There’s a telepathy between them. And they have a very clear take on a piece born of Korngold’s own intention that it be ‘more Caruso than Paganini’. It sings...I love that there’s a modesty about Haveron’s performance. It’s so easy to overcook this piece. His unaffected delivery is key here..[The Sextet] gets an absolutely cracking performance here from key members of Wilson’s newly reformed Sinfonia of London led by Haveron.

Wilson is ever-mindful of the fact that though the concerto shares some of its material with Korngold’s film-scores, it’s emphatically a work for the concert-hall..His easy rapport with his soloist is evident everywhere – indeed there are moments where you’d swear the performance is being directed from the violin. Haveron supplies plenty of heart but no cheap sentimentality, sweet but lean tone, and immense care for detail that often gets swamped on rival recordings.

Haveron is a charismatic and brilliant soloist who needs fear no comparison and Wilson’s committed advocacy is evident throughout.