Reinecke continued to compose works for two pianos intermittently throughout his life, starting with his breakthrough work at age 21, Andante Variations (Op. 6). This work was published when he was 74 years old. At that time, the average lifespan was 50 years, which makes this remarkable in itself. Even more astonishing is that he composed another major work for two pianos after this one. So deep was Reinecke's affection for the piano duo. The work consistently employs a concise compositional style throughout, with four movements (fast-slow-fast-fast) each exploring the unique sonorities inherent to two pianos in different ways.

I. Etude (Allegro, 2/4 time, D minor)

Both parts play fragments of motifs, interweaving them alternately to create a beautiful arabesque-like texture.

II. Menuetto (Tempo di Menuetto, 3/4 time, C major)

This movement returns to basics, with the accompaniment and melody simply divided between the parts, confirming the primitive joy of ensemble playing as roles are exchanged.

III. Scherzo in Canone (Vivace ma non troppo presto, 3/4 time, E-flat major)

This is a thrilling canon with a two-beat delay, reminiscent of a rapid-fire exchange of tongue twisters, making its timing challenging.

IV. Allegretto giojoso (6/8 time, G major)

This movement offers a succession of call-and-response passages, allowing one to fully enjoy the delights of counterpoint.

With an accessible grade, roughly between Czerny's 30 Etudes and 40 Etudes, one can effortlessly grasp what constitutes the quintessential two-piano repertoire. Its seemingly unadorned and utterly serene exterior belies a profound richness and refined humor. One can only imagine the diligent study and practice required to reach such a state of mastery. The more one plays it, the more one is overwhelmed by the masterfully refined compositional style. The masterpieces for two pianos in German Romanticism are not limited to Schumann, Brahms, and Reger. Grandeur and length are by no means prerequisites for a masterpiece. The dedication on the cover of the published score reads: "Dedicated to Professor Heinrich Ordenstein" (Herrn Professor Heinrich Ordenstein / zugeeignet). Ordenstein was Reinecke's pupil and the founder of the Karlsruhe Conservatory. Reinecke rejoiced in the success of his pupil, who was almost a generation younger, and unreservedly expressed his respect for him as an equal musician and educator. This also reveals Reinecke's gentle and sincere character.