This debut disc from the American violinist Elicia Silverstein draws its title from the first line of a Metastasio sonnet which describes the internal messiness of the artistic process; and while this is because for Silverstein this sentiment rings true, what’s ended up on record here is anything but messy. Indeed, this is a deeply thought-through, bewitchingly rendered succession of interpretations that feels emblematic of the sorts of creative, genre-bending Baroque projects which are increasingly being presented by today’s younger generation of artists.

The programme itself is a full-blown scholarly effort exploring the philosophical, structural and technical connections between the progressive violinistic composers of the 17th century and the late 20th-century Italian avant-garde composers they in turn influenced: a proposition that on paper has all the air of a thesis title but which in Silverstein’s musical outworking – performed on pure gut strings – comes off as a highly emotionally intelligent piece of pure art. This is also one of those rare albums truly conceived as a whole listen from start to finish; for instance, from the piano ending of Biber’s Mystery Sonata Passacaglia comes the softly shimmering opening of Sciarrino’s Capriccio No 2, with the two further connected by the magically Impressionistic, wistfully ethereal approach she’s brought to both.

Scholarship has freed her to be different too because, while for Biber’s Mystery Sonata ‘The Crucifixion’ she is joined by theorboist Michelle Pasotti and cellist Mauro Valli, for Pandolfi Mealli’s Sonata No 2, La Cesta, she’s been able to cite a 17th-century basis for her more unusual decision to opt for cello accompaniment alone, with the greater freedom and intimacy that allows for.

Then, while Bach’s D minor Chaconne may be an eminently logical successor to Berio’s Sequenza VIII, it’s still a brave choice for a young artist’s debut recording (although Emmanuel Tjeknavorian was equally brave this year when he opened his own debut album with it – Sony Classical); Silverstein’s flowing, gossamer-weighted and vulnerable-toned reading, though, is both her own and entirely convincing. Whatever Silverstein does next, I’m already looking forward to it.