Wieniawski’s First Concerto, composed when he was just 17, shows the young violinist’s ambition to scale the heights of virtuosity and is a worthy partner to its better-known successor. Soo-Hyun Park embraces all the challenges without turning a hair, and also contrives to give Wieniawski’s passagework an expressive and poetic quality – by playing very delicately, perhaps, or by attacking a particular phrase with unusual vigour. In the finale, the pauses in the main theme are wittily extended, and for the cantabile subsidiary melody she finds a wonderfully warm, slightly veiled tone. In her imaginative approach she outshines Charlie Siem – just as impressive as a virtuoso but, in his response to the work’s contrasts, less varied.

Park’s reflective approach to the Vieuxtemps results in a beautiful performance that’s certainly not short of vivacity but maybe it doesn’t capture the work’s extrovert theatricality as perfectly as does Viviane Hagner’s. A curious difference in the recordings: at the start of the B major Largo section, Hagner introduces the melody, whereas Park leaves it to clarinet and flute.

Julius Conus’s 1896 Concerto, taken up by Kreisler and Heifetz, and recorded more recently by David Garrett, is still a rarity. Though short of memorable ideas, it’s most effectively written for the violin and has an attractive idiom with suggestions of Tchaikovsky, Rachmaninov (a close friend) and even Delius in the dreamy slow movement. Soo-Hyun Park’s playing is again beautiful and full of character. The accompaniments, too, are excellent.