Jack Liebeck, who is still only in his mid-twenties, knows how to bow a singing line, most notably here in Chausson’s Poème, where his bright, intense sound captures both the passion and (towards the end of the piece) the repose of this endearing work. I would say that Jascha Heifetz provided Liebeck with the interpretative template for Saint-Saëns’s First Sonata, which would have been of precious little use had his own technique been less secure, or his ability to suspend a tranquil line in the crystal-cool Adagio less focused than here. It’s a wholly excellent performance, sweet-toned, elegant, and in the closing Moto perpetuo, riding high on a mounting wave of excitement.

Ysaÿe’s Third Solo Sonata allows for an especially wide range of colours and nuances, its many double-stops in need of secure intonation, which Liebeck delivers. Pianist Katya Apekisheva, a fine player in her own right, is probably at her most imaginative in Prokofiev’s Second Sonata which, on this showing, draws nearer to the weightier First Sonata than one might have expected. Although it is essentially a lighter, more carefree piece than the First, there’s plenty of room for darker colours: Liebeck is especially impressive in the wide leaps at the centre of the Scherzo and the emphatic dancing motives of the finale. All in all, an impressive calling card for a significant talent, one of several younger players who seem to be signalling a renaissance in the forgotten art of personalised violin playing. Long may it thrive.