After three high-profile versions of Korngold’s once-neglected concerto in a matter of months, here, after a slight lull, is another. Each violinist has set the work against a different backdrop: Nikolaj Znaider paired it with Brahms, Renaud Capuçon with Beethoven, while Matthew Trusler opted for a concerto by another great film-music composer, Rózsa. Vadim Gluzman, by contrast, chooses a true rarity: the concerto by the Lithuanian Balys Dvarionas.

In his general approach, Gluzman follows in the Perlman tradition. If you see the work in terms of old-style movie glamour, with generous vibrato and highly burnished sound, then this may well appeal, though he is perhaps not matched in voluptuousness by the Hague Residentie Orchestra, particularly when it comes to string tone. His ability to spin a line is particularly telling in the vocally inflected slow movement, with portamento duly applied but not overdone. But turn to Perlman and his greater degree of finesse puts Gluzman in context. And then there’s Heifetz, who remains unassailable in his combination of effortless flexibility and intensity of vision.

What is missing from this new reading is the edgier aspect of Korngold’s writing – and that beauty and tension can exist alongside one another was potently demonstrated by Znaider, with Gergiev and the VPO. The brass-fuelled ending of the work is far more caustic in his hands or in those of Matthew Trusler, though Gluzman is certainly equal to the acrobatics demanded of the soloist in this movement.

Balys Dvarionas’s By the Lake is a charming miniature, here ardently played. The B minor Violin Concerto comes from 1948 and, like the Korngold Concerto, is arguably a throwback to an earlier age. But where the former is a master of orchestral colour and songful melody, Dvarionas’s cosy folk references and benign lyricism make little lasting impact, despite the warm advocacy of Gluzman and Järvi.