When Franz Clement premiered Beethoven’s mammoth Violin Concerto in 1806, he inserted one of his own sonatas between the first and second movements, playing on one string with the violin held upside down. There was no such showboating in this performance by Dutch violinist Simone Lamsma, who delivered a reading of incredible subtlety and lyricism with the Sydney Symphony Orchestra and English conductor Alexander Shelley.

Simone Lamsma, Alexander Shelley and the Sydney Symphony Orchestra. Photo © Daniela Testa

Shelley’s opening – heralded by the five-note timpani figure that underpins the whole movement – was incredibly restrained, the conductor certainly not giving anything away too early. He set the mood perfectly, however, for Lamsma’s first entry, her fine-spun tone unfolding and swelling with gentle passion. This was a refined, organic performance: Lamsma’s pianissimos were whisper-quiet and spider-web delicate – but with underlying strength – her high register molten, her tone tearing silk in the double stopping of the cadenza.

Despite the virtuosity of Beethoven’s writing, Lamsma never put a foot out of place, her technique seemingly effortless and always understated, riding the deeper running currents of the music – no cheap...