The music of Jan Novak (1921-1984) is extraordinary and remarkable as such. However, this recording puts a kind of stamp of authenticity on it since the solo parts are played not only by pianist Karel Kosarek but also by both of the composer's daughters. While flautist Clara Novakova might have gone back in memories to the time when she was fifteen and her father dedicated the first version of Choreae vernales to her, Dora Novak-Wilmington sat on the piano stool instead of her mother, Eliska, who played the instrument as brilliantly as her husband, Jan. In a way, the recording exudes the atmosphere of a family reunion across time. Novak's Concerto for Two Pianos reflects his impressions of studying with Bohuslav Martinu in New York (where they visited jazz clubs together) as well as his desire for recognition from his teacher. The historical recording of the work (Jan and Eliska Novak, Czech Philharmonic, Karel Ancerl, 1957) deserves to be complemented by a representative modern recording. Concentus biiugis for piano four hands was performed in the year of its creation in the composer's exile in Germany as a way of supporting Charter 77, an anti-regime movement in his homeland. The first version of Choreae vernales was written in the same year in Italy and three years later Novak clothed it in the colourful attire of string orchestra. It is this nearly unknown version of the composition that is newly recorded here. The orchestra's involvement and renowned conductor Tomas Netopil's distinct musicianship help the soloists to create Jan Novak's colourful and striking musical landscape.