Fuelled by a trip to Tunis, the two inner movements are imbued with ‘all the strangeness of Africa’ according to Antheil, and Kopatchinskaja is in thrall to their mercurial fantasy. She’s also ravishingly lambent in the dreamy moonbathing of Cage’s Nocturne whose sensual torpor is disturbed by some strategic spikiness. And the Feldman is navigated with surefooted expressivity and dramatic precision.

Kopatchinskaja’s playing throughout has that same luminous, impish quality that makes virtually all her recordings approximate starbursts viewed from nearby: extreme dynamics and a kaleidoscopic array of colours keep you hooked.

Her impetuous, sometimes rough-hewn assault on Beethoven’s Violin Sonata No 7 with pianist Joonas Ahonen certainly demands our attention. So does their unflagging delivery of the machine-age repetitions and Stravinsky-isms of George Antheil’s Sonata No. 1.