Its title may conjure Turgenevian imagery but ‘Fathers and Daughters’ celebrates the close familial and professional ties between these four musicians across a varied and judiciously conceived anthology that undeniably plays to their individual and collective strengths.

Two evocative miniatures by Borys Fedorov, evoking night and sunrise as if a modern update for viola of Smetana’s From My Homeland, open a collection that continues with the ruminative poise of music by Yevgeni Zemtsov. One of Chopin’s more outward-looking nocturnes is complemented by the confiding viola duo of Alexander Tsfasman then a broodingly introspective study by Michael Kugel, with lilting arrangements of Jewish and Mexican traditional songs the ideal foil to a wistful soliloquy from Glazunov.

Three pieces stand out. Roslavets’s (first) Viola Sonata (1926) unfolds as an eventful single movement, the alternate pathos and agitation a testament to its composer’s doomed striving towards a sustainable idiom during the early Soviet era. Scriabin’s Fantasy (1893) remained his only foray into the two-piano medium, its keen virtuosity much in evidence here, before Mikhail Zemtsov puts his relatives through their paces courtesy of his strutting ‘High Heel’ and smouldering ‘Milonga’, before ‘After a while you’ll see’ makes for an uproarious close.

The performers seem as closely attuned to the music as they evidently are to one another. Read all about their familial connections in the booklet note, remembering this is one Russian chronicle certain to have a definite ‘happy ending’.