Nothing becomes Bruch’s Scottish Fantasy more than those opening chords on sombre wind band that seem to echo the twilight world of doomed romance in the historical novels of Sir Walter Scott. Twice repeated, they introduce the soloist, Nicola Benedetti, her violin creeping in surreptitiously before opening up with an expressive response. You sense the music in her Scottish blood but credit to Bruch too, who had never set a foot in Scotland when he conducted the premiere of his Scottish Fantasy in Liverpool in 1881.

By wearing the MacLeod tartan on the jacket of her new album, we are reminded of Benedetti’s significant stage presence and her undeniable gifts in communicating her enjoyment in playing to an audience. Her assured technique sees her through all the formidable obstacles en route to that energetic finale, with its virtuoso variations based on a tune later adapted as ‘Scots wha hae’. The Decca recording could have allowed for a greater presence of the harp, marked mezzo-forte against pianissimo in those opening bars, which is surely part of the Celtic sound Bruch wanted; it’s barely audible until the arpeggio runs in the following Adagio. The BBC Scottish SO conducted by Rory MacDonald share Benedetti’s rapport with this music, playing from the heart.

In her notes, Benedetti offers an intelligent discourse on the options open to her in adapting and interpreting the indigenous folk-music tracks. Her good-humoured apology, on microphone, to her band at the end of The Hurricane reveals a spur-of-the-moment improvisation which is surely welcome. Her infectious way with the reels would brighten up any Hogmanay or Burns night.