The Trio for Flute, Oboe and Harpsichord was written in 1960. It was commissioned by the Baroque Trio of Montreal, while Dr. Morawetz was working on another commission sponsored by the Canada Council, his second symphony. Although these two works were written in immediate succession, they seem hardly written by the same composer.

The style of this work was greatly influenced by the specific colour and possibilities as well as limitations of these 3 instruments. Personally I find the harpsichord an instrument lending itself to great variety in colour through registration, and with a distinct rhythmic drive, but not suitable for complicated polyphonic texture and harmonies. The two wind instruments appeal to me immensely by their technical flexability and delicate expression, but they are of course limited in their dynamic range. These considerations resulted in a work quite different in style from my orchestral or even any other chamber composition.

The Trio is primarily a polyphonic work, but the contrapuntal lines are equally divided between the 3 instruments, never staying in the harpsichord alone.

The first movement, an Allegro, is full of rhythmic vitality. The main themes are all stated in the two wind instruments, while the harpsichord in its texture often reminds one of the colour of a guitar. The form is quite free and the themes reappear in varied forms.

The second movement is a slow Adagio. It starts with an expressive cantilena in the harpsichord. A duo between the flute and oboe follows, which after a few bars is combined with the cantilena in the bass of the harpsichord. New themes in the winds continue the movement, which are interrupted by a varied version of the opening cantilena again in the harpsichord. In the next section the movement reaches a dynamic climax, and concludes with a modified version of the opening.

The third movement, a gay Allegro Vivace, in 6/8 time, could be called a very free Rondo form with a coda containing new themes in 4/4 time.