The idea of interrupting the first movement after its exposition to make way for the second movement comes from Clara Schumann's piano concerto of 1835. The idea was later used by Liszt, in his piano sonata in b minor. I find Davydov's cello concerto to be a first rate work, leaving me wanting more, not less, of it.
It is likely unknowable if Dvorak ever knew this work, and yet there seem to be more things common to both this work and Dvorak’s masterpiece than the key of B minor.
Davydov was very famous, according to Tchaikovsky "the Czar of cellists" and I would not be surprised if Dvorak knew him and the concertos but it seems though the concertos were rarely played due to their technical and virtuoso demands.
Non aucun point commun . Davidoff a composé un génial concerto à 20 ans et Dvorak a écrit une symphonie concerto avec violoncelle .Je préfère et de loin Davidoff , infiniment moins ennuyeux.
I see what you mean. This is one of those short works where the opening Allegro lacks a development and recapitulation, and the entire work is played without a break. The concerto actually starts out sounding symphonic, and the orchestral exposition is far from “dry.” The part that reminds me of Dvorak begins at 0:36, with a perceived lilt in the winds to match the triplets in the strings, creating the illusion of three beats in the place of two. The symphonic arc is aborted in the tutti that transitions to the Andante.
