Francisco Fullana is hardly the first young violinist to choose Bach for a debut solo album. But not everyone does it with the degree of personal distinctiveness that this US-based Spaniard has achieved across his programme centred around Bach’s Solo Partita No 3 in E and the overall legacy of Bach’s music for solo violin.

I love the fact that Fullana has opened not with the Bach itself but instead Ysaÿe’s Solo Sonata No 2, written for his violinist friend Jacques Thibaud, with the opening movement ‘Obsession’ poking fun at Thibaud’s penchant for warming up with Bach’s E major Preludio. It’s a piece of exceptionally convincing, resonant storytelling, brilliantly played by Fullana.

Move on to Bach’s E major Sonata itself, for which Fullana has swapped to gut strings and a Baroque bow, and beyond the lightness and grace of his attack, again what’s striking is the impression of dance – and also of naturalness. Especially if you skip to the Gavotte, which has a wonderful folky insouciance to both its rhythm and to its limited but effective ornamentations.

As for the shorts, Albéniz’s ‘Asturias’ (arranged by Patrick Loiseleur and Fullana himself) and Tárrega’s Recuerdos de la Alhambra (Ruggiero Ricci’s arrangement) are delicately, precisely, simply articulated, Fullana once again bringing the dance rhythms to the fore, with the resultant gossamer sound genuinely and enjoyably redolent of the guitar; the Tárrega in particular. Then, after a sultry Kreisler Recitativo and Scherzo-caprice, Stella Chen joins for a stellar encore: a glowing, slenderly, tenderly silvery reading of Ysaÿe’s Sonata for two violins, notable for the finesse of its liquid flow and their tonal matching.

Those who enjoy this one may also like to know that there’s a digital-only accompanying EP for which Fullana has paired the Bach Partita in D minor with a warmly impassioned reading of Joan Valent’s modern-day ciaccona, Punta campanella, that’s equally well worthy of your time.