Don’t be put off by the glitz surrounding this new release from superstar violinist Ray Chen…there’s no false glitter to his playing…[the Bruch is] performed with splendid warmth and character by Chen and the LPO…Other highlights are a gossamer-light quartet arrangement of Clair de lune, and Kreisler’s Schön Rosmarin…which Chen plays with his signature vivacity and a wonderfully full-bodied sound.

Chen plays with all his usual combination of suavity and kick, and his central Adagio is a particular joy…I must trumpet Koncz’s quartet contributions because these are what really lift this already marvellous disc into genuinely fresh, new territories…Joyful. Original. Stunningly played. What more could anybody want?

Chen treats Bruch’s war-horse with such delicacy and affection that it’s impossible not to be won over no matter how many times you’ve heard the piece – his legato’s a thing to marvel at, and even though there’s portamento and Mantovani-esque vibrato aplenty it’s used as seasoning rather than overpowering everything in its wake. The Made In Berlin ensemble’s riffs on Satie and (somewhat less expectedly) Waltzing Matilda are great fun.

The line-up is madly varied, although you certainly get a lightning tour of different ways of playing the violin. Stephan Koncz’s arrangement of Debussy’s Clair de lune highlights Chen’s almost miraculous featherweight touch, which is whispered without sounding wispy.