Homesickness plays a part in the inspiration of many of Bohuslav Martinu's works, including this energetic, brilliant music for two pianos.

Martinu had left the new nation of Czechoslovakia for Paris, where interest in new musical ideas was pronounced and the cultural scene was livelier. Thinking back on his homeland, Martinu in 1926 joined his predecessors Smetana, Dvorak, Janácek, and others in writing light, lively piano music based on the folk dances of his country, his Czech Dances for piano solo, H. 154.

After the Communist take over of Czechoslovakia, Martinu was finally able to return home. Once again he turned to the title and format of Czech Dances. The two piano scoring takes advantage of the power and crispness that is uniquely possible for the medium; the work is energetic and colorful. It is mostly cheerful, but there are some moments where a deeper emotion seems present. Unlike the prior set of Czech Dances, these three works do not bear the name nor are in the form or rhythm of any specific folk dance. They are, instead, a kind of abstract version of idealized Czech dances. The whole set lasts nearly 15 minutes.

The first movement, Allegro, is based on two very brief ideas with pronounced rhythms, usually over a rapid toccata-like rhythm. There are moments where the even toccata rhythm breaks into joyous syncopated patterns or brilliant scale flourishes. In general, the power of the scoring and the forcefulness of the rhythms increase throughout the four minutes of the dance.

The middle movement, the longest of the three, also tends to keep a constant rhythmic pattern going. These patterns tend to be rather fast and active, even though the basic tempo of the movement is Andante. As is mostly the case throughout the Dances, the sonority of two pianos cooperating in wide, full chords predominates here. This is even true in the more lyrical section, though here the full chords are soft ones.

The finale, Allegro non troppo, returns to the highly athletic sound of the opening movement, with melodies that drive even more strongly to the vigorous conclusion.

The premiere of the Dances was in September, 1949, at the Edinburgh Festival. The performers, who are also the dedicatees of the work, were Ethel Bartlett and Rae Robertson.

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