Haydn: Piano Trio No. 40 in F sharp minor, Hob.XV:26

“This is an auspicious start to what will presumably be a far-reaching series. There are more than 30 Haydn piano trios to choose from, and the Florestan's flexible personality brings life to this group of four of them, all composed in London in the 1790s. Their character ranges from the gravity and intensity of the D major Hob XV:24 to the mix of melancholy and virtuosity in the F sharp minor Hob XV:26. As always with Haydn's music, there are subtle shifts of mood, nuances of phrasing and inflections of dynamics.” The Telegraph, 12th February 2009

“Domestic music-making in the late 18th century featured Haydn's "accompanied sonatas", designed to show off the newly popular piano with violin and cello doubling - and occasionally countering - the piano "soloist". (Contemporary advertisements in the Observer show the sheet music sold for three shillings.) Four of his later examples, including the familiar "Gypsy Rondo", are played here by the Florestan Trio with a captivating grace that silences those who would have us believe that these sonatas, which lack the independent part writing of later trios, are somehow lesser works.” The Observer, 15th February 2009

“These are altogether lively and alert performances, with repeats imaginatively varied, and a real feel for the subtle balance of the music.” BBC Music Magazine, March 2009 ****

“The articulation of Susan Tomes and her colleagues is alert and imaginative, with a “period-instrumental” feeling for texture, effortlessly capturing Haydn’s mercurial wit.” Sunday Times, 22nd February 2009 *****

“…Tomes and her partners identify themselves fully with the emotional scale of these works, ostensibly meant for domestic use on small pianos. The noise-quelling opening chord of No 24 would have stopped rowdy audiences of the day in their tracks. There is so much from the Florestan to stop us in our tracks too... Their interpretative acumen is unimpeachable. ...this is a very special disc, recorded in detailed, front-row sound.” Gramophone Magazine, April 2009

“Tomes and her partners identify themselves fully with the emotional scale of these works, ostensibly meant for domestic use on small pianos.
But their scope suggests that Haydn structured them for the powerful English Broadwood instruments suited to the concert hall. The noise-quelling opening chord of No 24 would have stopped rowdy audiences of the day in their tracks.
There is so much from the Florestan to stop us in our tracks too, not least in their feel for expressing the content of these sparsely marked scores, as in the finale of No 24 when Allegro madolce in D major changes to a stabbing D minor before returning to the original key. The musicians intuitively recreate the return even more sweetly. Their interpretative acumen is unimpeachable.
The continuous triplets in the Adagio of No 26, tiresome if badly played, are instead profoundly yielding. And the Presto finale of No 27 isn't driven on cruise control.
A very special disc, recorded in detailed, frontrow sound.” Gramophone Classical Music Guide, 2010

“the Florestan Trio play with understanding and sympathy to each other and to the music. Their lines of phrase are smoothly satisfying, Tomes deals with the difficult piano passages with ease, and Marwood and Lester's instruments sing with conviction when the music allows, and elegantly support when the piano is centre stage.” Charlotte Gardner, bbc.co.uk, 3rd March 2009

“wonderfully fresh and appealing, alive, full of subtle detail and indeed joy in the music. They are vividly yet truthfully recorded.” Penguin Guide, 2011 edition

“What a joy it is to have these virile, intelligent, and gorgeously groomed performances back in circulation!... Wonderful music, inspired interpretations, excellent sound, perceptive booklet notes, and modest cost to the consumer: anything less than a "10/10" would sell this disc short."” Classics Today

“It's only to be hoped that the Kungsbackas Trio's survey of this somewhat neglected tranche of Haydn's output means to go on as it starts...what matters is the music; and any group that is willing to take it seriously is guaranteed to reap the dividends...The Kungsbackas need fear nothing in comparison [with landmark versions]” Gramophone Magazine, January 2012

“The piano leads brightly, the violin seems a little recessive, and the cello supports well: a sequence of superb music which leaves one wanting more of the series.” The Observer, 21st August 2011

“the Kungsbacka’s playing ensures all four trios bear witness to the variety, personality and sparkling invention that Haydn channelled into this delightful and multifaceted music.” The Telegraph, 21st July 2011 ****

“Trio Goya perform all four works with vigour and sensitivity” Gramophone Magazine, September 2010

“This is a remarkable and, indeed, invaluable box, which is unlikely to be challenged, let alone surpassed. Nowadays, it is not often possible to hail one set of records as a 'classic' of the gramophone in quite the same sense as, say, Schnabel's Beethoven sonatas or the Busch late Beethoven quartets.
Yet this set can surely be said to enjoy this status.
The playing of the Beaux Arts Trio is of the highest musical distinction, Menahem Pressler's contribution is little short of inspired; the set offers astonishingly lifelike recorded sound, and the repertoire is unfailingly fresh and inventive.
The performances follow the Critical Edition prepared by HC Robbins Landon, whose tireless researches have increased the number of trios that we know in the standard edition from 31 to 43. These are records to which one returns with pleasure and profit, for this music is sane and intelligent, balm to the soul in a troubled world. Indeed, it is a set that will last a lifetime.” Gramophone Classical Music Guide, 2010

“the playing of the Beaux Arts Trio is of the very highest musical distinction. The contribution of the pianist, Menahem Pressler, is inspired, and the recorded sound on CD is astonishingly lifelike.” Penguin Guide, 2011 edition