There are also seventeen other chamber music works, many of them being of the highest importance. The Trio op. 8, for piano, violin, and ’cello, may be named first, seeing that after a lapse of nearly forty years Brahms, with a rare sense of self-criticism, re-wrote the work and published the new edition, thus, as it were, opening to us quite freely the windows of his workshop. Each movement of the trio has undergone some change, the chief of these being the first allegro con brio, which is shortened by some two hundred bars, the melodious second subject of the original version being replaced by other matter, and a fugal episode, based on this subject, which on second thoughts Brahms evidently rejected as incongruous, is eliminated altogether. The next movement, a scherzo, remains, save as to slight details, unaltered until the last thirty bars. In these the treatment is different from the first edition, a series of descending chromatic chords in the piano part being replaced by passages evolved from previously-used themes, and the string parts are radically altered. The adagio has undergone a considerable amount of alteration. In place of the second subject an entirely new theme appears; the allegro episode (Doppio Movimento) is discarded, and the length of the whole movement curtailed by more than one-third. The finale, originally marked “allegro molto agitato,” is marked “allegro” only, and instead of 518 bars, it has now only 322. New thematic matter replaces that which is omitted, and generally speaking the whole movement is a good deal transformed. We have here a somewhat rare, although of course by no means unique, opportunity of comparing the treatment of similar musical ideas by a great master at two different periods of his career, and while no doubt the changes of some of the original themes for others is of interest, the chief lesson which this revised version enforces, is that of conciseness of musical utterance. The first edition contains more passages of melodic beauty (or, may we say, more tunes approximating to prettiness?), and much more of scholarly working out; but for all this there can be little doubt that Brahms perceived the organic weakness which arises out of this diffuseness, however charming the subject-matter may have been in itself, and hence arose the artistic impulse to rewrite the work. It would be interesting if some of our chamber music artists were to perform the two versions at the same concert. The other Trios are: op. 40 in E♭, for piano, violin, and horn; op. 114 for piano, clarinet, and ’cello, which is not generally regarded as a satisfactory work; and the two for the ordinary combination of piano, violin, and ’cello, op. 87 and op. 101, both of which are fine works. [Sidenote: =Horn Trio, op. 40=]