Over a number of years, Philippe Quint has developed a close alliance with the Mexican Orquesta Sinfónica de Minería and its conductor Carlos Miguel Prieto (as explained on a promotional DVD included with this album). The partnership seems especially happy in the Bruch. Quint and his colleagues have a knack of discovering when to allow a little extra time, or where to slacken the tempo slightly and then to push on. The orchestral transition to the Adagio (at the end of tr 1) maintains Bruch’s Allegro moderato, allowing the written-out ritardando to make its full effect, and in the Adagio Quint never permits the tempo to sag – we can experience each long melodic arc as a single utterance. This account doesn’t quite match the finest recorded performances – in 1958 Erica Morini showed a more fiery temperament in the finale and a more perfectly sustained legato – but, with finely balanced recording and enthusiastic orchestral playing, it comes close.

The other items, too, have much to recommend them. Quint plays both Beethoven Romances beautifully, though the G major, Op 40, is perhaps rather too slow, causing the orchestral passages to sound slightly stiff and pedantic. The F major, Op 50, strikes an ideal tempo but here the orchestra, repeating the theme, fails to match Quint’s expressive phrasing.

Quint’s fluent, easy manner, radiant tone and brilliant technique stand him in good stead in the Mendelssohn. Maybe the first movement’s second theme slows up too much – Ray Chen, keeping closer to the main tempo, sounds more affecting – and the middle section of the Andante is curiously cool and dispassionate. But Quint brings out the first Allegro’s passionate character admirably and plays the Andante’s famous melody with lovely, pure sound and refined expression. An account that’s well worth hearing.