Throughout this ingeniously programmed ‘American Road Trip’, showcasing his versatility across various American musical styles, Augustin Hadelich displays mastery in every facet: perfect intonation, rich tone, technical perfection and moving musicianship, with Orion Weiss an ideal partner in crime.

In Ives’s Children’s Day at the Camp Meeting, Hadelich’s precise vibrato commands the line with delicate force. He inhabits Ives’s musical language naturally, singing American tunes with an authentic sense of their rustic roots. Stephen Hartke’s Netsuke also benefits from Hadelich’s superb imagination and unflappable technique in bringing to life six scenes from Japanese mythology inscribed on the miniature netsuke sculptures. His ‘Monster That Devours Nightmares’ is methodically terrifying, and his ‘Demons Carrying a Rich Man to Hell’ is a hell of a rag.

Hadelich dazzles with Daniel Bernard Roumain’s Filter, a ferocious perpetuum mobile homage to Jimi Hendrix, while his take on Happy Forrester’s Wild Fiddler’s Rag sounds almost authentically bluegrass and so beautifully played and recorded besides that it could go to the top of the classical music audiophile charts.

Hadelich’s take on Leonard Bernstein’s ‘Somewhere’ is transcendently moving; he soars in Amy Beach’s Romance, Op 23, as if the score were a road map to her heart; and he plays William Kroll’s Banjo and Fiddle with deliciously controlled abandon. He lavishes an astounding range of colours on Jascha Heifetz’s arrangement of Manuel Ponce’s Estrellita, and plays Coleridge-Taylor Perkinson’s Louisiana Blues Strut with serious cool and Eddie South’s Black Gypsy with casual, laid-back elegance. He does the best he can with John Adams’s forgettable three-movement Road Movies and a strident arrangement of Aaron Copland’s Hoe-Down.