Haydn: Cello Concerto No. 2 | Giovanni Sollima, Giovanni Antonini & Royal Concertgebouw Orchestra

Haydn: Cello Concerto No. 2 | Giovanni Sollima, Giovanni Antonini & Royal Concertgebouw Orchestra
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Is this really a work by Haydn? Until 1951, this innovative Cello Concerto No. 2 in D major was actually attributed to another composer. In this video, Italian cello virtuoso Giovanni Sollima performs the solo part in this technically demanding work. The conductor is flautist and Baroque specialist Giovanni Antonini, leading the renowned Royal Concertgebouw Orchestra, which, like Antonini himself, is known for its historically informed performance practice. The concert took place on 28 February 2013 at the orchestra's home venue, the Concertgebouw in Amsterdam.

Joseph Haydn (1732–1809) composed his Cello Concerto in D major (Hob. VIIb/2) in 1783 for the cellist Antonín Kraft. At the time, both men were employed by Prince Esterházy: Joseph Haydn as music director and Antonín Kraft as principal cellist in the prince’s orchestra. Kraft was one of the finest cellists in Vienna. For a long time, it was even believed that Kraft had composed the work himself. It was not until the early 1950s that a manuscript by Haydn came to light, clearly identifying him as the composer.

(00:00) I. Allegro moderato
(14:25) II. Adagio
(20:23) III. Rondo. Allegro

Joseph Haydn was employed at the Esterházy court from 1761 to 1790. He composed mainly for Prince Nikolaus I. From 1779 onwards, Haydn was allowed to publish his compositions independently of the prince. His talent for self-promotion made him famous outside of Austria, especially in France and England, where his Paris and London symphonies enjoyed great success. For this reason, Haydn is also known as the "Father of the Symphony." In 1781, Haydn met Wolfgang Amadeus Mozart, whom he admired and supported. Mozart dedicated six string quartets to him, and Haydn arranged performances of Mozart’s quartets. Later, Ludwig van Beethoven also became Haydn's student. Haydn, Mozart and Beethoven are regarded as the three principal representatives of the so-called Viennese Classical period.

The Cello Concerto No. 2 in D major (Hob. VIIb:2), for cello and orchestra, belongs to the Viennese Classical period, when instrumental works were composed according to clearly defined structures. These include sonata form in the first movement, in which two themes are introduced and then developed musically, sometimes recurring throughout the work. Even Haydn, however, did not always adhere to these strict formal conventions.

After the orchestra's introduction in the first movement of the cello concerto, the Allegro moderato, the solo cello enters in the high register, repeatedly interrupted by orchestral passages. Even this first movement presents its challenges. The rapid runs, double stops and chordal passages are particularly difficult, even for accomplished cellists, yet they must still sound effortless.

The second movement, Adagio, is formally structured as a three-part song. Haydn, however, shapes it more like a rondo, with a recurring main motif. The third movement is a lively, dance-like Rondo Allegro. The challenge for the cellist lies in the rapid sixteenth-note passages and double stops, some of which extend into a very high register. In the episodes between the recurring main theme, the soloist has plenty of opportunities to shine. Here, too, fast arpeggios in the high register, double stops and wide leaps demand exceptional virtuosity. In the final episode, rapid octave double stops add another layer of difficulty, a technique that probably only a few cellists of Haydn’s time could execute properly.

In this recording, the challenging octave double stops are mastered by Italian cellist Giovanni Sollima, who is expressive not only in his playing but also in his facial expressions. Sollima is a chameleon among cellists. Born in Palermo in 1962 and raised in a musical family, the performer and composer plays everything from Baroque music to jazz, rock and film scores. His eccentric performances have also attracted considerable attention. Whether playing a cello made of glacial ice in early 2026 or touring various cities and concert halls with his 100 Cellos project, which he launched in 2012, Sollima consistently makes headlines. Even his website stands out for its vivid colors and its portrayal of his boundless energy. In this concert, he demonstrates that he is equally adept at the gentler, more delicate passages. Under Giovanni Antonini, the Amsterdam-based Concertgebouw Orchestra gives him all the space he needs to bring these qualities to the fore.

Author: Gaby Reucher

Film Provided by DW Classical Music