An odd coupling, you might think – two composers of different nationalities and different centuries. You might also have thought that Dvořák’s own Violin Concerto would have made a more intuitive partner for Mozart’s Turkish, given the two works’ shared A major/minor tonalities.

Nevertheless, for her debut recording, Los Angeles-born violinist Grace Park has opted for works which, as she explains in a personal booklet note, ‘I’ve lived with for most of my musical life and I’ve fallen more in love with over the years’. Thus, she says, the Mozart attracts her for its ‘exuberance, inventiveness and infectious energy’, Dvořák’s F minor Romance for its ‘unique soulful quality’. The album-opening Dvořák lays out Park’s stall, her svelte tone and lightly fluttery vibrato allowing hints of something a little grittier in places.

This grit is, of course, an essential tonal colour in the finale of the Mozart, with those outdoorsy interruptions that sweep away the stateliness of the framing minuet with their strong Turkish spicing. One feels, though, that as she grows and gains experience, her interpretation will deepen and enable her to dig further into the strings of her 1717 Giuseppe Filius Andrea Guarneri to highlight the contrast yet further: it’s hard to shift the memory of Isabelle Faust’s down-and-dirty fiddling in her Award-winning (and admittedly utterly different) recording with Il Giardino Armonico (Harmonia Mundi, 12/16).

The Mozart is followed by more Dvořák: orchestrations by violinist Alex Fortes of the Four Romantic Pieces, cannily mirroring the earthiness of the concerto’s finale in its Capriccio and winding down to the inwardness of the Romance and Elegy. The Prague Philharmonia may not have the richness or individuality of tone of certain longer-established orchestras elsewhere in the city but accompany dutifully and sympathetically under Emmanuel Villaume. A useful calling card for an emerging violinist from whom further thoughtful and accomplished music-making will doubtless be heard in future.