In reviewing two volumes of this set in its original incarnation on Essay, my colleague Jed Distler praises Inna Poroshina’s sensitivity, impulsive rhythmic freedom, and also the excellence of the engineering, which serves this colorful music particularly well. Dvorák gets a raw deal as a composer for the piano. Although he eventually wound up a string player, piano and organ were his first instruments, and by all accounts he was a good pianist, however idiosyncratic his writing for the instrument may have been. There are some very interesting and appealing works here, aside from the popular Humoresques and major pieces such as the Theme and Variations Op. 36 and Poetic Tone Pictures (one of his largest instrumental cycles in any medium). The Eight Waltzes Op. 54 and the Six Mazurkas Op. 56 (which Dvorák boasted did not sound like Chopin) certainly deserve to be better known, and even if the music was largely written for domestic consumption and isn’t full of virtuoso dazzle, it’s good stuff nonetheless. This inexpensive set should win many new friends for it, particularly in these committed, passionate, and well-recorded performances.