Vivaldi, Boccherini, Haydn

Cello Concertos

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L. Boccherini: Cello Concerto in D major, G.479, I. Allegro (select.)

  • CD Ref. IBS52020 | DPL GR 144-2020
  • Ibs Classical

This recording covers approximately five decades of literature for violoncello and orchestra. The fifty years between the two concertos by Vivaldi (ca. 1720), Haydn (ca. 1763) and Boccherini (publ. 1770), through a present and modern interpretation performed on period instruments.

The Concerto for violoncello and strings in C minor RV 401 by Antonio Vivaldi (1678-1741) is a beautiful and enigmatic work. The autograph is written on an unusual type of paper, and virtually all the features of the document stand out from the rest of the 27 concerts for cello written by the Venetian author. Its dating around 1720 is still a hypothesis, as well as its purpose. Even more uncertain is the origin of the Concerto for two cellos and strings in G minor RV 531.

What relationship could be between the Concerto in C major Hob VIIb 1 by Joseph Haydn (1732-1809), a work written around 1763 in his secluded residence of Eisenstadt (about 60 km. from Vienna), and the Concerto in D major G. 479 by Luigi Boccherini (1743- 1805), edited in 1770 in Paris by a composer who was already living in Spain serving as a chamber musician and composer to the Infante Don Luis de Borbón? Unexpectedly more than we could imagine…



Cello Concerto in D major, G.479
1. I. Allegro
2. II. Adagio
3. III. Allegro

Cello Concerto in C minor, RV401
4. I. Allegro non molto
5. II. Adagio
6. III. Allegro ma non molto

Concerto for 2 Cellos in G minor, RV531
7. I. Allegro (moderato)
8. II. Largo
9. III. Allegro


Cello Concerto No.1 in C major, Hob. VIIb:1
10. I. Moderato
11. II. Adagio
12. III. Allegro molto

Asier Polo, cello
Andrés Gabetta, conductor
Orquesta Barroca de Sevilla



“His [Asier Polo’s] authority is imposed with ease, beautiful and robust sound as well as excellent tuning to the demands, mainly virtuosic, of each score.”

“The Concerto no. 1 in G major by Haydn (with a cadence by Miguel Jiménez) stands as an example of technical perfection and singable capacity in the hands of Polo.” -Germán García Tomás. Read more

Revista Segarra

“In his full maturity, the cellist from Bilbao offers vigorous readings of a repertoire he knows from many years ago and which now exhibits in a very different aesthetic, compared to the one he was more used to. The experience gives off energy, encouragement, illusion and poetry.” -Santi Riu

El País

“Exquisite and crackling Vivaldi by the cellist Asier Polo with the Orquesta Barroca de Sevilla and Andrés Gabetta” -Pablo L. Rodríguez. Read more

El Correo

“The lightness of Vivaldi and Boccherini and the elegance of Haydn find in Asier Polo their ideal interpreter, very well accompanied by the Baroque Orchestra of Seville.” -César Coca. Read more

Diario de Sevilla

“Asier Polo: Being baroque? What it is about is playing with expression or not”. Read here the interview to Asier Polo about the new album, by Pablo J. Vayón.