When I reviewed Lisa Batiashvili’s memorable Proms performance of Beethoven’s Violin Concerto some eight years ago (she was just 20 at the time) I wrote in terms of someone who was more confidently in command of the music than many a vintage virtuoso. In that respect things certainly haven’t changed. Now as then she draws a sweet, centred tone and makes sublime music of Kreisler’s inspirational cadenza. Batiashvili herself directs, usefully ensuring that the timpani have their day – in full tutti as well as in the solos – with sensibly chosen tempi and some nicely graded dynamics.

Turning for comparison to Isabelle Faust’s recording, my favourite among the relative newcomers (Harmonia Munci, 11/07), Jirí Belohlávek’s opening with the Prague Philharmonia sports a tougher profile, especially prior to the soloist’s first entry, while Faust herself is in general more forthright than Batiashvili, her choice of Beethoven’s own cadenza (orchestrated from his piano version of the work) bringing her more in line with challenging alternatives by Kremer and Zehetmair. Batiashvili’s principal virtues are her agility and lightness, her chaste playing of the Larghetto’s second subject and the enchanting buoyancy of the finale, though I would have preferred a stronger sense of dialogue with the orchestra en bloc: the effect here is more of augmented chamber music.

So, a fine performance if not absolutely the best, but I would suspect that the main draw on this CD will be the six orchestrated Miniatures by fellow Georgian Sulkhan Tsintsadze, whose tunefully exotic dance movements have an instant appeal and draw the very best from Batiashvili and the Georgian Chamber Orchestra. To be honest I would have preferred an all-Tsintsadze (or even all-Georgian) programme, given that Beethoven is so handsomely served elsewhere, but whether Tsintsadze brings you to Beethoven or Beethoven to Tsintsadze makes little difference: the sum effect is a very satisfying CD.