Rather moving, as well as reassuring, to hear this gifted third-generation player, whose grandfather Erich Röhn led the BPO for Furtwängler while his father Andreas provided him with crucial early musical training. Moving, too, given the likely strictures imposed on Erich’s wartime listening, that on the evidence of this disc the profoundest influence on young Daniel’s playing is Jewish-Russian Jascha Heifetz.

You hear it initially in Sinding’s finger-twisting Suite in A, made famous by Heifetz on an unforgettable RCA recording. And while no one (not even Perlman) quite matches Heifetz’s high-tension pyrotechnics in the Presto, Röhn’s warmth, richness of tone and emotive shifts make as powerful a case for the Adagio and finale as you’re likely to hear.

Heifetz’s record of Schubert’s great Fantasy in C was made relatively late in life, by which time full-on intensity had been replaced by wistful sighing. Here Röhn’s Heifetzian cue seems musical rather than technical, with judicious timing, fragile soft playing, a light albeit spiky attack in faster passages and an acute responsiveness to musical modulation. His pianist, Milana Chernyavska, is excellent here, too. I’ll mention just one subtle detail – a slight suggestion of Chernyavska holding back for the little three-note figure at around 15’30”, making Schubert’s (and Röhn’s) subsequent play on that same figure particularly memorable.

The rest of the disc consists of what one might call ‘encore’ material. Röhn’s pert transcription of the ‘Menuet’ from Debussy’s Petite suite is a nice find, nicely played too. Though Príhoda’s arrangement of Paganini’s Nel cor più confirms a virtuoso’s credentials, I suspect from the evidence that Röhn is happier with Schubert. Listening to this CD has been a joy but now I want some bigger stuff from Röhn – Beethoven, of course, Brahms, Mozart or maybe the Schubert sonatinas. Claves please take note.