We are inclined to bear an unhealthy reverence in direction of Beethoven, says Nicola Benedetti in the notes to her unique recording of his Violin Concerto. He did, in spite of all the things, write this now-venerated concerto largely on the cruise, for a soloist whose birthday celebration piece used to be enjoying the violin the other draw up.

So it’s accurate that Benedetti, Aurora and their conductor Nicholas Collon bear recorded an interpretation that’s buoyant, warmly affectionate and at instances accurate a minute bit tongue-in-cheek. You’d demand playfulness in the final circulation, but it’s there to a pair of extent at some stage in, even in Benedetti’s weightless enjoying of the unhurried circulation. There are striking moments nodding to historical authenticity – the drum, with sticks laborious as nails, on the very start, and the vibrato-much less strings in the introduction to the unhurried circulation. The drum becomes unusually important, asserting the first-circulation cadenza with a sizable roll after which joining Benedetti in a rollicking cadenza adapted from Beethoven’s piano model.

The recording used to be made in studio circumstances but with all keen enjoying from memory, as is Aurora’s trademark. Does that originate a distinction in an audio-most provocative context? Most likely – there’s indubitably a sense of freedom, of phrasing that isn’t sure by bar traces. In spite of all the things, the consequence is music of irresistible ebullience.

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