‘I wanted my interpretation of these seminal works to sound fresh and different’, says LSO Leader Roman Simovic in the forward to this, his debut solo album. ‘I took some risks here and there’; and while one would expect nothing less of any violinist recording this repertoire, Simovic has definitely delivered.

Tempo is one obvious area in which a few risks have been taken. For instance, while at 2'02" Simovic’s Caprice No 1 is only four seconds behind Hadelich’s and Perlman’s, his No 24 stretches all the way to 6'06", two minutes slower than either Perlman or Zehtmair. Pleasures this reaps include a particularly pathos-filled Var 3, some fabulously sharp and distinct triple-stops in Var 8 and a gorgeous sense of time suspended in Var 10. My own tastes miss the wild, hurdy-gurdyish quality that speed can bring to the chromatics and acciaccaturas of Var 2 but that’s not to say that I can’t appreciate the greater elegance that Simovic’s take brings to the table. Another ‘risk’, perhaps, was the decision to not follow the score’s piano markings in No 24’s final variation. However, if you can live with the slight loss of capriciousness this entails, it does unquestionably create a sense of majestic build-up; the triumph of Everest being scaled.

Other elements to enjoy include the husky and slightly peasanty sound quality Simovic has brought to No 6, ‘The Trill’; and, indeed, his extensive timbral palette is always bringing fresh moments to savour: compare the faintly raw edges of ‘The Trill’ with the neat sweetness with which he presents the opening Rondo theme of No 9, ‘La chasse’, and later his airy flute imitations.

This is a fine solo disc debut and one that offers a genuine and quality alternative to the existing pile.