There was a theme of east-west relations to this year's Hay festival recitals at St Mary's Church, marking the 20th anniversary of the fall of the Berlin Wall. Some of the links were tenuous: Dvořák went to America, but only long after writing the work featured here, his Sonata in F, Op 57. Another Czech composer on the programme, Josef Suk, was Dvořák's son-in-law; he won a medal in the 1932 Los Angeles Olympic Art competition. The evening's violinist, Tai Murray, is a great American hope. And finally, the Russian Stravinsky went to the States to live in 1939, which is probably connection enough.

It was in Stravinsky's Divertimento, his arrangement for violin and piano of his ballet score for The Fairy's Kiss - itself a reworking of pieces of Tchaikovsky - that Murray showed her mettle. She turned to her advantage the work's stylistic waywardness, making the violin's sound dance. Curiously, Murray herself seemed a bit the Ice Maiden (the ballet is based on Andersen's original tale) - tightly focused and economic of gesture. But her performing instinct emerged clearly in the final burlesque, which was as feisty as it comes.

Murray produced an unusual tone quality from her 2007 Mario Miralles violin, with a throaty warmth low down and a searing laser clarity high up. It suited Stravinsky well, and there were moments in the Dvořák, too, when she found arresting melodic inflections. The balance of lyrical playing with the more virtuosic passages in Suk's Four Pieces Op 17 found Murray at her most expressive. It was here that her partnership with the deeply sympathetic pianist, Gilles Vonsattel, was at its most relaxed - a proper pas de deux.