Such glorious playing cannot be recommended too strongly, but for me the Beethoven performance makes a greater contribution to the work’s discography. I won’t soon forget how deeply Tetzlaff moved me.

Tetzlaff may at times excitedly rush his fences, but in collaboration with Robin Ticciati and his alert Deutsches Symphonie-Orchester Berlin, he transforms aspects of what so many have treated as a sort of Holy Grail into a beer tankard…If Beethoven’s Concerto emerges as uncompromisingly provocative, Tetzlaff’s Sibelius also errs on the side of danger…In many respects, a real knock-out.

little lightning bolts of superlative playing will strike you. The way Tetzlaff creates casual sparks in the Sibelius finale will put a bright smile on your face. And in Beethoven, too, there is an admirable mix of the willfully rugged and smooth, somnambulistic assuredness.

The hell-for-leather finale of the Sibelius makes for an exhilarating white-knuckle ride, but buy this for the beautifully-paced, luminous Beethoven – I mean no disrespect to Christian Tetzlaff when I say that I was absolutely captivated even before he arrives on the scene, thanks to Ticciati’s knack for balancing light and shade in the long introduction. This is the violinist’s third recording of the work, and it shows in an interpretation that has all the irreverent good humour of a witty sparring-match with an old friend.

Who needs another recording of the Beethoven and Sibelius violin concertos? It turns out we all do, and this is it...these performances have the lightness and rightness of touch born of long experience. That levity finds an ideal grounding in the unapologetically modern-instrument sound Robin Ticciati draws from the Deutsches Symphonie-Orchester Berlin, weighty yet supple.

Tetzlaff should be applauded for taking it at a true Adagio molto…