It’s no surprise that Julia Fischer, with her looks of classic beauty, has been treated to a video début, but I look forward to regular CDs from this outstanding young violinist. I first heard her when she was only 12, and marvelled. Despite her age, she completely outshone, both technically and in artistry, those in the junior and senior categories of the Yehudi Menuhin International Competition. Incidentally, she has won eight first prizes in competitions to date, five on the violin, and three for her piano-playing. Need one say more?

The interview (in English) amply demonstrates her charm and modesty as well as her intelligence. Even as a 12-year-old she was confident enough to resist some of Menuhin’s interpretative suggestions in a masterclass, which rightly she felt were cutting across her own equally valid views. Anne-Sophie Mutter at a similar age likewise held to her own views of interpreting the Brahms Violin Concerto even in the face of Karajan. Mutter is one of Fischer’s heroines, ‘the greatest German violinist today,’ and the two heroes she mentions are David Oistrakh and Menuhin. She says she likes to listen to other violinists’ recordings, when she is always open to modify an interpretation of her own; yet, when she goes to concerts, she is never completely happy, because she knows she would interpret things differently. One of her aims, she says, is to make the audience happy.

This recording of the Four Seasons is clear and refreshing in a traditional way, with immaculate intonation from the soloist. In Fischer’s favourite part, the lyrical slow movement of ‘Winter’, her performance of that haunting piece is anything but sentimental, ideally combining warmth and purity. The only reservation is that the recording makes the sound of her violin rather bright.

Alternative presentations of the performance are offered: the ‘Directors’ Cut’ interweaves shots of the performers in the futuristic glass dome of the National Botanic Garden of Wales with images of nature from the garden outside, illustrating the changing seasons. The players make no attempt to match the concertos to their accompanying sonnets, but for the slow movement of ‘Winter’, picturing the warmth of the fireside, the camera keeps inside the dome. The alternative film simply follows the performers. Fischer changes her gown for each season, the ASMF players are dressed informally in cream throughout.