The trio is a substantial work and one of the more interesting in the genre. In a genre dominated by twentieth-century French composers such as Auric, Bozza, Dubois, Françaix, Ibert, Pierne, Tansman, and Henri Tomasi, the Bruns Trio offers a completely different style and sound. The lengthy four-movement work includes virtuosic writing for all three instruments and numerous stylistic settings. The first movement, Allegro animato, begins with an energetic four-measure unison introduction to the main melody. This introduction, written dodecaphonically, shows Brunss interest with 12-tone music. The movement showcases the oboe with its two contrasting themes. Characterized by escape tones in the melody and descending minor seconds in the accompaniment, the dolce main melody is especially appealing. Bruns utilized many creative traits here, including an inversion of the main theme, combination of the two thematic ideas at the climax of the movement, and a refrain-like use of the 12-tone introduction. The arch form second movement opens with a clarinet solo, while also containing emotional outbursts from all three instruments. The dramatic use of silence before returning to the opening clarinet melody is quite poignant. The third movement, Tempo di valse grazioso, juxtaposes a witty waltz and a march, both utilizing Brunss favorite rhythmic elementthe triplet. The ternary-form movement (waltzmarchwaltz) creates a special timbre with its sarcastic grace notes and awkward silences. The fourth movement presents a brilliant theme with variations. The Andante grazioso theme, largely in E minor, is only a half-minute in length. The five variations contain arguably the most unique music of the trio. Each variation has a unique connection with the theme. Oddly, the first variation utilizes the ending of the theme for its melodic content. The second variation is most assuredly a reference to Ballet of the chicks in their shells from Mussorgskys Pictures at an Exhibition. The lilting dance of the third variation is interrupted by a playful development of rhythmic motives before a brief return to the dance, which rounds out the ternary-form variation. Similar to the first variation, the fourth uses the end of the theme, and the writing is also reminiscent of the march section of the third movement. The final variation opens with a brooding bassoon ostinato in 5/8 meter. The ostinato and odd-meter melody, presented first by the clarinet, immediately demonstrate the playful style (giocoso). A return to common time brings about a Maestoso version of the theme. Source: Dissertation by Dr. Eric Stromberg, Cincinnati 2004
