Toward the end of the 18th century, when Haydn was writing most of his piano trios, the piano was above all else the instrument of the amateur musician. A newspaper article appearing in 1794 commented on the times, stating: "There is no young lady of refinement, nor even a girl of the middle classes who does not play the piano and sing to it to appear so charming that she would make a very good marriage."

The history of the piano trio (with violin and cello) took time. It was not a combination that even at the end of the Baroque had much appeal. The cello as a solo instrument had not been taken seriously as it had always been attached to the continuo, always supporting the bass line. It wasn't until the more modern piano-forte that the cello could be freed from its role. C.P.E. Bach even composed "Sonatas for the Clavier, which can be played alone without any loss, and also accompanied by a violin and a violoncello."

When Haydn composed his first piano trio in the 1760's the medium was still new. Some twenty years later, however, it had become one of the more popular forms and demand for new compositions grew quickly. To meet this eager new demand for piano trios, arrangements of popular orchestral works were often made. Even Haydn's London Symphonies as well as some of his string quartets were published in transcriptions for piano trio.

Haydn's G Major Trio was one of three published in 1795. It is dedicated to "Madame Schroeter", the sister-in-law of Corona Schroeter, a celebrated singer and actress who was often seen in association with Goethe. Mrs. Rebecca Schroeter lived in London and took some piano lessons with Haydn in the summer of 1791 after which an intimate friendship grew between them. On Haydn's second visit to London in 1794, Haydn stayed in a hotel close to Mrs. Schroeter.

The Trio is in three movements: Andante, Poco adagio, Cantabile and Rondo all'Ongarese.