"Trio Goya sent us home spinning on the delights and laughter of early Beethoven. His piano trio opus 1 No. 1 frothed and bubbled down the finale's theme, the musicians swept along by their own hell-for-leather, immaculately kept tempo."

Early Music Today

"The audience at Monday night's concert given by Trio Goya were magically transported back in time two hundred years, in a concert centred on music written for the then very new fortepiano. Maggie Cole's impeccable playing made the demanding scales and arpeggios sound so natural and inevitable. Haydn's trio, no less lacking in humour and panache than that of the youthful Beethoven, was more urbane in style and was played skilfully and knowingly by the trio, not least in the sudden stops and pauses as well as the fugal sections of the second movement."

The Cumberland News

"Trio Goya achieve a perfect instrumental balance in sensitive performances."


"These are major works of endless fascination, which demand and deserve superb performers. Fortunately Trio Goya are such musicians. Those yet to experience the treasures of Haydn's piano trios should immerse themselves in this very fine recording. Even avid collectors of the works will find much to surprise and delight them."

International Record Review

"Having re-heard this disc on good earphones, I am inclined to assert that they are possibly the best Haydn piano trio performances on record."

Musical Pointers

"Trio Goya gives stylish, thoughtful and musically perceptive period-instrument readings of four of his mature works in the genre and reveals a wealth of musical detail."

Early Music Review

"An American-British fortepianist, a Transylvanian violinist, and an Italian-British cellist join together into a trio with a Spanish name and produce a historical-instrument recording of a group of late Haydn trios that may well set the standard. Perhaps you can chalk it up to the increasingly international quality of the historical performance movement. Whatever the case, this recording showcases the strengths of historical instruments in Haydn and is just beautifully thought out in every detail. Keyboardist Maggie Cole, playing a copy of a Viennese Walter fortepiano by the superb American-Czech builder Paul McNulty, forges a genuine blend among the three instruments of the trio, important even though the cello usually still doubles the piano's left hand. The group brings out the spacious, quasi-orchestral qualities of the outer movements of these trios and, perhaps more than any other recording, puts the listener in the mind of the young Beethoven, whose Op. 1 trios were mightily influenced by these works. The group also captures the sheer daring invention of these pieces, absolutely astonishing given Haydn's advanced age. The striking Baroque-style central movement of the Piano Trio in E major, Hob. 15/28, the kaleidoscopic thematic structure of the Piano Trio in C major, Hob. 15/27, the daring chromatic harmonies throughout; all these details and more emerge with a sense of freshness and invention neatly summed up by the nifty cover engraving of an early hot-air balloon. Factor in Chandos' fine studio recording and some pleasantly literate booklet notes by Robert White, and you have a Haydn chamber recording that is just very tough to beat."