Zimmermann has fully absorbed the slightly eclectic style of [the First Concerto] and produces a performance of conviction, not to mention dazzling virtuosity. Hrůša accompanies with understanding and flexibility...[In the Second] the sprung rhythms of the first movement and robust ebullience of the finale are brilliantly captured in one of the most satisfying recorded performances available.

Equipped with a technique that he could easily use to dazzle us, Zimmermann prefers to make thoughtful musical choices. Listen to the way he muses over the theme of the central Moderato movement, never drawing attention to anything other than Martinů’s intent, or how playfully he treats passages of figuration that can fall so easily into rote pattern-making. Hrůša is similarly subtle in his response.

Hrůša is as fine a Martinů interpreter as anyone on the podium currently...What impresses most here, however, is the clarity and naturalness of Zimmermann’s performances, remarkable in combining an intimate knowledge of the music (the result of long study) with a freshness of approach. This is, for me, the top recommendation for these two works and, frankly, is how Martinů should always be played.