Being “indisposed” can mean many things when a performer cancels an engagement, including actually being indisposed. At least there was a silver lining to the non-appearance of the violinist Leonidas Kavakos on Monday: the Wigmore Hall’s lunchtime audience had the chance to enjoy another, younger fiddler, recently launched on the ladder of fame and likely to climb much farther.

She’s Vilde Frang, from Norway, 22 years old, a recent protégée of the violin goddess Anne Sophie Mutter, with the ink scarcely dry on a recording contract with EMI Classics. In this Schubert and Strauss sonata recital with the pianist Julien Quentin, broadcast live on Radio 3, bow and bowing arm were raised high in the air at the end of all flamboyant movements . A triumphalist gesture? Not a bit: Frang was only making physically visible the depth of feeling already embedded in her rounded tones, strong attack and mastery of the singing line.

She bewitched within seconds of the Schubert Duo, D 574. Mercurial, larky music this, and Frang kept in perfect step with its moods, rapidly and cleanly varying the dynamics, elegantly switching between leaping stabs, kittenish sighs and tender musings. Quentin, her French piano partner, almost as young, ran alongside, meshing brightly most of the time, though his more lyrical inflections veered toward the mundane.

On then to Strauss’s early Violin Sonata, Op 18, a luxurious, billowing pillow of a piece. Frang began by focusing her tone into a bright silver gleam, ideal for the violin’s impassioned songs without words, so close in contours to Strauss’s lieder.

Strange, then, that the long breaths needed to sustain the andante’s outer sections were more elusive: this was a bird that tried and tried but never quite took wing. Quentin, a more facile player, didn’t help, painting his notes monochrome. He was also a mixed blessing in the finale, nicely conveying Strauss’s grandiloquent sweep but ramming home the last chords too hard.

Still, Frang’s lyrical flow became fully restored: no modern gruffness for her. With her heart, soul and penetrating technique, she’s definitely a violinist to look out for.

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