Daniel Röhn: my Daniil Shafran top five

His name evokes strong feelings and reactions, ranging from eternal admiration to rolling eyes. But one thing is clear: no one is left untouched. And to many music-lovers worldwide, regardless of whether they're cellists or not, it remains a mystery as to why this man is not considered quite naturally the greatest of all time on his instrument. Some go even further, and would say on ANY instrument. While such a claim might come across as shocking, hearing Shafran play at his best is even more of a shock, and leaves little room for argument. And perhaps it's no coincidence that a violinist, not a cellist, writes this tribute, for to hear Shafran in action is usually to be reminded of the greatest violin virtuosos.

Shafran possessed an inexplicable beauty of sound, and technical abilities beyond our wildest dreams; listening to him gives us the same goosebumps as hearing Jascha Heifetz or Ivry Gitlis on the fiddle. The legends surrounding Daniil Shafran, this gentleman with the predator eyes, taped fingertips, and his somewhat smallish Amati cello, are many. A man who devoted every moment to music, and none to politics. A man with unlimited talent, imagination, and work ethic. The fascination goes on…

Schubert: "Arpeggione" Sonata (rec. 1960)

When Iistening to this, somehow the word "Urtext" seems far away, and quite unattractive. Here, we witness someone at work whose priority is not to obey the correct punctuation marks in the score, but to make music to the fullest. And boy, does he! Shafran made several recordings of the "Arpeggione", including this particular one in 1960 in New York, and it's jaw-dropping. It feels like it is spun from one line of silk; the unbelievable command of his instrument is only matched by a beauty of tone that at times is almost hard to bear, and certainly is unlike anyone else's. Breathtaking!

Prokofiev: Sinfonia Concertante (rec. 1961)

A superb example of music sounding like a threat, the Sinfonia Concertante is always a thriller. But in this live recording it feels like the composer was Hitchcock himself. The opening is played with such elegant intensity that I usually have to hit the pause button already after one minute: it's too overwhelming. And that effect continues throughout the whole thing. An ancient god on LSD, giving the cello a go, is what I hear in the visionary second movement. Shafran operates on highest voltage, projects the brightest of sun rays with all colours of the rainbow. After a complete listen of this, a week's rest is in order.

Beethoven: Cello Sonata No.2 in G (rec. 1973)

When I was a student, there was a rumour that Shafran's recording of the Beethoven sonatas was among his best…but nobody had it. When it finally was re-released, it was like a salvation, and the rumour was true. What I find most impressive is that, despite the typical Shafran naughtiness, which he of course also can't hide here, his Beethoven sonatas sound so incredibly classy and noble. Sonata No.2 is probably my favourite. What suspense in the introduction! Shafran's longtime duo partner, Anton Ginsburg, gives us an amazing opening of the fast (second) movement, unleashing Shafran's "Spielfreude". I always love his slides in the two little episodes in minor – perhaps he played them with one finger.

Tchaikovsky: Rococo Variations (rec. 1949)

Shafran has often been called the "poet" of the cello. And in this early recording, we can hear that he already was that as a young man, aged 26. As usual with his playing, our attention ping-pongs between admiring his heart-stopping sound and his daredevilish technique. But here it is, more importantly, the slow variations which leave me deeply touched. I feel like I'm listening to a pastor preaching a sermon, and he is telling me that everything is going to be alright.

Rakov: Humoresque & Serenade (rec. 1947)

A representative example of all the little itsy-bitsy encore pieces, of which Shafran played and recorded galore. A genre, in which he outgunned everyone on the cello. In my experience, even people who dislike him in the "big" repertoire, all surrender to his magic and miracles when it comes to showpieces and miniatures. Giving a nod to Heifetz! It's impossible to choose a defining example, so I pick this for its very original music, recorded when Shafran was 24.