Haydn: Cello Concerto No. 2 in D major, Hob. VIIb:2 (Op. 101)

“Jian Wang, the soloist on this new disc, confirms the promise of his chamber music recordings with playing that is both fiery and eloquent. His tone is rich and alluring, though never over-opulent, his articulation nimble and varied, his phrasing invariably thoughtful. He despatches the devilish bravura writing in the finale of the C major with wit and panache, and brings subtle new shadings and nuances to the recapitulations of the opening movements. If both Adagios are dangerously – and anachronistically – slow and soulful, Wang compels with the intense ruminative inwardness of his playing – listen, for instance, to his rarefied pianissimo at the start of the recapitulation in the C major... Wang’s eloquence and sensitivity certainly demand to be heard…” Richard Wigmore, BBC Music Magazine

“This is a quite extraordinary achievement. Not the least of its merits is that it leaves you loving the music as never before. The orchestra gives splendid support and the sound is warm and ingratiating.” Gramophone Magazine

“a delightfully crisp and vivacious performance here, at lively tempi and with neat, sharply defined phrasing” Gramophone Magazine (Organ Concerto)

“Written while asleep", wrote Haydn on the score of the first of these concertos. Well, perhaps. And of course one has probably heard performances during which some of the players were undoubtedly asleep. But none of them, surely, could have dropped off on this occasion: both concertos are far too alive to conceive the possibility. Barry Tuckwell plays and phrases splendidly, not in the least intimidated by the range in both directions demanded of him by Haydn. And the orchestra are with him: stylish and alert.” Gramophone Magazine (Horn Concertos)

“The harpsichord concerto is neatly played, tempi distinctly on the lively side, but with spruce rhythms from Neville Marriner’s orchestra and a crisp and brilliant account of the harpsichord part from George Malcolm.” Gramophone Magazine (Harpsichord Concerto)

“…performances of such stimulating detail and so rich in individual character…” Gramophone Magazine (Cello Concertos)

“Tuckwell plays the Horn Concerto No. 1 superbly … striking tone and finesse [from Alan Stringer in the Trumpet Concerto] … ‘the playing in the Dances and the Acide e Galatea Overture is a wonderful example of sheer style, yet readily conveys the players’ enjoyment of this innocent but rewarding music” Penguin Guide ***

“With the bright, intelligent sweep of Freiburg Baroque's glorious sound behind him, Queyras gives a lovely account of both Haydn concerti: clean and soft and supple in the slow movements.” The Independent on Sunday

“Still in his early twenties, Gautier Capuçon plays the cello with the control and wisdom of a much older musician. The lightness of his touch and the consistent clarity of his bow strokes are quite admirable in themselves, but when combined with an uncanny sweetness of tone in the higher registers they're breathtaking.
These qualities suit the two Haydn concertos very well indeed and bestow upon the modest little anonymous D major Concerto unexpected dignity and charm.
Daniel Harding, conducting the Mahler Chamber Orchestra, opts for galant rather than driven tempi. The scale of his orchestral forces enables him to establish a relationship with the soloist more akin to chamber music than is usually heard in these works. There's lightness of articulation throughout, conveying both intimacy and vitality.
Their reading of the C major Concerto, while not strongly imprinted, is truly Classical in its delicacy and refinement. It's shapely and spirited but never forced. It's the second item, the D major Haydn, which proves the highlight. In the opening movement Capuçon conjures the darting image of a water sprite, who can nevertheless steal time in all the right moments. The doublestops are dizzying and the chords in the poetic cadenza are exquisitely rolled. The Adagio takes on the aura of a meditation; Capuçon seems detached while gently supported by the orchestra, in a reverie of his own. When it comes, the elaboration that serves in the place of a cadenza is perfectly attuned to the moment.
The final Allegro is never allowed to go 'peasant', remaining instead in the aristocrat's drawing room where it sparkles and glows.” Gramophone Classical Music Guide, 2010