Guro Kleven Hagen, at 20 years old, already plays with great assurance and true artistry. Her account of the Prokofiev stresses its romantic side, the first movement giving the impression of organic unity, fostered by well-managed transitions and well-engineered orchestral balance. This is very different from Patricia Kopatchinskaja’s recent recording, where we’re made vividly aware of all the music’s unusual, even eccentric juxtaposition of ideas. In the following Andante Hagen produces a warm, sweet tone from the start; Kopatchinskaja’s fragility, enhanced by the spare accompanying arpeggios, only gradually gives way to a more overtly expressive manner. It’s not that Hagen’s performance is lacking in variety but the contrasts occur within a narrower tonal spectrum. In the finale, she plays with irresistible vigour and momentum. A convincing, persuasive performance.

It seems to me that performances of the Bruch have become slower as violinists strive to extract every ounce of expression from the unforgettable melodies. Hagen, however, achieves similar timings to those of Fritz Kreisler in 1924 25, and without any expressive deficit. For the first movement’s second subject, the tempo only slackens significantly at the point where Bruch writes un poco più lento, creating a touching effect of reluctance to relinquish a beautiful moment. And in the Adagio the melodies flow easily, clearly distinguished from the more decorative passages. Hagen’s finale breathes youthful vitality, the chords of the main theme accomplished smoothly and effortlessly. She’s an outstanding musician and I eagerly await her next recording.