Despite the best efforts of Yehudi Menuhin in championing Mendelssohn’s Concerto in D minor, the youthful work has never caught on as a repertory staple. On the concert stage, Menuhin’s most successful legacy was in getting the composer’s Op 64 – generally known as the Mendelssohn Violin Concerto – listed as Violin Concerto No 2.

Violinist Tianwa Yang’s performance of Concerto No 1 in no way threatens Menuhin’s primacy with the work – to say nothing of his three recordings – though she does maintain his standards of advocacy. Pairing the D minor Concerto with the composer’s later Concerto in E minor, Yang manages to reveal the early work neither as merely a disposable confection by a precocious child nor as a masterpiece in its own right.

Under her bow, the two pieces become bookends of the same sensibility, a similar approach to both content and structure differing mainly in the maturity of the composer’s craft. Fitting somewhere outside this axis is the Violin Sonata in F minor, Op 4, which, although it was written a year later than Mendelssohn’s earlier concerto, puts less of the composer’s brilliance on display. Where the concertos showcase Yang’s presence of sound and lyrical grace on a grand scale, the sonata offers her fluid phrasing a more intimate though less interesting canvas. If her partnership with pianist Romain Descharmes is less successful than with Patrick Gallois and the Sinfonia Finlandia Jyväskylä, it’s mostly because the music gives the piano so little to do.