All three compositions on this recording by Andrew Lewinter are in a decidedly romantic idiom with respect to both the harmonies and the structure of each work. All movements of each composition are interconnected and thematically related to the opening intervals of the main theme of each first movement. The oboe’s first statement of the theme of the first movement of Lewinter’s Quintet for Oboe and Strings centers around a perfect fifth and octave. Those intervals also frame the main themes of the lyrical second movement and spirited Rondo movement.
Lewinter’s Trio for Oboe, Horn, and Piano is also in three movements. The first interval of the main theme of the first movement, a descending augmented fifth, is the kernel from which the rest of the piece grows. The second movement, a Romanza, starts with a descending minor sixth. The last movement is a theme and variations, with five contrasting variations. The theme also starts on a descending minor sixth, but on the third degree and in minor. The next to last variation is a fugue on a theme that’s an inversion of the opening intervals of the movement. By the end of the work, the opening descending augmented fifth is transformed into an ascending major sixth.
The Quintet for Horn and Strings opens with a proclamation of a descending perfect fourth. That interval, as well as the ascending minor ninth of the main theme, are dual poles around which each of the work’s three movements is structured. Those intervals also structure the intimate main theme of the Adagio movement. The slow introduction to the last movement of the Quintet for horn and Strings opens with a dissonant minor ninth. A rousing Rondo follows.