Naxos’s trawl through Rózsa’s orchestral and concertante works reaches its third instalment with a real rarity: the premiere recording of the early Rhapsody for Cello and Orchestra, composed in 1929 at the end of Rózsa’s student days. It is an apprentice piece, undeniably, the mature voice not yet fully realised despite clear indications of what was to come. Its arch-form design encompasses swings of mood and pace that the later master would control with greater aplomb. Mark Kosower is the ardent soloist, ably supported by an orchestra founded (uniquely, I believe) by a State Railway!

Mariusz Smolij elicits fine playing from his musicians, though, in the superb Hungarian Sketches (1938, here in their revised form from the late 1950s), their orchestral style tends more to the cinematic than did the BBC Philharmonic, which has the tauter, more refined ensemble. Although the composer disavowed any programme for Overture to a Symphony Concert (1956, rev 1963), this darkly impressive piece owes much of its atmosphere to the events of the Hungarian Uprising. By contrast, the Hungarian Nocturne (1963) is more reserved in tone, a fine nature poem, largely (and uncharacteristically) quiet for much of its 10‑minute span.

The performances, if a touch syrupy in tone, are well articulated and more than serviceable. Naxos’s sound is typically clear, albeit without the warmth of Chandos. If I had to recommend a single disc of Rózsa’s orchestral pieces I would still plump for Gamba’s – not least for the magnificent Tripartita – but, that said, this Naxos disc is a bargain at the price.