Kodály’s Psalmus Hungaricus (1923) and Bartók’s Cantata profana (1930) have appeared together on disc twice before, I believe – by Dorati (Hungaroton) and Solti (Decca, 6/98). And they do make a natural pairing, in fact, partially because of their similar dimensions and scoring but also as they are both key works in the output of each composer. For Kodály, the Psalmus (composed to commemorate the 50th anniversary of the union of the cities of Buda, Pest and Óbuda) made him something of a national hero, and for Bartók, the Cantata was, in his own words, his ‘most profound credo’.

The performance here of the latter work is notable for being sung for the first time (on records, at least) in Romanian, the original language of the Transylvanian colinde (or carols) from which Bartók derived the text. Lawrence Foster elicits incisive singing and playing from the Transylvanian choir and orchestra and the reedy-toned soloists both sing expressively, but if you’ve heard either Boulez’s feral account from Chicago (DG, 3/93) or the atmospheric magic of Fricsay’s RIAS recording (Audite, 5/11 – sung in German), Foster’s may sound relatively tame. And much the same can be said about this Psalmus Hungaricus. Marius Vlad’s baritonal tenor has a world-weary quality that’s entirely apt for this passionate litany of the sufferings of the Hungarian people and Foster’s pacing is spot on, but turn to either Fricsay’s mono or stereo recording (both for DG with Ernst Haefliger – 10/55 and 11/94 respectively) and you’ll find a white-hot intensity that’s missing here.

Kodály’s Budavári Te Deum (1936), composed to commemorate the 250th anniversary of Hungary recapturing Buda Castle from the Turks, benefits greatly from Pentatone’s crystal-clear and spacious recording, which allows one to savour details inaudible in previous recordings – like the choir’s quiet chanting in at ‘Et rege eos’ (at 2'25") – although the natural concert-hall perspective sacrifices some of the sonic oomph and grandeur heard in Ferencsik’s version (Hungaroton, 5/71).

Bartók’s three Transylvanian Dances (an arrangement of his 1915 piano Sonatina for chamber orchestra) serve as an engaging interlude, especially as they’re performed by the Transylvanian musicians with such attractive casual rusticity.