Written by Johann Sebastian Bach for Ferdinand Christian Abel, gambist and cellist in the princely chapel in Anhalt-Köthen, Suite II, D minor, BWV 1008, today for Ariana Burstein, has all the possibilities for development on her cello: concertante, not too mathematical she serves an appetizer at the Prelude, the

in the allemande the elegance of the vibrations immediately follows. High-tech fingering doesn't give the eyes a chance to understand all the crazy 16th notes; in the fading tone there is already a new beginning to the courante, gliding warmly into it. Melancholy parts experience their fine complement through the weightlessness of the performance, the whole body plays along.

A powerful build-up of tempo for the finale in the Gigue is based on clear bass dominance, the orchestra of emotions has established itself. With a flamenco of energetic and vital surprises, glissando effects and Pizzi-cato interjections, Ariana Burstein plays all the trump cards that brought her origins (Buenos Aires), training and feeling. The applause during the break corresponds totally to the vibrations in the hall.

The 2nd Suite, D minor, by Max Reger also releases the enormous highs of this warm instrument without appearing shrill. In the Largo, the orchestra leader lets her full set of instruments sound, the cello fills the whole score of the thoughts, a furious tempo builds up tensions, fades into the final part for a long time. The soul also receives its caresses from Claude Debussy, can dangle a bit in "Syrinx", take a breath. Dream worlds build up, clouds of mist dissolve briefly, condense again; the bow continues to move for a long time, the strings retain all freedom of oscillation .

Tango as a very important part of this sensitive artist puts its full point under a program of full life, vital emotions, ole!

Schwetzinger Newspaper