This is the earliest work of Brahms that can be accurately dated. Amazingly, the kind of pianism we associate with the mature Brahms is already present: parallel thirds and sixths, the thick, chordal style, and the contrapuntal texture. Formally, the strongest influence seems to be Chopin (although Brahms denied this in later years). The independent Scherzo, as developed by Chopin, seems evident throughout. The Scherzo is structured in discrete sections, with two Trios rather than the usual one. Like Chopin's Fourth Scherzo, the Scherzo sections here are actually loosely structured sonata forms, including development. Brahms' willingness to explore unusual key relationships is evident here, as is his interest in thematic coherence and development. This is a remarkable early work.

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