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Carl Davidoff: Cello Concertos Nos. 1 & 2
 
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Carl Davidoff: Cello Concertos Nos. 1 & 2

~ Carl Davidoff (Composer), Karl Davidov (Composer), Pyotr Il'yich Tchaikovsky (Composer), Terje Mikkelsen (Conductor), Latvian National Symphony Orchestra (Orchestra)
2.0 out of 5 stars See all reviews (1 customer review)
Price: £10.79 & this item Delivered FREE in the UK with Super Saver Delivery. See details and conditions
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Product details

  • Orchestra: Latvian National Symphony Orchestra
  • Conductor: Terje Mikkelsen
  • Composer: Carl Davidoff, Karl Davidov, Pyotr Il'yich Tchaikovsky
  • Audio CD (2 April 2007)
  • SPARS Code: DDD
  • Number of Discs: 1
  • Label: Cpo
  • ASIN: B000MRP1QO
  • Average Customer Review: 2.0 out of 5 stars See all reviews (1 customer review)
  • Amazon.co.uk Sales Rank: 214,252 in Music (See Bestsellers in Music)

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1 of 1 people found the following review helpful:
2.0 out of 5 stars Mundane music in under-powered performances, 17 May 2009
By J. A. Peacock "adalard" (Manchester, UK) - See all my reviews
(REAL NAME)   
Apart from the piano concerto, concertante works seem to have held little interest for Russian composers before the revolution - Tchaikovsky's Violin Concerto and Rococo Variations for cello (recorded here) are the notable exceptions but the only other two works to have a toe-hold on the concert and recorded repertoire are the violin concertos by his lesser contemporaries, Glazunov and Arensky. Glazunov did go on to write a cello concerto - his `Concerto Ballata' - but it is a slight work, composed on auto-pilot after his well-spring of inspiration had pretty much dried up.

At first glance, then, these concertos by Carl Davidoff would seem to fill a valuable gap in our knowledge of Russian music. Davidoff was called the `Tsar of the Cello' by Tchaikovsky on account of his phenomenal technique and eloquence when playing; his music however is a much more mundane proposition.

I recently reviewed three concertos for cello by a German cellist, Julius Klengel, Klengel: Cello Concertos, and these works by Davidoff are in a similar vein; both composers were academics and esteemed cellists, and the impetus for the compositions was to provide a vehicle for their performing gifts. You will listen without success for anything that sounds particularly Russian in these concertos: Davidoff was Latvian by birth anyway, although that was then part of the Russian empire and he spent much of his life in Moscow but none of the nationalist ferment of musical life in his adopted homeland seems to have rubbed off on him. You won't find much in the way of a personal voice or any depth of emotional expression either.

Both concertos are written in an academically correct, sometimes slightly stilted, manner and would no doubt have earned their composer a pass were they submitted for examination at any musical conservatoire across Europe at that time. The melodic writing is pleasant without lingering in your mind afterwards and the orchestration is as conventional as everything else going on here. It's all very pleasant, but ultimately all very anonymous too. The writing for the cello is to my mind slightly flashier in the faster movements than in Klengel's concertos but overall I think the Klengel works are more attractive and satisfying overall.

More engagement from the performers might have produced a better impression. Soloist and performers, while technically correct, seem rather decorous and inclined to undersell Davidoff's music. They aren't helped by CPO's recording either, which lacks weight overall and in the solo instrument particularly; I am not sure whether the latter is the fault of Wen-Sinn Yang or the sound engineers but, in its lower registers, the cello does sound weak and the rhetoric of the solo writing loses some of its potential impact.

For the die-hard collector of nineteenth century cello music only, I am afraid.
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