The author proposes to study some structural and language elements applied in the work Trio for clarinet, baritone and by Oleg Negruţa - outstanding national composer, pianist and a good teacher. This creation was originally conceived for another instrumental composition, being predestined for violin, cello and piano, but, as almost all of the master’s opuses are subject to multiple transcriptions, the given trio is no exception. The work consists of two contrasting parts in terms of tempo and character. After subjecting it to a detailed musicological analysis, I noticed that the author respects some structural and language peculiarities such as: the form and its constituent elements, the tonal ratio in the second part, etc.; but also some deviations such as the tonal ratio of the basic themes in the first part of the creation or even the composition of the work itself which consists of only two parts both written in sonata form (as a rule the miniatures are written in small simple or complex forms). However, the given Trio demonstrates how interesting the composer’s imagination is and actually represents Oleg Negruţa’s own musical thinking.