It’s obvious from the first notes of the Monti Csárdás that Katharine Gowers is an accomplished violinist with a clean technique, appealing tone and an elegant, refined style. The programme is a good mixture of the well known (Fauré’s Après un rêve, Bloch’s Nigun) and the less familiar, with one or two more substantial items, like the Suk, breaking the sequence of encore pieces. Where sensitive, atmospheric playing is needed, in the Ravel, the Debussy or the Achron Hebrew Melody, Gowers can’t be faulted – these are lovely, delicate, enthralling performances. The Hubay is excellent, too, with radiant E major tone at the start and beautifully clear trills in the final section.

But in more soulful music, or in pieces such as Gershwin’s “It ain’t necessarily so” where a bit of roughness wouldn’t be out of place, I was aware of a lack of force and intensity. To compare this version of Nigun with Hagai Shahams’s splendid recent recording is to realise how much the music relies on the player’s total involvement. Similarly, the Fauré needs a more expansively lyrical approach, and the Heuberger a freer, more unbuttoned attitude to rhythm, if its sentimental charm is to be fully apparent. But do investigate this recital: it’s well recorded, Owen provides some magnificent accompaniments, and there’s something for every violin enthusiast to enjoy. I look forward, too, to hearing Gowers, clearly a fine musician, in more substantial, demanding repertoire.