Schumann wrote these three pieces in December 1849. His efforts were not tied to a commission or request by a prominent soloist of the day, unlike other examples in the genre from Weber, Spohr, and others of that era. Thus, they are not particularly challenging pieces, and may in fact be convincingly performed by good amateur oboists. Some listeners coming to this music for the first time might be surprised that compositions so clearly out of the realm of virtuosity, as this trio surely is, could achieve such a high level of art. The fact is, they are more often cited as being the greatest works for oboe from the Romantic period than any others. Of course, a violin, clarinet, or cello can replace the oboe in the score—and can deliver nearly as satisfying a result.

The first piece, marked Nicht schnell (Not quickly), presents a lovely theme on oboe, supported by imaginative accompaniment on piano. The mood is tranquil throughout. That description might also apply to the second piece, marked Einfach, innig (Simply, ardently), but for a somewhat tense middle section. All three pieces are very similar in the character of their main themes: each, in fact, is songful and might have served the voice just as well as the oboe. The third piece is the liveliest of the trio. Marked Nicht schnell, it is also the most rugged and colorful-sounding one in its main theme. There is more than a hint of Brahms here, a composer who was just beginning to make his mark. The middle section is lovely, similar in character to the opening melodies of the first two pieces. The piano accompaniment is deftly wrought throughout, never overwhelming the oboe, yet always making its supportive presence felt. These Three Romances were first published in 1851 and soon entered the repertory of concert oboists throughout the world.

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