The first movement of this Chopin Second Sonata successfully balances extremes of tempo and affect. The Doppio movimento begins like a flight from the Furies which, at the second theme, broadens into a ravishing lyricism. The lithe Scherzo fairly erupts with a prickly staccatissimo. The opening of the Marche funèbre speaks in a pianissimo so hushed it seems the very substance of grief, interrupted by a Trio that could be a scena in a Bellini opera. When the march returns, it remains hushed yet implacable. The irascible Presto is driven, seemingly bent on revenge for all that has preceded it. This is a fresh, completely original interpretation of this warhorse, informed by a depth of psychological insight that seems startling from an artist not yet 25. The two 1836 Nocturnes dedicated to Thérèse d’Appony, the Italian wife of the Austrian Ambassador to France and Chopin’s pupil, exude bel canto poise and are exemplars of the art of singing at the piano. The C sharp minor Nocturne yearns with ineffable longing, while the atmosphere of the D flat is sheer luxury, punctuated with exquisitely wrought fioratura.

The distance between Chopin’s Nocturnes and Florence Price’s first Fantasie nègre is more than four thousand miles and a solid century. A native of Arkansas, Price moved to Chicago in 1927, where she gained recognition as the first African American female symphonist. Her piano works are idiomatic, frequently virtuosic and distinctive in that, unlike some contemporaries, she doesn’t use actual Black folk melodies but those of her own invention. Price’s pupil Margaret Bonds, who left Chicago for New York in 1939, was lauded as both a pianist and composer. Troubled Water, among her many programmatic works, dates from 1967. ‘Summerland’, the second of William Grant Still’s Three Visions, imagines a halcyon afterlife. In each of these works Kanneh-Mason is an eloquent interpreter, elucidating textures and arriving at tempos as apt as they are flexible. These evocative readings offer vivid portrayals of their composers’ individual voices.

Kanneh-Mason’s approach to the two Debussy Préludes, ‘La fille aux cheveux de lin’ and ‘Bruyères’, is exquisite in conception and her execution of the utmost delicacy. Here the seemingly infinite gradations of her pianissimos and rich colour palette are on full display. The two Preludes from Scriabin’s Op 11, followed by his Op 19 Sonata-Fantasy, open the door to a darker, more tortuous imaginative realm that Kanneh-Mason conjures with equal mastery and finesse. The urgency and clarity of the Presto finale of the Sonata-Fantasy is little short of breathtaking.

As the third-youngest of the sensationally gifted Kanneh-Mason family, Jeneba impresses as a pianist of enormous technical resources in service of an uncommonly rich and versatile musical imagination. With so much in full flower at such an early age, her future will surely be dazzling.