According to the rather skimpy program notes, the Davydov-Fanning duo was established in 1976.  Both artists are Vermont-based and they hold respectable positions as performing artists and educators.  The present recording is a compilation taken from various live performances, but the notes do not provide any information about where or when they took place.  The material on the recording is organized so as to replicate an actual concert program, incorporating a wide variety of styles from Couperin to Bach, Beethoven, Mendelssohn and Debussy.  The acoustic varies from piece to piece but all selections are plagued by balance problems with many instances of musical line and instrumental relationship being lost as a result.

That these 2 performers are capable of enjoyable music making is evident in many places, but throughout the CD there is an unfortunate lack of consistency which is not solely the result of acoustical difficulties.  The most successful work is the Pièces en Concert by Couperin, a performance in which much sensitivity is shown by both musicians.  If only the remaining selections had maintained this level of quality!  The Bach Sonata in D, S. 1028, is afflicted by both acoustical issues as well as performance decisions that left this reviewer perplexed.  The slow movements both tended to sound relatively static while the fast 2nd and 4th movements approached levels of freneticism that lacked charm and blurred the intricate contrapuntal relationships between the instruments.  The sheer speed of the 4th movement in particular made it sound more like an étude, breathless, rather than the lively dancelike movement Bach intended.

The Beethoven Variations in F, Op. 66, on a theme by Mozart were more successful, though these too had their moments.  It took a bit of time for the performers to settle into this work, but when they did, several variations were highly successful, the 6th and 8th in particular.  In contrast, variation 9 was quite difficult to take, with a sharpness of attack that felt out of place.

The most problematical acoustical problems are found in the performance of the Sonata by Debussy.  This is a difficult work to realize under the best of circumstances, and from the sound of things, Davydov and Fanning performed under adverse conditions.  In many respects, this performance should not have been included on the CD.  There are places in which the cello literally cannot be heard at all, the intricate and fantastical 2nd movement being a prime example.  Throughout the entire work, the subtle interplay between instruments was less than optimum and there were many places where opportunities for color could not be realized.

Then there is the performance of Mendelssohn’s Sonata No. 2 In D.  This is a work of great extroversion, excitement and youthful enthusiasm.  At least it should be from all the instructions on the written page, but not in this performance.  The 1st movement, marked Allegro assai vivace is performed at an even-tempered Allegro moderato.  The sweep, exuberance, drama, etc., are not there at all!  Sad to say, but this must be the most lifeless performance I’ve ever heard of this movement. The 2nd movement, marked Allegretto scherzando, is the foil to the dramatic first, a movement imbued with whimsy, sentiment and, for variety, a stormy outburst.   Unfortunately there was a decided under-characterization of these elements, most notably at the appearance of the cantabile melody at rehearsal letter B.  This lovely melody was hurried through without much color or emotion.  One of many squandered opportunities.  The Adagio had some absolutely lovely moments, particularly the return of the arpeggiated theme as played by the pianist Diana Fanning, but here, too, what came across was unconvincing for much of the movement.  Turning to the Finale, a movement intended by Mendelssohn as a fiery balance to the atmosphere of the 1st, the music was again underplayed, understated, and under tempo.  There were also several instances of broadening out at the ends of phrases that served only to undermine the excitement level.

I have to admit to being bewildered about the intended audience for this recording: is it meant for local distribution to friends and fans of the performers, or is it intended for a wider audience?  If the answer is the latter, then there is a problem here: when the numerous difficulties arising from acoustical issues, coupled with some less than compelling music making are taken under consideration, there is no way this CD can be given an unqualified recommendation.

© Phillip Silver 2009