How good to hear these two ‘milestones’, as Christian Tetzlaff calls them, of the violin repertoire, back-to-back. Hardly a second separates them on the recording (nearly 100 years historically). But don’t be tempted to hit ‘pause’ – you’ll miss out on a marvellously disconcerting effect.

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If the violin concerto as a genre suggests both dialogue and conflict, for Tetzlaff it’s more like war. But in a good way. For example, he speaks (in the booklet interview) of the first movement of Beethoven’s Violin Concerto in D (1806) as suggesting “children’s songs… set in opposition to the catastrophe”.

Regarding Sibelius’ Violin Concerto in D minor (1905), he talks of “the fighting person” and the “psychic torments and joys of a protagonist”. The martial sounds of timpani in the Beethoven and the frenzied...