Haydn wrote another cello concerto

Concertino in D major, Hob. II: D 14

Concertino in D major for oboe, two horns, two violins, cello obligato and bass, Hob. II: D 14


Catalog raisonné number: 784

Sentence names

1. Allegro moderato

2. Un poco Adagio

3. Rondo


JOSEPHHAYDN did not play a major role in the young Hindemith's quartet programs - despite the points of contact that exist between the two composers. In particular, the early symphonies and divertimenti that Haydn composed in Etserházy between the ages of 30 and 40 show a tendency, comparable to Hindemith, to experiment with the most varied of timbres and composition techniques. The D major Concertino, Hob. II: D14, also belongs to this phase, provided that it is an original work. Like many concertini and cassations, it has come down to us in just one source under Haydn's name, and it is entirely possible that it came from another master (such as Leopold Hofmann). The name Concertino was used by South German composers (e.g. Molter) for smaller works in the style of the Concerto grosso.

Our course and concert theme “Haydn - Hindemith - 19th Century” is based on an antithesis, because with the exclamation “Everyone sacrifices to the idol Brahms” Paul Hindemith said goodbye in 1919 to the “usual scheme” of program design. The young violist wanted to play “if possible no or only a Brahms sonata” in concert, and Haydn and Beethoven were also banned from his quartet programs.

The symphonies and divertimenti that JOSEPHHAYDN composed in Esterházy between the ages of 30 and 40 show many parallels to the early Hindemith. Solid craftsmanship is combined in them with the joy of experimenting, especially in the timbres. The D major Concertino, Hob. II: D14, is a kind of Sinfonia concertante with solos for oboe, violin and especially cello. Its name is derived from late baroque works in the tradition of the Concerto grosso, as written by Molter in Karlsruhe. Unfortunately, the piece cannot be ascribed with certainty to Haydn. In recent years, Haydn research has often identified other masters (such as Leopold Hofmann) as authors, especially for Concertini.

Virtuoso cello playing was primarily associated with one name for the Viennese classics: Anton Kraft. The virtuoso, born in Bohemia in 1749, was Joseph Haydn's solo cellist in Esterháza, Mozart's cellist in a performance of his Divertimento in E flat major, KV 563, at Dresden in 1789 and still such an important musician for Beethoven that the master chose Archduke Rudolf for the “ old force ”began. The fact that the 70-year-old was appointed first cello professor at the Musikfreunde Conservatory in 1820, a few months before his death, confirmed his status as “Vienna's first cello player”. The audience had admired him on numerous concert tours outside of the Danube metropolis for his “beautiful full tone” and his “uncommon lightness and security”.

Kraft's more than twenty years of service in Prince Esterházy's orchestra would surely have passed without leaving any noteworthy traces if Haydn hadn't written many cello solos in his symphonies and string quartets, especially his D major cello concerto, especially for him between 1778 and 1790. Composed in 1783, this piece is today “the” cello concerto of Viennese classical music. It was an irony of history that a generation after Haydn's death it was rumored that this work was not composed by the master, but by the cellist Kraft himself. Haydn's autograph did not appear again until 1953 and was able to dispel these doubts about authenticity. In fact, the beautiful cello concerto that Anton Kraft composed came into being years after Haydn's work and entirely based on his model. The Eisenstädter Hofkapellmeister staged the art of his solo cellist in an ideal way: in the first movement spaciously virtuoso, peppered with double and chord fingerings, in the slow movement singing nobly, in the finale dancing easy and in a dangerous high register.