By far the most substantial work in this recital is Janá¶ek’s Sonata‚ which the players make light of – in two senses‚ for its technical demands hold no fears for them‚ and they handle it as a piece of immediate appeal‚ even charm. There is a case for this in the ‘Ballada’‚ with its unusually (for Janá¶ek) extended‚ singing melody in the middle section. This‚ the first movement to be written‚ is most happily done by Pavel Sùporcl and Petr Ji·íkovsk³‚ with excellent reciprocity between violin and piano. Where their approach comes into question is in the opening Con moto and especially in the finale‚ with its strange challenges between soft‚ gentle piano chords and savage phrases on the muted violin’s G string marked feroce and at the same time espressivo. It is an odd‚ rather severe and unreconciled movement. It leaves the sonata ending on a more questioning note than is suggested in this easygoing performance. For the rest‚ the recital is one of ready appeal‚ even in the 10­minute Czech Rhapsody which Martin² wrote for Fritz Kreisler‚ a lightly melodic work though one that seems to have caused him much difficulty. The pieces by Smetana and Dvo·ák are amiably played‚ and Sev¶ik’s cheerfully ingenious Blue Eyed Maiden is dealt with in just the right bravura fashion.