So impressive. Janine Jansen essentially strips these pieces of all the years of what one might call ‘performance adornment’ and takes them back to their elemental roots.

I was gripped from the very opening [of the Sibelius], and over the course of just a few bars Jansen draws myriad colours from the Shumsky-Rode Stradivarius (1715), making it speak from the iciness of those first notes to the early signs of the intensity that is to come. And the relationship between soloist and orchestra is best described as organic, with Mäkelä’s affinity for the composer clearly in evidence.

Jansen’s first concerto recording in nine years is worth the wait, not least thanks to her obvious rapport with the conductor Klaus Mäkelä and his Oslo Philharmonic. In the Sibelius, her playing has an old-school expansiveness that makes itself felt immediately..Throughout, Mäkelä shapes the orchestra’s part into something truly symphonic in scope – there are passages that almost sound like Tchaikovsky.

From her opening note in Sibelius’s Violin Concerto, the Dutch violinist...grabs our ears and never lets them go. She is anguished and ardent, gutsy and tender, or whatever else the music requires, with every emotional inflection firmly embedded in the composer’s long singing lines...Jansen’s kaleidoscopic range and technical brilliance are just as clear in the smaller, more brittle confines of Prokofiev’s Violin Concerto No 1, whether her tone is lyrical or cynical, rough or smooth. But it’s the Sibelius performance that makes this album special.