[Concerto] This is a live concert (before a silent audience), and the excitement of the music comes through the soloist’s fingers. In the finale, taken at speed, Lozakovich doesn’t pause for the pizzicato double-stops, although he might have for expressive effect. In exposed passages and the first-movement cadenza, he also pushes ahead rather than turning these into self-indulgent rhapsodies.

I never get the sense he uses his technique to dazzle; rather, he always seems to keep lyricism to the fore…Lozakovich plays the Canzonetta with the utmost tenderness, practically clinging to the melody for dear life…Spivakov elicits thrillingly articulate playing from the Moscow-based orchestra in the Concerto and provides aptly atmospheric support in the miniatures…the entire album is hugely enjoyable and offers ample proof that the violinist, still in his teens, is no mere flash in the pan.