Leon Bosch demonstrates a natural affinity with the origins, aims and virtuosity of Bottesini’s music. He finds an admirable partner in pianist Sung-Suk Kang, who moulds her contribution faithfully and sensitively to his lead.

Bosch’s programme particularly highlights his sonorous, lyrical playing style and musicianship, as demonstrated in his performances of the Meditazione (Aria di Bach), the quasi-operatic Elegy, the Romanza Patetica (Mélodie), with it telling phrasing and crystal clear harmonics, and the contemplative Réverie. His readings of the solemn Romanza Drammatica (Elégie) and the passionate Adagio par Ernst further emphasises his expansive lyricism and careful shaping of the line, allowing for the introduction of some agreeable rubato. His characterful account of the Gavotta contrasts elegance with humour and his Tarantella combines a laudably flexible approach to the introduction with a relatively steady version of the main dance section. Nevertheless, Bosch is musically commanding throughout, even if some imperfections of intonation remain and his dynamic range seems relatively small.