After Bach, no one went near solo sonatas for violin. Then the violinist and composer Eugène Ysaÿe wrote six of them in a year (1923), each intended for a different virutoso. Ibragimova brings a ferocious technique but, more importantly, a chameleon touch to music of extraordinarily expressive breadth. Nothing in the violin canon is quite like this: the ghost of Bach lurks behind each sonata but their character is distinct: there is wry humour, grave beauty and daring impetuosity. Ibragimova transfixes throughout.