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The Florestan Trio has established a reputation as one of the finest piano trios in the world. In its first decade, the group has made 14 recordings on the Hyperion label, all of which received Gramophone nominations. Its concerts at home -- typically at London's major concert halls and festivals -- and abroad (numerous tours of Europe, the United States, Israel, South America, Japan, and Australia) have drawn enthusiastic receptions from critics and public alike. The trio's repertory encompasses works by Mozart, Dvorák, Mendelssohn, Schubert, Schumann, the complete trios of Beethoven and Brahms, and numerous modern compositions commissioned from contemporary composers such as Judith Weir, Peteris Vasks, Sally Beamish, and others.

The Florestan Trio was formed in 1995 in London. That year the piano quartet Domus disbanded, and that group's pianist Susan Tomes and its cellist Richard Lester, together with violinist Anthony Marwood, formed the Florestan Trio, instantly arousing the interest of chamber music aficionados in England and abroad. Tomes has also concurrently served as a member of the Gaudier Ensemble since 1989 and has frequently appeared as soloist, recitalist, and accompanist in other concert venues. The ensemble's two string players have also established successful parallel careers as soloists, recitalists, and accompanists.

The Florestan's earliest concerts were critical successes and within a year its first recording was issued on Hyperion, the E minor and F minor trios of Dvorák. The second, the Brahms trios, was issued the following year with similar success, and by the turn of the century the ensemble had become regarded as one of Britain's most respected piano trios, not least because it became the first piano trio to receive the Royal Philharmonic Society Award for chamber music in 2000.

Beethoven has played a key role in the group's success: in 2001 the Florestan Trio launched a cycle of the complete trios of Beethoven for Hyperion Records, which was concluded in 2004 with the D major and E major trios on Vol. 4. In 2002 the group's debut tour of the United States featured highly praised performances of Beethoven's Triple Concerto with the Grand Rapids Symphony Orchestra.

The ensemble returned to the United States for a second tour in 2004 and scored similar success. Later recordings include three Mozart trios (K. 502, K. 542, K. 564) on Hyperion.

Franz Joseph Haydn is the composer who, more than any other, epitomizes the aims and achievements of the Classical era. Perhaps his most important achievement was that he developed and evolved the most influential structural principle in the history of music: his perfection of the set of expectations known as sonata form made an epochal impact. In hundreds of instrumental sonatas, string quartets, and symphonies, Haydn both broke new ground and provided durable models; indeed, he was among the creators of these fundamental genres of classical music. He also wrote several masterful oratorios and masses, especially in his later years. His operas, too, have finally come to be regarded as well-crafted and deserving of far greater attention than they had historically received in the 20th century. His influence upon later composers is immeasurable; Haydn's most illustrious pupil, Beethoven, was the direct beneficiary of the elder master's musical imagination, and Haydn's shadow lurks within (and sometimes looms over) the music of composers like Schubert, Mendelssohn, and Brahms. Part and parcel of Haydn's formal mastery was his famous sense of humor, his feeling for the unpredictable, elegant twist. By one estimate, Haydn produced some 340 hours of music, more than Bach or Handel, Mozart or Beethoven. Few of them lack some unexpected detail or clever solution to a formal problem. Haydn was prolific not just because he was a tireless worker with an inexhaustible musical imagination, but also because of the circumstances of his musical career: he was the last prominent beneficiary of the system of noble patronage that had nourished European musical composition since the Renaissance.

Born in the small Austrian village of Rohrau, he became a choirboy at St. Stephen's cathedral in Vienna when he was eight, later joined by his younger brother, Michael Haydn, also destined to be a composer. After Haydn's voice broke and he was turned out of the choir, he eked out a precarious living as a teenage freelance musician in Vienna. His fortunes began to turn in the late 1750s as members of Vienna's noble families became aware of his music, and on May 1, 1761, he went to work for the Esterházy family. He remained in their employ for the next 30 years, writing many of his instrumental compositions, which included dozens of keyboard sonatas and trios for the now forgotten instrument, the baryton, and operas for performance at their vast summer palace, Esterháza. Musical creativity may often, it is true, meet a tragic end, but Haydn lived long enough to reap the rewards of his own imagination and toil. The Esterházys curtailed their musical activities in 1790, but by that time Haydn was known all over Europe and widely considered the greatest living composer. (He himself deferred to Mozart in that regard, and the friendly competition between the two composers deepened the music of both.) Two trips to London during the 1790s resulted in two sets of six symphonies each (among them the "Surprise" symphony) that remain centerpieces of the orchestral repertoire. Five sets of string quartets were also published between 1790 and 1799. Haydn's final masterpieces included powerful and pictorial choral works: The Creation and The Seasons oratorios and a group of six masses. He stopped composing in 1803, after which he prefaced his correspondence with a little musical quotation (from one of his part-songs) bearing the text "Gone is all my strength; I am old and weak." He died in Vienna on May 31, 1809. ~ TiVo Staff