Violinist Elena Urioste is from the US, her pianist husband Tom Poster from the UK, and this recital teases out a few fine threads that link the two nations. Granted, some of the ties seem a little tenuous on paper (this despite Mervyn Cooke’s admirable attempt to connect the various strands in his perceptive booklet note). In musical terms, however, the concept is thoroughly convincing.

It’s not easy to create a cohesive programme from miniatures, and aside from Coleridge-Taylor’s nearly 13-minute Ballade, which sits at its centre, most of the remaining 16 pieces and movements are shorter than five minutes. Yet there’s an easy and natural flow here. The ‘Square Dance’ that’s the last of Paul Schoenfeld’s Four Souvenirs (1990) may be riotous – and marvellously so when played with the kind of rhythmic energy and aplomb that Urioste and Poster give us – while the following Cradle Song (1910) by Frank Bridge evokes a Fauré-esque quietude, but the latter feels joined somehow to Schoenfeld’s two sweetly nostalgic central Souvenirs. There are two other cradle songs – the second of Amy Beach’s Three Compositions (c1898) and of Britten’s Three Pieces, Op 6 (1935) are a Berceuse and Lullaby, respectively – so these form another bond. Not only that but the bell-like sonorities in the Britten reappear at the recital’s end in Bridge’s Heart’s Ease (1921). Indeed, the recital’s only slightly jarring segue is from the salon-appropriate glossiness of Beach’s Mazurka to the razor-sharp angles of Britten’s March, but it’s a welcome shift.

Perhaps because the pieces are so brief and the inter-relationships so carefully thought out, this journey from Brighton to Brooklyn may strike one as being narrowly circumscribed. But in listening through, it does in fact feel like a journey, and that’s thanks to Urioste and Poster’s attention to details of dynamics, colour and character. Copland’s Nocturne, the first of his Two Pieces (1926), is delicately perfumed (note the nod to Debussy at 1'15"), for instance, while Florence Price’s recently rediscovered Elfentanz is as stylish as Fred Astaire in a top hat and tails, and Urioste’s tonal variety in the Coleridge-Taylor – from songful warmth to muscular virtuosity – makes that composer’s Ballade a miniature journey in itself. In short, this album is a transatlantic delight.