These are certainly
not the only performances of this delightful
body of work but they are certainly
rhythmically snappy, tonally pleasurable
and attractively, if not opulently,
recorded. And it’s a delight to become
reacquainted with the original piano
versions of works (duet - four hands)
now more familiar to us in their orchestral
raiment. It’s noticeable that rubati
never seem forced or over-prepared –
sample the second of the Op.46 set of
Slavonic Dances for their naturalness
in this respect. They also contrive
to bring out the verdant wit in the
scores (the Allegretto scherzando,
No.3 from the same set) and keep second
subjects on a good rein, neither too
indulgent nor too brusque (the Odzemek,
Molto Vivace opening Dance of
Op.72 for instance). Crispness of rhythm
is there as well – try the gorgeous
Skocná, No.3 from the
latter set – and grandeur and unanimity
of phrasing in the imposing introduction
to No.5 of the same set, an Adagio
introduction of compelling concision.
Similarly with Legends,
a descriptive and colouristic set. Textures
are aerated; attacks are euphonious
and always synchronous. There’s subtlety
in their phrasing of the C major Molto
maestoso as there is stabbing urgency
in the C sharp minor [No.6]. The vivacity
of the sets of Dances is recalled in
the Andante con moto. From
the Bohemian Forest, a cycle of
six includes Silent Woods, better
known in its guise for cello. There’s
delicacy, drama and tension here a-plenty.
Sometimes some of the
rhythmic subtleties could be more pronounced
– I’m thinking of the Dumka of
the Slavonic Dance Op.72 set [No.2 E
minor, Allegretto grazioso] and
here they do cede to the Hrsel duo (Praga).
And when it comes to Legends and
From the Bohemian Forest it’s
certainly true that a native pairing
of Renata and Igor Ardašev – the latter
a fine exponent of the solo Czech repertoire
– scores higher in matters of texture
and delicacy (Supraphon 3536-2 131).
But the fact remains that this ridiculously
cheap Brilliant box gives us consistently
generous performances, idiomatically
played, of music that moves irresistibly
through the bloodstream infusing the
body with its infectious brio.
Jonathan Woolf
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Ingryd Thorson and Julian Thurber (pianos) 
