David Budd, one of the new young cellists in the National Symphony Orchestra, made his local recital debut yesterday afternoon in Barker Hall with a program that taxed a wide variety of musical and technical aspects of playing.

To the F Major Sonata of Brahms and the C Minor unaccompanied suite of Bach, Budd brought unfailing musicianship of a high order and an impressive brand of technique. With pianist Martha Krasnican contributing playing of real distinction, he opened the Brahms with all the requisite sweep. There is a special grandeur in this music, but it requires sensitive handling to be kept alive and a strong awareness of its structure to preserve its lyric qualities. All these Budd displayed in playing that had ease in its mastery.

If the top notes in the opening phrases were slightly off-base the first time around, in the repeat they were right on the mark. Agile and secure as his left hand is, Budd's bowing arm was responsible for beautiful, lyric tone. He also knows the secrets of bringing a Bach solo suite to life. Its phrases were shaped in long lines, and the varied moods of the succeeding dances were clearly projected.

For a show-stopping finale, Budd brought out the Servais Fantasy on themes from "The Daughter of the Regiment," which was almost as much mindless fun as when Beverly Sills used to sing Marie. There were death-defying harmonics and double stops with the bow skittering all over the place. Budd threw in just the right kind of flair to bring it off. Not the sort of thing a man wants to spend a lifetime polishing, but a glittering reminder of an era when the superficial was adored.