An impressive, distinctive performance of the Bruch, with Arabella Steinbacher combining confident, easy virtuosity with concern to find the right tone and nuance for every phrase. Foster supervises a beautifully balanced accompaniment with notably expressive individual lines. Steinbacher has a tendency to draw the music out and, indeed, the timings for all three movements are longer than usual. The finale thereby loses some of its scintillating quality but appears more powerful and substantial. And while players of previous generations, Milstein, for example, were probably correct in allowing the Adagio to move with greater fluency, Steinbacher’s slower tempo is beautifully sustained, the long lines projected with supreme confidence.

It’s a similar story in the Korngold: the elaborately scored orchestral part sounds especially warm and sensuous, while Steinbacher’s expressive cantabile alternates with enthusiastic verve in the virtuoso passages. However, in the second movement she tends to enjoy each lovely moment at the expense of the onward flow, while in the finale the performance fails to downplay the heavy-handed Hollywood humour and sentimentality. In both these respects, the celebrated Heifetz recording shows the way – a true andante tempo for the middle movement, the finale faster, too, with emphasis firmly on the virtuosity of the solo part. In the Chausson there’s also a combination of really beautiful playing with a tendency to linger along the way. As a musical narrative, I prefer Tedi Papavrami’s account; his more passionate telling of the story has a stronger feeling of ebb and flow.