Trio in a minor, Op.188
For Oboe (Violin), Horn (or Cello) & Piano
"The Op.188 Trio in a minor for Piano Oboe & Horn dates from 1887. At the outset, let it be said that this is a striking if little heard combination. The opening Allegro moderato has a syncopated theme entrusted to the oboe. A pastoral and more optimistic melody is then introduced by the horn. The piano provides a necessary weightiness to a movement whose mood ranges widely but reaches a dramatic highpoint during a brief oboe cadenza. This is an excellent movement which is followed by a short but charming Scherzo molto vivace featuring a very clever dialogue between oboe and horn. The trio section although in A major does really provide a change in mood. The languid theme given to the horn in the ensuing Adagio manages this. The finale, Allegro ma non troppo is, for its time, quite modern sounding. The themes and writing very nearly sound neo-classical. This is a first rate work in every way. The mastery of the writing is apparent everywhere. The instruments work hand and glove, the piano especially is used in a true chamber music style."---The Chamber Music Journal
Nowadays, Reinecke has been all but forgotten, an unjust fate for a man who excelled in virtually every musical field with which he was involved. As a performer, Reinecke was, during the mid-19th century, reckoned for three decades as one of the finest concert pianists before the public. As a composer, he produced widely respected and often performed works in every genre running the gamut from opera, to orchestral to chamber music. As a conductor, he helped turn the Leipzig Gewandhaus Orchestra into a group with few if any peers. As its director, he helped the Leipzig Conservatory become what was widely regarded as the finest in the world. As a teacher of composition and of piano, he was considered to have few if any equals. Among his many students were Grieg, Bruch, Janacek, Albeniz, Sinding, Svendsen, Reznicek, Delius, Arthur Sullivan, George Chadwick, Ethel Smyth, Felix Weingartner, Karl Muck and Hugo Riemann. In his time, Reinecke and his music were unquestionably regarded as first rate.
This Romantic era trio is one of the finest of its type. Although originally intended for Oboe, Horn and Piano, Reinecke's publisher insisted that he compose a version which included strings. This he did by composing a cello part in lieu of the horn. The violin part and oboe part are identical. The trio can be played quite effectively in all of the combinations listed below.