Ibragimova is the latest to make you think you’ve never heard [the First Concerto] played better, and her intense relationship with Vladimir Jurowski and the current incarnation of Yevgeny Svetlanov’s ‘orchestra with a voice’, making just as compelling a case for the sequel concerto, is supernaturally fine-tuned…Above all it’s the massive cadenza where Ibragimova goes to the limits, not afraid of making ugly and terrifying sounds

If there’s one factor above all that sets these performances apart it’s the osmosis between soloist and conductor. There’s a musical and intellectual friction going on here and it has to do with the balance between head and heart...Ibragimova’s playing has an unvarnished truth about it. It’s the kind of playing that looks you unblinkingly in the eye and tells it like it is. She’s not afraid to ‘invade your space’ or apply pressure to the sound until its rawness is almost unbearable.

Ibragimova is recorded up-close-and-personal, the mics catching the rasp of wood-on-string and the occasional percussive impact of fingers-on-fingerboard in the most strenuous passages, all of which captures the physicality of the performance to great effect – you can practically smell the rosin and sweat in places.

In this first recording of the original version Ibragimova digs deep into her expressive strings, aided by Jurowski’s Moscow band. She makes as strong a case for the C sharp minor Concerto, both searching and revelling in the music’s black wit.

Gripping playing captures Shostakovich’s astringent wit and emotional drama.

You know you’re not in Britain either with wind players so acerbic or lugubrious, both tones being much required in Shostakovich’s postwar masterpiece. Whatever the colouring, Jurowski’s team and Ibragimova’s solo line effortlessly dovetail...Darkly meditative one moment, febrile with passion the next, she presses ahead with characteristic freshness and muscular force, and never disappoints.

At 35, Ibragimova must be among the greatest violinists living. Along with her superb modern sound she has the extra range of a fine Baroque technique player. This is a huge advantage in the taut reflection of the second concerto, which is mostly an accompanied aria. Jurowski and his RSASO are ideal partners. They feel this music deeply and play flawlessly (there’s some truly superb horn work). I cannot recommend this too highly.