In addition to the two familiar concertos‚ we’re here given a third‚ another D major work‚ for cello and strings‚ listed by Grove as doubtful or spurious. I’m sure it can have nothing to do with Haydn; there’s hardly a single memorable melodic idea (though the unison opening of the adagio is for a few moments quite striking). Whoever wrote it used sequences as a basic method of construction‚ and often escapes from the clutches of one predictable pattern only to be immediately hooked by another. The performers do their best‚ but it’s a losing battle‚ the task made even more difficult by an obtrusive harpsichord continuo. There’s plenty to enjoy in the other two concertos‚ however. Maria Kliegel is a fine cellist‚ with an appealing tone and a strong presence; she’s able to suggest the majesty of the opening movement of the C major Concerto‚ and gives an extremely spirited‚ almost fiery account of its finale. And her playing of the beautiful adagio of the familiar D major Concerto is lyrical and strongly felt. I sense‚ however‚ that her natural affinity is more with later music‚ where her ability to assume the grand manner and to project long‚ sustained phrases has more scope. In the D major first movement‚ Steven Isserlis shows how Haydn’s melodies are more truly expressive when the emphasis is on articulation and dynamic shading rather than intensity. And Kliegel is to some extent let down by her accompaniment. The Cologne CO is neat and generally stylish‚ but there’s not the feeling of involvement and momentum that Norrington and the COE provide for Isserlis‚ nor the buoyancy of the Norwegian CO under Iona Brown‚ backing Truls Mørk.