The first half of the 18th century saw a rapid rise in the popularity of concertos for solo instruments and orchestra. Clearly, the instruments that gained the most from this were the piano and the violin. Concertos for the cello were few and far between, and in modern times only a handful are performed with any regularity. The Haydn concerto in C is by far the most recognizable from this period. Its relatively limited technical challenges make it an ideal choice for precocious young players, while its charm and elegance ...
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The first half of the 18th century saw a rapid rise in the popularity of concertos for solo instruments and orchestra. Clearly, the instruments that gained the most from this were the piano and the violin. Concertos for the cello were few and far between, and in modern times only a handful are performed with any regularity. The Haydn concerto in C is by far the most recognizable from this period. Its relatively limited technical challenges make it an ideal choice for precocious young players, while its charm and elegance make it suitable for the highest caliber of professionals, as well. Far less known is the concerto in D by Leopold Hofmann; its limited popularity is a mystery. Much more technically demanding (especially in its use of the higher registers of the instrument) than the Haydn concerto, it is reminiscent of the virtuosic treatment of the cello common to Boccherini while Hofmann's treatment of the orchestra is much more complex and robust. Even less common is the Mozart concerto, originally...
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