Bagratuni was once a student of Daniel Shafran. To a cellist that suggests an unusual background, since the few recordings we have by Shafran show an individualist with great intensity of expression and an impressive technique. One can hardly imagine a Shafran student who would not have a combination of fine technique and a way of getting across the footlights to the listener with it. That is the case here.
I have seldom heard a more natural-sounding reading of this music. There is just enough attention to “authenticity” to keep me relatively happy. Tempos are fast but rubato is prevalent enough to take the curse off them. Even the sarabandes move along sufficiently to make the long phrases clear.
Bagratuni is not the most original Bach player I have heard, but he is one of the most satisfying overall. He has a feeling for voice-leading, a lovely sound, mellow and full, and one of the most effective techniques I have had the pleasure to admire. He never seems to choose a tempo for its technical ease, even in the virtuoso D major Suite, played on the ordinary four-stringed instrument rather than the five-stringed one it was written for. Most important, he appears to be enjoying himself. You will, too. Check your copy, though. Mine will not play the last few bars of the last gigue.
D MOORE

Bach: Cello Suites (2CDs)

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