The opening item, Moszkowski’s Guitarra, sets the pattern in bringing out Wang’s virtuoso playing in imitations of the guitar, with plentiful pizzicatos. There follows a splendid group of Chopin transcriptions, three favourite Waltzes and two of the best-loved of the Nocturnes. Though Sarasate stays close to Chopin’s originals, he adds various spectacular passages specially suited to the violin. Yang’s range of violin tone and dynamic is consistently seductive here and throughout the disc.

Next comes Sarasate’s potpourri Souvenirs de Faust, with Gounod’s principal tunes given a spectacular setting, and with the piano as well as the violin given brilliant passages. The Waltz is deliciously pointed, while the celebrated Soldiers’ March brings plentiful double-stopping. Of the transcriptions of pieces by Guignon, Mondonville and Leclair, the most attractive is Leclair’s ‘Tambourin’.

The next item reflects the period when Handel’s Largo was very popular, with no mention that it comes from the opera Serse. Similarly, the Air from Bach’s Suite No 3 in D was always known as the ‘Air on the G string’. Sarasate’s arrangements of both pieces beautifully ring the changes of pitch and dynamic, with passages involving melodies on high harmonics. The Handel begins and ends effectively with the piano alone, making the late entry of the violin even more seductive.

The last item is a fantasy piece, La fée d’amour. At nearly 18 minutes it is much the longest item but by no means the most interesting. Yet Sarasate, so the note tells us, regarded it as his favourite concert item, no doubt because it allowed him to exploit his virtuosity to the full. Altogether a delightful disc, beautifully recorded in well balanced sound.