CD1
Háry János - Suite
1. Prelude; the fairy tale begins 	03:20
2. Viennese musical clock 	02:14 	
3. Song 	05:24 
4. The battle and defeat of Napoleon 	03:58 	
5. Intermezzo 	04:42 	
6. Entrance of the emperor and his court 	03:10 	
Dances of Galánta
7. 1. Lento - maestoso 	04:38
8. 2. Allegretto moderato 	02:37 
9. 3. Allegro con moto, grazioso 	01:28 	
10. 4. Allegro 	03:05 	
11. 5. Allegro vivace 	03:21 
Variations on a Hungarian Folksong “The Peacock”
12. 1. Moderato (Theme) 	03:54 	
13. 2. Con brio (Variations I-VI) 	02:58 	
14. 3. Vivo (Variations VII-X) 	03:01 
15. 4. Andante espressivo (Variations XI-XII) 	05:33 	
16. 5. Tempo di marcia funebre (Variations XIII-XVI) 	05:29 
17. 6. Finale: Vivace 	03:51 
18. Marosszéki táncok (Dances of Marosszèk) - for orchestra 	12:25

CD2
1 Theatre Overture 14:14
2 Concerto for Orchestra
3 Summer Evening 16:44
Symphony in C
4 Allegro 10:13
5 Andante moderato 8:07, 
6 Vivo 7:30

Philharmonia Hungarica
Antal Dorati – conductor

This two-CD set features all of twentieth century Hungarian composer Zoltan Kodaly's (1882-1967) major orchestral works. No other such set currently exists, so this fact alone makes this CD set unique. Even better is the fact that the performances (from the 1970s) remain unsurpassed to this day. Antal Dorati and the Philharmonia Hungarica--an all Hungarian lineup--play the music of this composer like no one else ever has. The famous Hary Janos Suite sounds as colorful and exciting as it gets. Every last detail of the orchestral contribution, including instrumental solos, is done to perfection. The Galanta Dances are given a wildly exciting performance, full of ethnic-derived tunes, played with great flair. The Peacock Variations are given a virtuosic and thrilling performance, with all the shades of color expressed perfectly. The less-performed Marosszek Dances (transcribed from piano) are given the most persuasive performance I have ever heard. And that's all on the first CD!

The second CD features Kodaly's rarer works, but you'd be missing so much if you didn't hear them! The Theatre Overture (originally part of Hary Janos) is a colorful score that captures Kodaly at his very best. The Concerto for Orchestra is a neo-classical work (its title is the same as the famous work by Kodaly's colleague Bartok) that is very enjoyable if not quite as mesmerizing as Kodaly's other works. The Summer Evening is one of Kodaly's very best: an impressionistic, colorful sketch of lyrical tunes that is very memorable. The Symphony in C is another neo-classical work that combines that genre with musical modernism (it was Kodaly's last major work), and the result is a true masterpiece that you'll return to often. All of the performances are outstanding. Dorati's interpretations with his Hungarian orchestra are idiomatic, capturing every nuance with care, which other performances often fail to do. The sound quality on both CDs is about as perfect as you could want--typical of Decca's 1970s analogue recordings: they sound better than many digital recordings! --- goodmusicman, amazon.com

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1 Psalmus Hungaricus, Op. 13: Mikoron Dávid Nagy Búsultában 	12:12 	
2 Psalmus Hungaricus, Op. 13: Te Azért Lelkem 		4:28 	
3 Psalmus Hungaricus, Op. 13: Igaz Vagy Uram 		6:01 	
4 Missa Brevis: Introtus 	2:57 	
5 Missa Brevis: Kyrie 	2:46 	
6 Missa Brevis: Gloria 	4:24 	
7 Missa Brevis: Credo 	7:11 	
8 Missa Brevis: Sanctus 		2:42 	
9 Missa Brevis: Benedictus 	3:51 	
10 Missa Brevis: Agnus Dei 	6:20

József Gregor - Bass 
Veronika Kincses - Soprano 
Janos B. Nagy - Tenor 
Julia Paszthy - Soprano 
Tamara Takacs - Alto 
Maria Zempleni - Soprano 
Hungarian Radio Children's Choir 	
Hungarian Radio Chorus
Budapest Philharmonic Orchestra 
Arpad Jóo – Conductor

Kodály, a colleague of Bartók in the early collection of folk music in Hungary and neighbouring regions, made his later career in his own country, where the system of musical education he devised has had a profound effect, as it has abroad. His own music is imbued with the spirit and musical idiom of Hungary and is in general less astringent than is sometimes the case with the music of Bartók. He was active as a composer until his death in 1967.

Kodály wrote a great deal of choral and vocal music, much of it for his choral method, an essential element in his plan for general musical education. He won his greatest early success with Psalmus hungaricus in 1923, and in 1936 celebrated the 250th anniversary of the re-conquest of Buda from the Turks with a Te Deum. His Missa brevis was written during the later years of World War Two. His unaccompanied choral work Jesus and the Traders has always proved effective. ---naxos.com

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Sonata Op 8. For Solo Cello 	(33:52)
1 	Allegro Maestoso Ma Appassionato 	9:14
2 	Adagio 	13:02
3 	Allegro Molto Vivace 	11:31

4 	Sonatina	8:42

9 Epigrams 	(12:55)
5 	No 1 - Lento 	1:13
6 	No 2 	1:18
7 	No 3 	1:21
8 	No 4 - Moderato 	0:58
9 	No 5 - Allegretto 	0:44
10 	No 6 - Andantino 	1:11
11 	No 7 - Con Moto 	1:35
12 	No 8 	2:56
13 	No 9 	1:31

14 	Romance Lyrique 	4:33
15 	Adagio 	8:44

Natalie Clein – cello
Julius Drake – piano

The wonderful young cellist Natalie Clein has been a familiar name since winning the BBC Young Musician of the Year competition in 1994. Since then, she has pursued a distinguished career performing with the most celebrated orchestras and conductors around the world. She has also made a number of recordings—generally concentrating on the most popular cello repertoire. For her Hyperion debut she turns to a composer who is extremely close to her heart, the great Hungarian national composer Zoltán Kodály, who by his discovery and creative use of his folk-music heritage forged the standard by which twentieth-century Hungarian music should be judged.

Kodály made a decision to concentrate on instrumental and chamber music in his composing career, and he seemed to achieve more powerful results the fewer instruments he dealt with. He displayed elegant formal grasp and structural sophistication in his two string quartets and sheer passion and epic sweep in the violin-cello Duo (1914). But above all towers the amazing, ardent, pugnacious Sonata for Solo Cello (1915), the greatest utterance in this most demanding of genres since J S Bach’s solo cello suites. Calum MacDonald writes that ‘Had he written nothing else apart from this magnificent sonata, Kodály would still deserve to be accounted one of the greatest musical geniuses that Hungary has ever produced’. Natalie Clein’s performance of this highly emotional monologue is a passionate, coruscating tour-de-force.

Also included are a delightful selection of Kodály’s other works for cello; performed here with Hyperion regular and Natalie’s frequent duo partner, Julius Drake. --- hyperion-records.co.uk

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1. Variations on a theme by Paganini	5:30
2. Cello Sonata, Op. 8: I. Allegro maestoso ma appassionato	8:48            play
3. Cello Sonata, Op. 8: II. Adagio (con grand espressione)	11:14
4. Cello Sonata, Op. 8: III. Allegro molto vivace	10:45
5. Duo for Violin and Cello, Op. 7: I. Allegro serioso, non troppo	7:57
6. Duo for Violin and Cello, Op. 7: II. Adagio	8:28
7. Duo for Violin and Cello, Op. 7: III. Maestoso e largamente, ma non troppo lento -	8:44

Variations on a Theme by Paganini for cello solo composed by Hans Bottermund.

Janos Starker – cello
Josef Gingold – violin

This is truly one of the greatest recordings of all time, precisely because Starker plays the Kodaly like Kodaly - not like Brahms. It's a vicious, bleak piece. Ma's recording is dramatic and flowery and ornamented - and sounds like everything else he does. Pick up this Starker disc - leave Yo-Yo to his Tchaikovsky. –Danny Noonan

This recording is exquisite. Although Starker's rendition of the Kodaly has its unfavorable critics, it must be noted that Starker played the work for the composer--the first time when Starker was about 15. His final performance for Kodaly was shortly before the composer's death. On that occasion, Kodaly himself stated that Starker's performance, except for one small ritard, was the "Bible performance". –Russ

Cellist Janos Starker is joined by violinist Josef Gingold in performing Zoltan Kodaly's Duo for Violin and Cello, Op. 7.

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1. Galántai táncok (Dances of Galánta)
2. Táncnóta (Dancing song)
3. Marosszéki táncok (Dances of Marosszèk) - for orchestra
4. Gergely-járás (St. Gregory's day)

Instrumental excerpts from the opera Háry János - from: version 1929 (Germany 1931
5. The flute playing Hussar
6. The old woman
7. The Jewish family
8. Háry riding Lucifer
9. The two gypsies

10. Túrót eszik a cigány (See the gypsies)

Háry János Suite
11. Prelude; the fairy tale begins
12. Viennese musical clock
13. Song
14. The battle and defeat of Napoleon
15. Intermezzo
16. Entrance of the emperor and his court

Children's Choir Magificat, Budapest 
Children's Choir Miraculum, Kecskemet 
Budapest Festival Orchestra 
Ivan Fischer - conductor

Kodály's music can be a lot of fun, and this disc is programmed for maximum entertainment value. The two sets of dances, which should be 20th-century Top 100 classical favorites, are about as entertaining as music is permitted to be, are the excerpts from the singspiel H&@225;ry János (which is Top 100, deservedly), the better- with the lesser-known music interspersed to excellent effect. Fischer adds to the mix three brief choral arrangements of Hungarian folk songs. The two children's choruses sing like angels, and the orchestra plays throughout with a tasty idiomatic quality, snapping the rhythms and emphasizing the imaginative color of the orchestration. If your collection isn't already overloaded with Kodály, this disc will be an excellent addition. ---Leslie Gerber, amazon.com

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