Just as Berg’s Concerto is dedicated to “the memory of an angel”, Arabella Steinbacher’s recording is dedicated “to my dear Father” who worked at the Bavarian State Opera during the time of Carlos Kleiber and Joseph Keilberth. Father and daughter would regularly play together, their repertoire including the two works coupled here: “Both have something celestial for me,” says Arabella, a claim that is amply borne out by her pure-toned and considered playing. The Berg is intimate, orderly, tonally sweet but never glutinous and always neatly accommodated within the orchestra’s overall texture, which is beautifully (and precisely) moulded by Andris Nelsons. Those seeking anger in the more gnarled tutti passages will listen in vain. Instead Nelsons aims at a transparent projection of Berg’s skilfully wrought harmonies: this is above all a musical reading of the score and provides a moving context for the Bach quotation that dominates the second movement.

The Beethoven Concerto is rather more controversial, especially given livelier options provided by Zehetmair, Kremer and others who eschew a traditionally broad approach in favour of something more assertive, though there are still plenty of recent players who have loved to linger (Vengerov and Mutter being two). Steinbacher and Nelsons certainly linger, very flexibly too, but with the exception of the finale I sense a marked lack of momentum and although Steinbacher bows a most beautiful tone (I was often reminded of Kulenkampff’s shellac recording) the impact of the first movement in particular is compromised. Also the crowning glory of Kreisler’s cadenza, where the two principal themes cross each other, each taking a turn to lead, lacks the necessary sense of exultation, even though it is technically well played. So, summing up, a highly recommendable Berg coupled with a Beethoven that, although worth a listen, doesn’t really compete with the best. Nice, well rounded sound.