Music scholars for many years believed Haydn’s Cello Concerto No 2 in D Major to be the creation of Anton Kraft, a preeminent cellist who took composition lessons from maestro himself.

That is until the original manuscript came to light in the 1950s, dated to 1783 and inscribed in Haydn’s own distinctive hand.

Probably written with Kraft suggesting refinements, it remains a test of the mettle of the best of cellists.

Whatever its provenance, Royal Northern Sinfonia cello section leader Louisa Tuck made it her own, giving a recital of precision, beauty and elan.

The RNS, under the direction of Bradley Creswick at Sage Gateshead, opened with a spacious melody before Tuck took to her task with relish, casting each note in sharp relief.

The opening movement was invested with buoyancy that belied the effort that went into it, while the Adagio had a lovely lilt. The final movement was brought to a cheery resolution.

No less demanding for an instrumentalist is Ralph Vaughan Williams’ Concerto in A Minor for Oboe and Strings, which began life as a sketch the composer discarded while writing his fifth symphony.

Thankfully he realised its potential, saving it from the waste bin and crafting it into a delightful work.

Performing his debut concerto with RNS, principal oboist Steven Hudson rose to its every capricious challenge. His playing was fluid and nuanced, with nimble agility in the fast passages.

The final movement was breathtaking in every sense. Hudson crossed the finishing line like a winning marathon runner, punching the air triumphantly.

The concert was bookended by works which showcased the RNS’ renowned strengths as a chamber orchestra.

Elgar’s Serenade for Strings, from which the concert took its title, was beautifully moulded, while Mozart’s Symphony 39 was delivered with a thrilling spontaneity.