In his booklet notes, the violinist Christian Tetzlaff points out that he has out that he has played these two central pillars of the concerto repertoire literally hundreds of times, and his intimate knowledge of every corner of the music certainly shows in his performances.

Even when he’s accompanying, the sense that each phrase offers a new musical opportunity (without being overdone) is remarkable, as is the innate interplay between him and Ticciati.

This is a master violinist at the height of his powers… his playing demonstrates the range of emotion that each work requires. Needless to say, he is wholly in command of the technical demands of each work…. The balance between soloists and orchestra is good.

Tetzlaff’s performance of the Brahms Concerto is brisk, and his interpretation at times feels very much of the moment... The first movement’s second subject is deliciously languid, but always moving onwards, and he develops increasing excitement and momentum in the build-up to the great tutti.