None of the BBC's young musicians of the year have been quite as marketable as the 17-year-old Scottish violinist Nicola Benedetti. In the year since she won the competition she has acquired a portfolio of gorgeous photographs, some fabulous outfits, a recording contract with Deutsche Grammophon, and the release of her debut CD with the LSO.

Here we heard around half of her CD, released last week; the LSO had handed over to the (presumably cheaper) Royal Philharmonic, conducted by David Murphy. Given all the hype, it was a pleasant surprise to have it confirmed that Benedetti is, technically and musically, a very good player.

Every note has care taken over it, and she has a constant feel for melodic line. Chausson's Poème began with a veiled, almost viola-like tone and enormous assurance. She made slightly heavy weather of the first fast passage of Saint-Saëns' Havanaise, but when the silky melody returned in glassy harmonics it sounded beautifully easy. Tavener's Fragment for the Virgin, written for Benedetti, sounded like one of the less memorable episodes from his Protecting Veil, but the intensity of violin and strings is an effective medium for his static writing.

Something was missing, though: Benedetti doesn't yet come across as someone who's living the music she plays. The Chausson especially is heady stuff, yet there were no convincing rushes of blood to the head in her performance.

Though the concert was advertised as all Benedetti's show, she was on stage for only a third of it, with her pieces sandwiched between a lacklustre performance of Janacek's Sinfonietta and a more satisfying one of Sibelius's Second Symphony. Murphy's programme note made much of how Sibelius imagined a swifter performance than we usually hear, before bringing the work in at around 45 minutes, just like everybody else; but he drew momentum and sweep from his players none the less.