Pfitzner is an unusual choice for this record. Though his music is not inferior his Nazi leanings (despite Jewish friends) have tainted him badly during the late 20th century. Interestingly for a novice listener there is an undercurrent of this darkness and conflict running through all the pieces. Gerhardt, a star currently on the rise, is taking a risk here despite being perhaps the perfect cellist for these concertos with their conflicting Elgarian romanticism and Stravinsky-esque syncopation. He plays them masterfully but unfortunately, despite Gerhardt’s clear technical prowess, the recording remains just pleasant but conservative cello music.