Faust’s cadenza has real emotional involvement, and builds urgently towards the final Passacaglia, where conductor Jakub Hrůša leads the Bavarian Radio Symphony Orchestra to a full-toned climax, before the soloist re-enters.

In the Concerto, Faust digs deep and her tone has a visceral immediacy that goes straight to the heart of the music. She is unafraid and unflinching, and vividly unleashes the passion in these pages with mesmeric power, symbiotically partnered by Jakub Hrůša.

Faust's technical prowess seemingly knows no bounds, and this is very much in evidence here. The double-stopped harmonics at the end of the first movement are notoriously tricky, but such is her control that she manages to make them sound exquisitely calm. I think the highlight of this performance, though, has to be the final Passacaglia, from sober trombones at the start of the movement to a closing section that enables Faust to display her beautifully sweet tone to full effect.

Faust gives a performance that’s impassioned and intense, slightly downplaying its potential for dreaminess in favour of vigour and determination.