Jasmine Choi — “Brahms Schumann Reinecke” (Sony Classical, 2020)


Embarking on the creation of my latest album, “Brahms Schumann Reinecke,” was a profound exploration of musical history and the evolution of instruments. The pieces I selected—Brahms’ Clarinet Sonata, Schumann’s Three Romances for oboe, and Reinecke’s composition originally written for flute—form a unique triad that unravels the intricate threads connecting these renowned composers. In this article, I delve into the inspiration behind my choices, the historical context of the flute’s evolution, and the interconnected lives of Brahms, Schumann, and Reinecke.

The Evolution of the Flute

The flute, among the earliest instruments in human history, enjoyed popularity during the Baroque and Renaissance eras. However, as orchestras expanded and concert halls grew in size during the Classical era, the flute faced a decline in favor among composers. The traditional wooden flute, characterized by soft dynamics, relative thinness, and tuning challenges, struggled to compete with the demands of larger symphonies. It was Theobald Böhm, a German flautist, composer, inventor, and scientist, who revolutionized the flute in the 19th century. His innovations in scale, fingerings, and materials, transitioning from wood to metal, marked a pivotal moment in the instrument’s history.

The adoption of Böhm’s design, however, was a gradual process, as news of this breakthrough spread through word of mouth in an era devoid of internet and magazines. By the early 1900s, Paris became a hub for embracing the new flute and experimenting with compositions tailored to its enhanced capabilities. The shift paved the way for the resurgence of the flute’s popularity, particularly in the hands of French composers exploring virtuosic and impressionistic styles.

Flute’s Missed Encounter with Romantic Masters

Reflecting on this historical transformation, it becomes evident that the Romantic era, with composers like Brahms, Schumann, Tchaikovsky, and Rachmaninoff, missed the opportunity to embrace the flute. The limitations of the traditional wooden flute likely deterred these masters from composing extensively for the instrument. Had the modern flute been available during their time, we might have witnessed a richer repertoire from these luminaries.

Motivated by this realization, I set out to reclaim the lost connection between these composers and the flute. My approach involves playing arrangements and transcriptions of their pieces, ensuring they resonate seamlessly with the flute. By doing so, I aim to showcase the timeless quality of masterful music—how it transcends the limitations of a specific instrument and speaks to the human experience across generations.

The Interconnected World of Brahms, Schumann, and Reinecke

Beyond the historical evolution of the flute, the selection of Brahms, Schumann, and Reinecke for this album was guided by more than just musical affinity. These three composers shared deep connections that extended beyond their compositions. The friendship and profound relationship between Brahms and Schumann, involving the entire Schumann family, including Robert Schumann’s wife, Clara, created a fertile ground for musical collaboration and inspiration.

Moreover, the intertwining relationships extended to Reinecke, who, as a pianist, performed with Schumann in the premieres of the Three Romances. This historical context adds layers of meaning to the compositions, establishing a web of connections that enriches the narrative of the album. It underscores the notion that music is not just a series of notes but a reflection of human relationships and the interconnectedness of creative minds.

The Timelessness of Masterpieces

The enduring appeal of the music of Brahms, Schumann, and Reinecke lies in its timelessness. Their compositions, rooted in the 19th century, continue to resonate with listeners today. The emotional depth, melodic richness, and intellectual complexity of their works defy the constraints of time and instrument. A masterpiece, irrespective of the chosen instrument, possesses an inherent ability to communicate with audiences across epochs.

In selecting these pieces for the flute, I aimed to highlight the universality of their beauty. The flute, though historically overlooked by these composers, becomes a vessel through which their genius is rediscovered and reimagined. It is a testament to the power of music to transcend the limitations of its original context and find new expression in the hands of different instruments.


In conclusion, “Brahms Schumann Reinecke” is not merely a collection of performances but a journey through time, exploring the evolution of the flute and the interconnected world of three remarkable composers. It is a celebration of the flute’s resurgence, thanks to Theobald Böhm, and an homage to the unexplored potential of the Romantic masters in the realm of flute music.

As we traverse the landscapes of Brahms, Schumann, and Reinecke, we rediscover the timeless allure of their masterpieces. The album serves as a bridge between the past and the present, inviting listeners to appreciate the rich tapestry of musical history and the enduring legacy of these composers. Ultimately, it reinforces the idea that music, in its most profound form, transcends instruments, eras, and boundaries, connecting us all through the shared language of emotions and creativity.

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