We have come to expect superb performances from Barrueco and in these works we get them. Only in the Grave of BWV1003 does he elect to alter the text radically, by using the final two bars from the keyboard version, BWV964 (not exactly the crime of the century) – and it works. He takes proper advantage of the guitar’s ability to do what the solo violin cannot do, discreetly adding implied basses (for which there is less need than with the cello suites), filling out chords where appropriate, and sustaining contrapuntal lines where the bow must perforce abandon them. His tempos are well chosen, his use of dynamics is highly effective, and in his phrasing there is a welcoming measure of flexibility and warmth (vibrato is always present but never excessive).
These are performances of dignity and distinction. Why, though, does Barrueco reduce crotchets to quavers in the treble line of the Fugue of BWV1003 (0'56'')? It meets no musical need, it is unnecessary even on the violin, and it is not what Bach asked for, nor does Bungarten do it. Bach was careful not to notate anything that could not be fully realized, and though in some cases short notes followed by rests may arguably be prolonged on another instrument, this is a quite different matter. This is one of several instances where I question Barrueco’s articulation. He also eschews unwritten embellishment, whereas Bungarten adds it stylishly, as in the Andante of the same Sonata, in the manner of one to whom this music was ‘mother’s milk’. Whilst having little hesitation in recommending Barrueco’s splendid recording, I still give pride of place to Bungarten’s warmly human and relaxedly stylish account of these works, one that will be hard for a guitarist to better. Both are superbly recorded.'