I’ve always had a soft spot for Jonathan Plowright. I’ve been smitten by his albums of Bach transcriptions for Hyperion, his moving interpretations of Paderewski and now, equally bowled over by this colourful Suk release.

Suk and his father-in-law Dvořák shared a folk-inspired, Bohemian idiom, but Suk was a better pianist, which becomes apparent when listening to the music on this release; one can tell how the notes sit well under the fingers. Spring is an attractive suite of five brief movements, opening with high-octane exuberance, heroic octaves, exquisitely phrased filigree passages and a forward-moving pulse. The second movement ‘Breeze’ employs a spectrum of delicately shaded Impressionist colours that was foreign to Dvořák (Suk was an admirer of Debussy). The piece is harder to play than it sounds (in this case similar to his father-in-law’s piano music), full of tricky runs and quick hand-position changes, but Plowright seems to revel in the complexities.

A more reflective side to Suk emerges in the Summer Impressions, where Plowright judges the slow build-ups and dyings-away in ‘At noon’ to perfection. In more introverted movements a beautiful singing tone prevails, such as a pair of ‘Idylls’ from the set of Op 7 pieces), the first with a gently rocking, waltz-like flow, the second more impassioned.

As is standard for Hyperion, the piano sound is crystal-clear and ambient. Jan Smaczny’s booklet essay sheds light on a composer whom I wish more pianists would discover and try out for themselves. Plowright continues to enlighten piano lovers with lesser-known composers; we may count ourselves lucky for his efforts!