http://www.jstor.org/stable/912385?

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https://ia801707.us.archive.org/15/items/chambermusicofbr00maso/chambermusicofbr00
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https://en.wikipedia.org/wiki/Horn_Trio_(Brahms)#CITEREFWilson2005
https://digital.library.unt.edu/ark:/67531/metadc3953/m2/1/high_res_d/thesis.pdf

The contribution of Brahms to chamber music was as significant as his work as a symphonist,
as a composer of songs and as a writer of music for the piano. His Trio for French Horn,
Violin and Piano, published with the optional replacement of the first instrument by a viola,
was written during the summer of 1865 at Lichtenthal, where Clara Schumann had bought a
cottage. It was while walking amongst the sylvan hillsides above the town that the idea for
the work came to Brahms. (On a later visit, he proudly pointed out to his eventual
biographer, Albert Dietrich, the exact spot where the inspiration for the piece struck.) He
began the Trio that summer and continued it after his return to Vienna in the autumn, but
did not finish the score until November, when he was in Karlsruhe to play his D minor Piano
Concerto. The composer was joined in the work’s premiere there by two musicians known
to history only as Strauss (violin) and Segisser (horn).The use of the horn, in this case again
the natural Waldhorn, an instrument gradually being displaced at this time by the valve
horn, is unusual, but adds a deeply romantic texture to the music. The first movement,
which, oddly, is not in the customary sonata-form, has an air of gentle melancholy and,
written at a leisurely andante, (perhaps the speed of Brahms’s hill-walking) is constructed in
an interesting fashion – it employs two alternating strains (A-B-A-B-A), whose relaxed
structure seems the perfect vessel for this amiable writing. The second movement, an
energetic scherzo, with a contrasting lyrical A flat minor Trio, and one of the composer’s
most limpid creations, makes use of the association of the horn with hunting, after the
emphatic opening of the movement; it is almost symphonic in its breadth and tonal variety.
The deeply-felt slow movement, its melancholy suggesting sadness at the death of the
composer’s mother in the preceding year, leads to a ‘hunting’ finale, thematically related to
the material appearing towards the end of the Adagio. Woven almost imperceptibly into the
horn and violin lines in the former, soon after the return of its opening melody, is the echo of
a folk song which Brahms sang as a child, Dort in den Weiden steht ein Haus (‘There is a
house in the Willows’) which, transformed, becomes the principal theme of the finale, now a
joyous and life-affirming answer to the sad plaint of the preceding music.