right-hand chords.  The cello and left hand play powerful and active chords.
1:04 [m. 77]--The downward-rushing piano octave figures from 0:54 [m. 61] return with their typical turning motions.  B major has yielded to B minor, but the harmony highly emphasizes the “dominant” F-sharp.  The strings play one typical four-bar segment against the octaves, but then they hold the “dominant” chord for the next four measures as the piano figures make a second tumble down to the low bass.
1:09 [m. 85]--The rhythmic pattern of the units is now somewhat disrupted.  The strings, in thirds, isolate the descending motion of the theme against a held piano F-sharp.  The piano bass then slides up to G preceding a single downward-rushing figure in the right hand, whereupon the strings state their isolated descending motion a half-step higher against the held piano G.  Once again, the piano slides up, now to A-flat, followed by another of the downward-rushing figures a half-step higher.  This one rapidly quiets down.
1:13 [m. 93]--The strings quiet down, but now become more active and continuous with their descending motion.  They begin a half-step higher, as expected, but they next sequence the pattern up a third, then a fifth without any breaks between them, continuously and quickly building.  The piano, meanwhile, has moved up to A, then A-sharp, but without the downward-rushing figures between them.  These half-step motions consistently happen on the last beat of the measure, held over across the bar line.  The strings repeat their last pattern of the sequence, but now the piano right hand doubles their harmony as the fuller volume is again achieved.  With the A-sharp in the bass, the home key of B minor is again asserted.
1:18 [m. 101]--The instruments suddenly quiet down.  Mysteriously, the violin starts to sing a new melody against isolated thematic figures in the piano right hand and ominous leaps in the cello and piano bass.  This melody spins itself over twelve bars, with three thematic fragments in the right hand.  It seems as if it will be extended another four bars to create a “double unit” of sixteen bars, but the last four notes of the melody are broken by full measure rests, extending the last segment to eight bars and the total statement of the melody to twenty.  The piano adds two shorter fragments that punctuate the beginning and the halfway point of this rest-extended segment.  The mysterious melody’s identity will be revealed later.
1:30 [m. 121]--Part 3.  This final portion is a variation of Part 1, moving again to twelve-bar units.  The cello states its familiar thematic opening, now punctuated by short piano chords.  The piano response follows, again with the left hand trailing in canon, but a new element is now added, a faster, passionate variant of the mysterious melody in the violin just introduced.  The closure of the violin melody, a long-held note over three measures followed by a downward resolution, happens over the original third segment with the downward leaping octaves.
1:38 [m. 133]--The statement in F-sharp minor led by the violin follows as expected, now with an added bass line in the piano.  But in the second segment, the piano not only plays in canon as expected (the canon now played in the left hand with added harmony), but also adds the new and passionate melody just played by the violin, presenting it in right hand octaves.  Like the violin, the piano concludes the new melody with a long three measure note and a resolution (the latter coming a beat earlier than the violin had).  The upward leaping octaves against the upbeat-downbeat string figures are now entirely in left-hand octaves.
1:45 [m. 145]--The pattern now deviates from Part 1, and elements from Part 2 are introduced.  The violin plays a statement and answer in eight bars, like the units in Part 2, and the piano plays its now familiar downward-rushing figures in the right hand, slightly transformed in shape.  The left hand, then the cello add brief harmonic counterpoint to the violin line.
1:50 [m. 153]--The piano transforms the downward rushing figures into upbeat-downbeat gestures characterized by their opening turns.  These are played continuously, moving down, as the violin isolates the initial upbeat from the theme, gradually moving upward.  The cello punctuates this with its own upbeat figures, but these are rhythmically displaced onto the second beat of the bar.  After four bars of this pattern, the piano extends it two more bars by again reaching upward, breaking into an ecstatic upward reach.
1:54 [m. 159]--The strings drop out, and the piano breaks into cascading arpeggios similar to those at 0:14 and 0:33 [m. 25].  Like those arpeggios, these outline a colorful “diminished seventh” chord, but there are eight notes to each measure (clashing with the triple-time rhythm) instead of six, increased even from the seven-note groups heard in the second ending at 0:35 [m. 29b].  There are four of these eight-note arpeggios, each one an octave lower than the last and beginning with its last four notes.  The left hand punctuates them with the upbeat figure from the theme.  After the last arpeggio lands on F-sharp, the strings enter on that note, repeating it over two measures and slowing down in anticipation of the Trio section.
TRIO (Meno allegro, B major)
1:59 [m. 165]--Part 1.  The melody is broad and tuneful, with a characteristic sway between longer notes on downbeats (some held over bar lines) and shorter ones off the downbeats.  It is played in the piano’s tenor register in two-note harmonies, with the left hand playing distinctive upbeat figures in the low bass.  After two measures, these bass upbeat figures add a characteristic repeated note.  Closer inspection reveals that the warm B-major melody was anticipated by the violin’s mysterious entry at 1:18 [m. 101] and the “passionate” variant introduced as a counterpoint to Part 3 at 1:30 [m. 121].  Against this first statement in two phrases, the violin and cello simply hold a long F-sharp.  At the end, after shorter melody figures at the cadence, they play an upward scale to lead into the second statement.
2:15 [m. 181]--Part 1, varied repetition.  The theme is now played by the strings, who break from their long-held unison note.  They play it in pleasing harmonies of sixths and tenths.  Against it, the piano isolates the upbeat figures previously played in the bass (including the characteristic repeated notes), now doubling them in octaves between the hands.  These figures briefly add harmonies at the cadence, then the repeated-note gesture is used to lead into Part 2.
2:32 [m. 197]--Part 2.  It begins with a contrasting period in which the violin doubles the piano’s melodic line.  The cello doubles the upbeat figures in the piano bass.  In a change from the original version, the cello doubling is plucked, not bowed, and the piano’s repeated notes are simply doubled by a single plucked cello note.  The first phrase makes a detour toward E major.  The second phrase soars upward rapturously, then settles back down in preparation for the return to the main melodic phrase.  This preparation is extended by two bars from the expected pattern, with the cello breaking to take up the bow.
2:52 [m. 215]--The return of the main melody has the cello doubling the now higher piano with the violin alone holding the long F-sharp.  The first phrase proceeds as expected.  The second, however, builds upward, creating another contrast and even more anticipation for the climactic final statement.  In this upward buildup, the last part of the first phrase is isolated and used for an ascending sequence.  The held violin notes move up accordingly.  After two rising sequences, the melodic line pauses as the bass figures with their repeated notes continue.  At the same time, the violin erupts into leaping octaves, down and back up, also using the repeated notes.  This continues in another two-bar extension, ratcheting up the tension.
3:11 [m. 233]--The climax is reached with the grandest statement of the Trio theme, presented in full.  The piano is now two octaves higher than its original presentation, its harmonies fuller.  The cello doubles the melody, not the repeated-note bass as in the original.  What really makes the statement stand out, however, is the violin, which plays in shimmering high tremolo octaves that only gradually move away from and back to the note F-sharp.  When the statement reaches its own high point, the upbeat figures continuously shoot upward, creating a slight cross rhythm, with the repeated-note figure appearing on one downbeat.  The first ending to Part 2 (mm. 247a-248a) zigzags downward in piano and violin to lead into the repeat.
3:27 [m. 197]--Part 2 repeated.  Contrasting period with two-bar extension, as at 2:32.
3:47 [m. 215]--Return of main melody, then new buildup and extension with leaping violin, as at 2:52.
4:06 [m. 233]--Climax with grand statement, as at 3:11.  The first measure of the second ending (m. 247b) comes to a full stop, in contrast to the immediate “lead-in” from the first ending.
4:21 [m. 248b]--Re-transition to Scherzo reprise.  The cadence is repeated by the piano.  It is then echoed by the strings in strongly plucked chords.  The strings then hold a low B as the piano isolates the cadence gesture in low bass octaves, moving to minor and playing it twice in descending sequence, quickly diminishing in volume.  It becomes suspended on the “dominant” note F-sharp, punctuated by plucked strings.  This sets up the return of the scherzo with the following upbeat.
SCHERZO REPRISE (Tempo I)
4:35 [m. 261]-- Part 1.  First twelve-bar unit begins with cello statement, as at the beginning and 0:19.
4:37 [m. 265]-- Piano response with canon, then downward leaping octaves, as at 0:02 and 0:21 [m. 5].
4:42 [m. 273]-- Second twelve-bar unit.  Violin with cello harmony, repetition with piano canon, and upward leaping octaves, as at 0:07 and 0:26 [m. 13].
4:49 [m. 285]-- Transitional flourish with cascading arpeggios, as at 0:14 and 0:33 [m. 25].
4:51 [m. 289]--Loud outburst in G major with arpeggio in seven-note groups, then thematic upbeats from the strings, as at 0:35 [m. 29b].
4:56 [m. 297]--Part 2.  First eight-bar unit.  Noble piano statement in G major, as at 0:40 [m. 37].
5:00 [m. 305]--Statement in E minor with cello drone fifth and violin decorations, as at 0:44 [m. 45].
5:05 [m. 313]--Statement in C major and D minor with upward-shooting violin figures, as at 0:49 [m. 53].
5:10 [m. 321]--Statement led by violin beginning in C-sharp minor and moving toward B major, with downward-rushing piano octaves, as at 0:54 [m. 61].
5:15 [m. 329]--Climactic statement in B major, as at 0:59 [m. 69].
5:20 [m. 337]--Downward-rushing piano octaves plunge to low bass as strings move to a held “dominant” chord, as at 1:04 [m. 77].
5:24 [m. 345]--Isolation and sequential statements of thematic descending motion in strings and downward-rushing piano figures, as at 1:09 [m. 85].
5:29 [m. 353]--Active and continuous motion with buildup in volume and rise in pitch, culminating in full assertion of B minor, as at 1:13 [m. 93].
5:34 [m. 361]--Emergence of new melody in violin, now known to be an embryonic version of the Trio theme, as at 1:18 [m. 101].
5:46 [m. 381]--Part 3.  Cello opening with piano response and canon, now with added passionate “Trio” melody in violin, as at 1:30 [m. 121].
5:53 [m. 393]--Statement led by violin with passionate melody in piano, as at 1:38 [m. 133].
6:01 [m. 405]--Violin statement and answer in eight bars with rushing piano figures, as at 1:45 [m. 145].
6:05 [m. 413]--Continuous upbeat-downbeat gestures in piano with isolated upbeat figures in violin and cello, then ecstatic upward extension, as at 1:50 [m. 153].
6:09 [m. 419]--Cascading eight-note arpeggios on “diminished seventh” harmony with upbeat figures in left hand, as at 1:54 [m. 159], but they are reduced from four to three, cut off by the beginning of the coda.
CODA
6:11 [m. 423]--The only major revision to this movement is the complete re-composition of the ending.  The new coda begins like the old one, with the cello using the rhythm of the scherzo theme to reach upward, closing off with a descending octave, the piano moving to colorful descending full-measure chords.  The cello then begins the pattern an octave higher, continuing for two measures before passing to the violin (instead of one measure as in the original version).  When the violin does take over, it does not continue the pattern, but shoots upward on an arpeggio that is passed to the cello and back to the violin.  The arpeggio is a “dominant seventh” chord on A, which signifies the “relative” key of D major.  With the violin entry, the piano chords, now at a higher level, are sustained for two and then four measures.
6:18 [m. 434]--The strings drop out after their arpeggios, and the piano takes over.  A high octave E over the end of the sustained chord leads to a sweeping downward arpeggio on the “dominant” harmony in D major.  This arpeggio resembles those used at important structural points in the scherzo.  A low bass A-sharp at the very bottom of the keyboard is used to launch an upward arpeggio to mirror the downward one.  This upward arpeggio is on a colorfully dissonant “diminished seventh” chord, which can easily be used to pivot back to B.  It sweeps up in both hands, harmonized in sixths before a very brief pause.
6:25 [m. 445]--In B major, not B minor, the cello uses the scherzo theme’s distinctive upbeat to lead to a chord in the other two instruments confirming the major-key transformation.  The piano follows this with a skittish upward line, leaping up between B and the “dominant” note F-sharp over three octaves, repeating each note in a bit of virtuosity.  The same sequence, the cello lead-in to the chord and the skittish upward piano line, is repeated with everything moved an octave higher.
6:29 [m. 453]--The final B-major harmony is quiet, and it is reiterated in several creative ways.  The cello holds an open fifth as the violin plays an off-beat third, then repeats it an octave higher.  Meanwhile, the piano steadily moves its own B-major chord down one octave, then another.  The strings make their final entry on an octave F before the piano bass moves down to a low octave B.  This quiet B-major chord with the strings on an octave F is the same one that ended the original coda.  It provides a perfect transition to the third movement.  The new coda arrives at this same point without the completely drained energy of the original ending.
6:43--END OF MOVEMENT [460 mm.]

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3^rd Movement: Adagio (Ternary form [ABA’]).  B MAJOR, 4/4 time.
A Section
0:00 [m. 1]--The main theme is hushed, understated, and still.  The piano presents the opening in chorale-like descending chords marked by a long-short rhythm in the middle.  As the piano completes its statement, the strings enter with an answer.  It is slightly more active, with moving notes in the violin harmonized by the cello.  The answering phrase ends with its own “questioning” gesture, a light grace note in the violin.
0:27 [m. 7]--The piano begins its phrase again, starting in the same way, but veering toward the “relative” G-sharp minor at the end.  The string answer confirms the minor-key detour.  The cello is more active this time, and the phrase again ends with a light grace note in the violin.
0:55 [m. 13]--The piano begins its third statement, this time moving from G-sharp minor back to B major., now with a more decisive conclusion.  This time the string answer is more decisive, with downward leaps and another harmonic turn, this time to E major.  The grace note is omitted, as is the measure-long chord.
1:19 [m. 18]--Now the piano and strings engage in shorter exchanges beginning in E major.  The piano plays a simple one-measure descent, and the strings respond with a short rising line.  The piano repeats its short descent, but the strings now extend their response, which moves the harmony back to B major.  It seems as if the strings will complete their arrival, but they are interrupted by another piano entrance.  This extended string response is slightly more sophisticated in the revision, with an added suspension and delayed resolution in the cello and double stops in the violin.
1:50 [m. 25]--Now the piano and strings finally come together.  The first piano entry dovetails with the conclusion of the strings’ previous extended phrase.  The strings then enter against the piano’s mildly chromatic continuation for one measure, the violin moving down and the cello moving up.  The piano then leads for another measure, reaching higher.  Brahms added a rising cello harmony here in the revision.  The strings again respond, with the violin an octave lower and the cello a third lower.
2:10 [m. 29]--All three instruments now play together in longer notes, moving toward an extremely satisfying final cadence.  This cadence is slightly delayed, with the anticipatory “dominant” chord being held over the bar line in the right hand and the strings (the left hand does move on the downbeat) and the arrival finally coming midway through the measure (a beat earlier in the revision).  Subtle changes in the revision include fuller piano chords and a new, lower violin line before the cadence.  There is hardly time to linger on this cadence.  It has closed off an extremely still, yet highly intense opening section, and its much-awaited resolution barely happens before the piano launches directly into the contrasting B section.
B Section (G-sharp minor)
2:30 [m. 33]--The B section is entirely new (and longer) in the revised version.  Halfway through the measure with the delayed cadence (m. 32), the piano bass begins a descent to G-sharp and the right hand enters in syncopation, anticipating the cello melody.  The theme is presented in full by the cello, with the violin resting for more than 12 measures.  It is expressive and melancholy, spinning itself out with rocking motion.  The piano bass initially remains anchored to G-sharp while the right hand plays off-beat harmonies.  In the second and third measures, these move to upbeat-downbeat harmonies, and the left hand finally moves in the third measure of the phrase.  The fourth measure of the phrase, with a descending cello motion shadowed in the piano bass, is repeated as a more conclusive echo, creating a five-measure unit.
2:56 [m. 38]--The second phrase begins like the first, but in its third measure the cello reaches higher and becomes more passionate and intense, with building volume.  This buildup makes a detour to E major and extends the phrase by a measure.  The descending line that closes it is now in the fifth measure, but it diverts from a full cadence in G-sharp minor.  As in the first phrase, this gesture is repeated as an echo with a more conclusive arrival, now an octave lower, creating a six-bar unit
3:26 [m. 44]--The piano begins a series of disorienting arpeggios in contrary motion between the hands, beginning on the upbeat and leaning into the next downbeat or strong beat.  They underlie a melodic line in long-short rhythm with rising and falling motion.  After two measures of these unsettling arpeggios and the long-short melody, which shift the key to D-sharp minor, the strings enter with a brief upbeat echo of the rising gesture that began the long-short melody, the violin making its first appearance since the A section.
3:39 [m. 46]--The piano begins another two measures of the contrary-motion arpeggios and long-short melody without the initial upbeat-downbeat motion.  This time they move to E major, and again the strings enter with an upbeat echo at the end.  The piano now takes up this short echoing gesture in alternation with the strings.  There is one more such exchange of these short figures with the piano following the strings.
3:57 [m. 50]--In a buildup, the strings lead the piano in three more short exchanges like the two previous ones, moving back to G-sharp minor.  After the third exchange, the violin has reached a high point in volume and pitch, and with the cello, it leads a longer descent.  Meanwhile, the piano plays one more of the short contrary-motion gestures, this time serving as an upbeat to the return of the main B section theme, now presented by the violin, which also seamlessly merges into the upbeat to the theme.
4:09 [m. 52]--With the downbeat, the violin fully emerges into the theme, now fuller and richer than the initial cello presentation.  The cello provides harmonies along with the piano.  For the first measure, the contrary-motion arpeggios continue in the piano, but these quickly change to a more regular alternating motion between upper harmonies and lower notes in the right hand over a solid bass.  At first it seems as if the original five-bar unit will be retained, with the cello taking over the “echo” from the violin, but the cello extends the “echo” downward two times, leading to a full cadence in G-sharp minor, supported by bell-like notes in the piano bass and the violin in its lowest register.
4:36 [m. 58]--The violin briefly drops out, and the cello establishes a “pedal point” on a low G-sharp, continuously repeating the note.  The piano again begins the contrary-motion arpeggios and long-short melody over the throbbing cello G-sharps, beginning with an upbeat-downbeat motion.  The first two arpeggios extend the arrival note by a beat, obscuring the meter even as the cello pulses.  They then surge upward, holding a chord over a bar line, and move back down, creating a broad arch over two measures.
4:52 [m. 61]--The violin enters again, joining the piano on another broad arch that builds in volume.  The cello continues its pedal point for one measure, then abandons it to harmonize the violin on its descent.  The piano doubles the violin on the ascent of the arch, but the violin descends earlier, and the piano reaches higher.  When the violin, with cello harmony, reaches the end of its arch, the harmony of E major is used.  The piano, whose arrival is three beats later, stays firmly on G-sharp minor.  The volume now recedes.
5:03 [m. 63]--The strings lead the piano in two exchanges of the shorter gestures.  The strings move inward, the piano outward.  The strings emphasize E major, the piano G-sharp minor.  The second piano gesture is an octave lower, and it merges into a simple exchange of chords, now with the strings following the piano, each still retaining their associated harmonies.  These lead into the reprise of the A section.  The use of E major harmony here is interesting since that was the key of the B section in the original version.  Perhaps Brahms refers to the key at this point of re-transition as a nod to his earlier Schubert-based theme.
A’ Section
5:19 [m. 66]--As the strings play their last E-major chord to close the B section, the piano begins the main theme of the A section, resolving the E major/G-sharp minor ambiguity at the end of the middle section with a direct and unmediated motion back to B major.  The first chorale-like chords are placed slightly higher, their pitches and harmonies altered to facilitate the somewhat abrupt transition back to B.  A new “leaning” chord is added on the downbeat of the second measure.  By the third measure, the harmonies have come close to the original orientation.  The A’ section is mostly unchanged from the original version.  
5:33 [m. 69]--With the arrival in the fourth measure, the piano does not rest for the string answer, but begins a delicate, high decorative line with six-note groups in triplet (or sextuplet) rhythm.  The strings enter as expected and play their original answer from the opening without alteration, including the violin grace note.  The piano’s embellishment is entirely in the right hand.  It begins by meandering up and down, gradually extending outward, then emerging into downward arching figures before reaching even higher and circling back down against the held string chord with the grace note.
5:45 [m. 72]--While this phrase corresponds to 0:27 [m. 7], there are significant and artful changes.  First, the piano adds a descending inner voice in eighth notes under its first chord.  Then, in the second measure, there is a subtle, but effective harmonic diversion that causes the music to move not to the expected “relative” G-sharp minor, but to the totally unrelated B-flat minor, a half-step below the main key.  When the strings enter with their response, it is in that key.  Again, the piano adds right-hand embellishments in triplet rhythm.  From the second measure, these have a distinct upward-striving reach.
6:11 [m. 78]--Corresponding to 0:55 [m. 13], the piano now must move from B-flat minor back to B major, which it does, again including the descending inner voice in eighth notes under the first chord.  The harmonic shift happens with an extra “leaning” chord in the second measure (as heard in the first phrase of this section).  B major has fully returned with the third measure, and the string answer is as it was in the corresponding passage.  The piano, of course, again adds its triplet decoration in the right hand, but this time there is a large downward reach at the same time the violin is leaping down.
6:35 [m. 83]--This passage very closely matches that at 1:19 [m. 18], in both the piano and strings, with the major exception that the triplet decorations continue throughout the exchanges.  The decorations are placed in an inner voice when the piano is playing its chords, and they continue under the string responses.  Under the second, more extended string response, not only do the decorative figures continue, but a bass note on F-sharp is added during the last two original measures as the right hand reaches up rapturously.  In contrast to the A section (and the original version of A’) Brahms adds an extra measure here.  The original last measure is also altered, with a higher-reaching cello and syncopated chromatic motion in the decorative piano line.  In the extra measure, the strings hold as the piano slows to a descent in straight eighth notes.
7:08 [m. 91]--With the excision of the entire lengthy, disruptive “Allegro” section from the original version, the added measure merges seamlessly into the concluding passage as heard starting at 1:50 [m. 25].  The extra measure serves to transition out of the piano decorations, which are not heard in this conclusion, and rather than serving as a coda as it did in the original, this ending is simply a part of the varied reprise.
7:27 [m. 95]--The longer chords and cadence from 2:10 [m. 29] bring the movement to a close.  That cadence had been cut off by the immediate beginning of the B section, but here Brahms makes things more conclusive by repeating the chord after the delayed resolution, adding another measure with a fermata.  He also changes the last string note from a doubling of the piano’s B to a high, suspended F-sharp.
8:02--END OF MOVEMENT [99 mm.]

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4^th Movement: Finale – Allegro (Varied Sonata-Allegro form with development and recapitulation combined). B MINOR, 3/4 time.
EXPOSITION
0:00 [m. 1]-- Theme 1.  The cello presents the obsessively driven main theme with its distinctive dotted (long-short) rhythm that punctuates the end of every other bar.  The piano accompanies with sweeping arpeggios in triplets.  In each bar, one left-hand triplet is followed by two in the right.  After two statements of a four-measure unit featuring the dotted rhythm, the cello soars up and down in two arpeggios, each followed by a cadence gesture.  The second of these slows greatly to a suspended arrival on the “dominant” harmony.  Despite the agitation, the theme is light and secretive.
0:24 [m. 18]-- The theme is now stated by the violin, the cello moving to plucked punctuations.  The initial four-measure units with the dotted rhythm are played as expected, as is the first arpeggio.  But here Brahms inserts a new element.  The violin plays the arpeggio, but without its cadence gesture.  It is immediately imitated by the cello, reaching slightly higher.  Only then does the violin play the original second arpeggio with its cadence gesture and slowing to the “dominant” harmony.  Even this is modified slightly, with an approach to the cadence in faster notes and directional changes in the piano arpeggios.  The cello doubles the violin in the approach to the cadence, which now omits a held measure.
0:49 [m. 38]-- The new imitation between violin and cello is played again, with the key shifted to G-sharp minor.  The imitation is followed by the arpeggio with the cadence gesture in the form just heard, still in the violin, with the cadence doubled by the cello.  The slowing is now to an arrival on G-sharp.  The piano arpeggios continue almost obsessively and persistently.  There is one slight change here from the original, with two held violin notes removed over the first cello arpeggio.
1:00 [m. 46]-- The cadence gesture itself is now isolated and decorated in the violin, with the cello adding two closing notes.  It is stated twice, with the piano arpeggios now including descents in the right hand.  These arpeggios are changed slightly from the original, with a more active left hand.  The volume builds, and a third statement begins.  This expands, with the violin playing two downward leaps.  Here the revision deviates and follows its own path for the rest of the movement.  Instead of a downward plunge, the high point, reached by an upward piano arpeggio and violin leap, leads directly into the transition.  Like the original version, this passage has served to move the music back to B minor.
1:09 [m. 54]--Transition.  Brahms reduces the original 50 measures to 10, moving much more directly to his new second theme.  Here, it is simply a continuation and intensification of the Theme 1 material.  The piano plays right hand chords with the main Theme 1 dotted rhythm while the left hand and the violin continue the persistent arpeggios in triplet rhythm, the cello providing bass notes.  After two measures, the dotted rhythm is converted into a beat-obscuring syncopation.  Then the regular arpeggios and the main rhythm continue, this time for three measures before the syncopations interrupt again.  These are in turn cut off by a huge cadence in the piano leading to “relative” major key, D major.  The strings complete this cadence with three rising notes in harmony leading into Theme 2. 
1:22 [m. 64]--Theme 2 (D major).  The new second theme is forceful and direct, presented by the right hand of the piano in octaves, punctuated by a persistent repeated low octave D in the bass.  These bass punctuations occur on the offbeat, and in tandem with double stops on the cello.  The violin enters to provide a closing commentary like the theme’s “lead-in” at the end of the first phrase.  The melody itself bears a striking similarity to “The Star-Spangled Banner,” at least in its first phrase.  The second phrase moves harmonically toward A, and the piano bass moves off the repeated D, still playing on the offbeat.
1:32 [m. 72]--The third phrase has two shorter units that veer upward toward E minor and F-sharp minor, but the fourth phrase brings things back home to D major with the right hand melody in octaves reaching quite high.  The piano bass, still on the offbeat, is slightly more active in the third phrase and much more active in the fourth. The cello and violin continue largely as before, with off-beat double-stops in the cello and “lead-in” commentaries in the violin, but the violin joins the off-beat figures in the fourth phrase.
1:43 [m. 80]--The third and fourth phrases are repeated with the strings taking the lead.  They begin in octaves, but the cello deviates with a small counterpoint after each small unit in the third phrase.  The cello adds a fully new harmonic counterpoint in the fourth phrase.  The piano relegates its right hand to the off-beat chords and “lead-in” figures, inverting the direction of the latter from the violin’s rising gestures.  The right hand helps with the cadence at the end of the fourth phrase, which leads directly into the new closing material.
1:52 [m. 87]--Closing section.  It follows the cadence directly, beginning on the second beat.  The violin plays a broad descending line, harmonized by the cello.  The piano plays broken octaves in both hands, largely in contrary motion.  These introduce the chromatic note B-flat, along with a rising chromatic line in the left hand.  The end of the descending line is marked by the now-familiar ascending “lead-in” gestures in the piano.  These are continued and extended by the strings as the piano plays cadence-like gestures with a long-short rhythm.
2:06 [m. 97]--The broad descending line is now played the by the piano.  The strings play an arpeggio at the beginning, including the “chromatic” B-flat, but drop out after two measures, leaving the piano to complete its line alone.  At the end, the piano introduces two colorful, unstable “diminished seventh” chords, against which the violin, then the cello, play the “lead-in” figures at new levels.  The piano continues to play two more “diminished seventh” chords, both sustained and repeated, while the violin first plays an arpeggio, then a series of “lead-in” figures.  All of this diminishes greatly in volume, leaving things suspended and expectant for the return of Theme 1 in B minor.
DEVELOPMENT/RECAPITULATION
2:21 [m. 108]--Theme 1.  The theme is given a new three-bar “introduction in which the cello plays a simple cadence formula in long notes against C-major and B-minor triplet-rhythm arpeggios in the piano.  The theme itself is now played by the piano in right hand octaves.  The arpeggio accompaniment is passed from rising lines in the piano left hand to falling lines in the strings.  These falling lines begin in the violin and pass to the cello.  This pattern continues for the two statements of the four-measure dotted-rhythm unit.
2:34 [m. 119]--The piano right hand continues with the first arpeggio and cadence gesture.  Here, the left-hand arpeggios are followed on the upbeats by the strings in contrary motion.  The piano passes the melody to the cello for the second arpeggio and cadence gesture.  The cello’s cadence gesture is lengthened by a measure by stretching the notes out and crossing the bar line.  The piano plays arpeggios and upbeat descents throughout the cello statement.  When the cello reaches the last notes, the piano plays a highly chromatic rising sequence of arpeggios.  Everything is hushed and light throughout.
2:48 [m. 129]--It seems as if the theme will continue with the statement corresponding to 0:24 [m. 18], and for eight measures it does.  The strings play the two four-bar dotted rhythm units in unison, the piano entering after one beat with its arpeggio sequences.  These are now unusually chromatic and dissonant, and they make an octave leap in the middle.  Brahms marks all the instruments sotto voce.  After these eight measures, the music deviates from the initial presentation and becomes developmental, but enough of Theme 1 has been stated for this to qualify as a full recapitulation.  Another full statement does not occur.
2:57 [m. 137]--The “development section” begins here.  The strings state the four-bar unit a step lower, splitting it with the cello following the violin.  The piano continues its highly dissonant arpeggios with the leaps in the middle.  Throughout these arpeggios, the left hand contributes harmonies that emphasize the dissonances.  The violin and cello then move the unit down another step, again splitting it between them.  They each leave out the first downbeat note.  They also lengthen the dotted rhythm, playing it on the last two beats instead of just the last beat.  The piano arpeggios move here from triplet rhythm to “straight” rhythm, but they are still grouped in three notes, creating a strong cross-meter.
3:08 [m. 145]--Back in octaves, the strings play the familiar cadence gesture.  Having previously lengthened it to two measures, they now stretch it out to four, with the middle note held for two full bars.  The piano accompanies with slow arpeggio figures in quarter notes.  The music remains in B minor, and a cadence there is anticipated.
3:13 [m. 149]--The B-minor cadence does arrive, but it is not a point of rest.  The violin immediately plays the familiar dotted rhythm in double-stop octaves against a piano arpeggio on an unstable “diminished seventh” harmony.  The cello joins the rhythm in the second measure a sixth below the violin.  There is a brief and powerful crescendo, and the “diminished seventh” harmony is used as a pivot to G-sharp minor, familiar as the “relative” key to B major.  Against held string notes, the piano now plays the dotted-rhythm gesture in forceful and powerful chords, the left hand still playing arpeggios.  This leads to an extremely strong arrival and cadence in G-sharp minor, and the key signature changes to the five sharps of that key.
3:18 [m. 153]--In G-sharp minor, the strings play a new and passionate idea in octaves.  It is decorated with grace notes and moves back and forth before holding a note over a bar line.  The strings move upward and play longer notes, introducing more syncopation.  The piano accompanies all of this with strong and highly syncopated chords.  All instruments then play a new turning gesture, seeming to lead to another cadence.
3:28 [m. 161]--In a parallel passage to 3:13 [m. 149], the cadence is immediately averted, the violin plays the dotted rhythm in octaves, and the cello joins.  The piano plays a “diminished seventh” arpeggio, and a powerful crescendo precedes the dotted-rhythm gesture in strong chords.  The harmony appears to move toward F-sharp minor, but this time there is no strong arrival.
3:33 [m. 165]--Instead of the “passionate idea,” the expected cadence leads into a second sequence in a row (third total) of the dotted rhythm, “diminished seventh” arpeggio, and crescendo into strong chords.  This time, the cello takes the lead and the violin follows.  The strong chords themselves are extended, adding a full second statement.  After dodging apparent arrivals on B and E, Brahms finally provides another strong cadence leading into the “passionate idea,” this time in C-sharp minor.
3:39 [m. 171]--The “passionate” idea begins in C-sharp minor.  This time the piano accompaniment is more active, adding echoes to the rhythm in the strings.  It is extended by two measures with an additional upward motion, and when the “turning gesture” arrives, it is no longer in C-sharp minor.  At first, it seems as if it will be in D-sharp minor, a step higher, but then the harmony of the “turning gesture” itself is altered, and a motion to the home major key, whose key signature is still in force, seems imminent.
3:53 [m. 181]--The expected B-major arrival is thwarted by yet another triplet arpeggio on a “diminished seventh” under long string notes.  This time, the intensity is maintained.  The violin plays a high descent, and a forceful upward arpeggio in the piano seems to suggest that there will still be an arrival on B from its “dominant” of F-sharp, but minor instead of major.  The continuation of the violin melody and a change in the piano arpeggio, however, move the harmony in the opposite direction, back toward C-sharp, now inflected to major.
4:00 [m. 187]--The strong chords on the dotted rhythm begin again on C-sharp, but now they take on the character of the original transition passage from 1:09 [m. 54].  The beat-obscuring syncopations from that passage appear after two measures.  These are cut off by a triplet-rhythm piano arpeggio in contrary motion.  The harmony again gravitates inevitably toward the home key of B minor/major.
4:04 [m. 191]--The high descent in the violin is played again against a solid piano arpeggio in B major and then minor.  At first, the motion seems to be toward E minor, but this is diverted to F-sharp.  Now that key will finally serve definitively as the preparation for a full arrival back on B major and minor.
4:09 [m. 195]--Again, the dotted-rhythm chords take on the character of the transition passage, and indeed they now form a precise parallel to that passage, leading into Theme 2.  Like the original transition, there are ten measures here, but there is a slight alteration.  The first passage of syncopated chords is extended by one measure, while the arpeggios and dotted-rhythm figures before the second passage of syncopated chords are reduced by a measure (albeit with the dotted rhythm itself entering earlier).  Here, the original roles of the right hand and the violin are reversed, with the violin playing the dotted rhythm.  With the huge cadence now leading to B major, the three “lead-in” notes are played by the violin above a cello chord.
4:21 [m. 205]-- Theme 2 (B major).  With the restatement of this theme in the home major key, the “development” ends and the “recapitulation” resumes.  The presentation is largely analogous to 1:22 [m. 64], with some minor alterations.  Most significantly, the repeated off-beat piano bass punctuations are now fifths instead of octaves, and the “lead-in” figures are played by both the violin and cello in harmony.  The ending of the second phrase, as would be expected, moves harmonically toward F-sharp.
4:31 [m. 213]--Analogous to 1:32 [m. 72].  It is a closely corresponding transposition of the exposition passage, with the third phrase units moving toward C-sharp minor and D-sharp minor, then the fourth phrase back to B major.  The only major change is that the violin “lead-in” figures on the upbeats are now harmonized by both the violin and the piano left hand.  The off-beat string figures are also slightly more active in the fourth phrase.
4:41 [m. 221]--Analogous to 1:43 [m. 80].  All parts play a closely corresponding transposition from the exposition, with the strings providing the melodic presentation of the third and fourth phrases and the cello adding its new counterpoint.
4:50 [m. 228]--Closing section, analogous to 1:52 [m. 87].  Again, the exposition is closely followed here, with the prominent chromatic note now being G-natural.  Only at the end, with the extension using cadence-like gestures in a long-short rhythm, is there some slight variance.  The second of these cadence gestures is displaced down an octave, as is the rest of the phrase.  Two lead-in gestures originally played in contrary motion by the violin and cello are now played as single lines, first by the violin and then, with the octave displacement, by the cello.
5:04 [m. 238]--The broad descending line is played by the piano, analogous to 2:06 [m. 97].  The string arpeggio is played as expected, but with the violin’s direction reversed at the beginning.  The piano continues its descending line up to the point where the “diminished seventh” chords had been played.
5:09 [m. 242]--Here, there is a deviation that serves as a transition into the coda.  Instead of the repeated piano chords with “lead-in” figures, the cello holds a long note (D-natural) and the piano plays a sweeping arpeggio on the expected “diminished seventh” harmony, receding in volume and slowing down.  The cello’s D-natural is the note that distinguishes B major from B minor, and at this point Brahms changes the key signature accordingly.  Brahms commits to placing his coda and the end of his B-major trio in B minor, just as he had in the original version.  The piano arpeggio reaches a high point, then zigzags back down.
CODA
5:15 [m. 246]--The cello’s held D-natural becomes the leading note of the familiar Theme 1 rhythm, becoming animated.  The piano breaks into triplet rhythm in a colorful upward arpeggio that zigzags back down.  The cello plays the Theme 1 rhythm, then fragments it a step lower against a similar piano arpeggio.  Against a third piano arpeggio that circles around the top before working downward, the cello plays a meandering line that serves as a continuation to the Theme 1 rhythm.  This line reaches higher at the end.
5:24 [m. 254]--The violin enters and continues the cello’s “meandering line,” playing two rising fragments above two of the now-familiar piano arpeggios that rise and then zigzag down.  Against these two violin fragments, the cello twice plays a Theme 1 dotted-rhythm fragment, continuing downward from its previous entries on the rhythm.  The violin then plays the cello’s “original” meandering line against the “circling” piano arpeggio.  Finally, the upward reach at the end of this line is isolated and twice passed from cello to violin over the “zigzag” piano figuration, building in volume.
5:39 [m. 267]--The piano suddenly plays four detached and forceful chords before echoing and harmonizing the last notes of the upward reach.  The strings then play the same rising figure, overlapping with the piano.  The detached and forceful chords follow again, with the right hand an octave higher.  As the right hand again leaps down to extend the chords, the strings join in with them.  All instruments then play long and syncopated notes, leading into the final stretch of the coda, which is largely derived from the original version.
5:48 [m. 274]--Brahms has not made much reference to the original version of this movement since the initial presentation of Theme 1, but here he refers directly to the beginning of its coda, the one portion that is shorter than it is in the revision.  There is a rather precise correspondence, although the scoring and texture is different.  The piano returns to the main portion of Theme 1, playing it in the right hand against wide-ranging left-hand triplet arpeggios played at the beginning of the measure.  The strings round each measure off with a triplet upbeat, moving in contrary motion.  In the second statement of the four-measure unit, the strings join the piano right hand on the thematic material, taking the melody.
5:57 [m. 282]--The buildup begins in earnest as the strings play broadly rising arpeggios (instead of leaping octaves as in the original version) against tumbling piano arpeggios.  After the piano arpeggios turn upward, the strings play forceful repeated chords (longer and fewer than in the original version) against a powerful scale figure in the piano, doubled in octaves between the hands.  The chords fail to reach a cadence, instead making a “deceptive” harmonic motion, and the piano again plays the same upward arpeggio, with the powerful scale figure and forceful string chords then repeated at the same level.
6:07 [m. 292]-- The arrival chord is subtly altered, as is the next upward arpeggio, causing the third statement of the string chords and piano scale figure to be shifted up in pitch and harmony, suggesting C major.  After another upward shift, the correspondence to the original version ends, as there is no fourth statement of the string chords and piano scale figure.  Instead, the last upward piano and string arpeggios are repeated with alterations to definitively confirm the finality of B minor.
6:16 [m. 300]--The violin plunges downward forcefully, and is joined after one measure by the cello.  The piano, meanwhile, plays four-note turn figures in straight rhythm that obscure the meter and cross over the bar line.  There are six of these, steadily moving downward.  After the first one, they are doubled in octaves between the hands.  After this moment of metric disruption, new to the revised version, the triplet rhythm returns with sweeping, arching arpeggios while the strings return to their broadly rising arpeggio.  This, however, is slurred in two-note groups, again disrupting the meter.
6:23 [m. 306]--Restoring the metric stability, the strings again move forcefully downward.  The piano joins them in octaves, but the right hand plays its notes off the beat behind the left hand and the strings.  The strings then make a huge statement of the familiar suspended arrival point from Theme 1, with an added reiteration.  The piano supports this statement with long chords and low bass octaves.
6:28 [m. 310]--The final flourish, which is far more effective than the “faster” syncopated chords in the original version, uses Theme 1, giving it a new decisiveness.  The piano begins, with the strings playing the rhythm a measure behind it.  The accompanying arpeggios in the left hand are harmonized, making them very difficult to play.  The first four-bar unit is finally given a complete cadence, at least in the strings.  The piano avoids the cadence to begin a full repetition of the unit.  This time, the piano confirms the string cadence.  To give it even more finality, the cadence is repeated twice more.  A cascading piano arpeggio in triplets, punctuated by a string chord, leads to the last sustained B-minor chord in all three instruments.
6:45--END OF MOVEMENT [322 mm.]
END OF TRIO


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