Her tone is infinitely sweet, suiting Saint-Saëns’s hovering melodies down to the ground in the Havanaise, Romance and slow movement of the Third Concerto. Elsewhere there’s brilliance and attack without histrionics. The Rondo capriccioso starts out imperiously after the suavity of its Introduction, and the same surety characterises the finale of the B minor Concerto, which preens elegantly until the chorale stops it in its tracks. She can weight the tone, though: again in the B minor we notice the assertive, declamatory nobility at the start, the richness of her double-stopping, the grandeur at the bigger climaxes. The early (1853) First Concerto is in some respects an apprentice effort: its single movement feels like the torso of an incomplete work and the unremitting violin-writing barely gives the soloist time to pause or manoeuvre. Yet its energy proves really infectious and persuasive here.