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Kodaly: Orchestral Works / Dorati, Kertesz [4-CD Collector's Edition]


Release Date: 03/30/2010 
Label:  Decca   Catalog #: 001407002  
Composer:  Zoltán Kodály
Performer:  Zsolt BendeOlga SzonyiGyörgy MelisLászló Palócz,   ... 
Conductor:  István KertészAntal DorátiArthur Oldham
Orchestra/Ensemble:  London Symphony OrchestraBrighton Festival ChorusEdinburgh Festival Chorus,   ... 
Number of Discs: 4 
Recorded in: Stereo 
In Stock: Usually ships in 24 hours.  

Notes and Editorial Reviews

“An absolute must for children young and old (Ha?ry Ja?nos)”-- Grammophone

“The Psalmus Hungaricus receives a bright and forceful performance under Kertész, dramatically sung by tenor Lajos Kozma.”-- Gramophone Classical Good CD Guide

"Committed and idiomatic performances recorded in three-dimensional sound. The highlights from the collection are the Suite, the sets of orchestral dances and the Peacock Variations – one of the finest sets ever written; but there is interest too in the rarer Concerto for Orchestra – earlier than Bartók’s and equally nationalistic – and the three-movement Symphony of 1961. -- George Hall, BBC Music Magazine

"It’s marvellous to have
Read more Kertész’s brilliantly idiomatic performances of Kodály’s best-known works. Peter Ustinov’s narration of Háry János threads the whole together." -- Jan Smaczny, BBC Music Magazine

"In Dorati's hands the passionate Andante [from the Symphony] is strong in gypsy feeling and the jolly, folk-dance finale is colourful and full of vitality." -- Penguin Guide

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FULL REVIEW

No other company has produced such a compendious Kodály collection so direct competition is not going to be an issue in this review. That still leaves the question of how well this collection meets the needs of Kodály and the listener or collector.

For collectors whose memories extend back to the primeval ooze of the vinyl era the recordings here are likely to be familiar. Who would have thought that Decca would still be extracting yield from those stereo sessions of forty-plus years ago? Fortunately they hit a golden time for Decca recording technology. This together with authentic national flavouring from all concerned including the sympathy and intensity of Doráti (1906-1988) and Kertész (1929-1973) provides a healthy foundation for infinite issue, reissue, repackaging and re-sequencing. Every change of playing medium technology will find the company reaching back to these recordings. The recordings are by no means strangers to the CD format. Broadly speaking CDs 1 and 2 were originally reissued on silver disc as Double Decca 443 006-2 but with some differences. Then again we heard the lion’s share of CDs 3 and 4 on Decca 443 488-2 which had Kertész’s Peacock Variations rather than Doráti’s. The first set can still be had but the second disappeared years ago and is inaccessible unless you go for the ArkivCD custom version or strike it lucky with Amazon or Ebay; you might have a long wait and end up paying astonishing prices though. Speaking of such matters I recall a ragingly successful Saga LP of Kodály’s Cello Sonata (János Starker) coupled with the Duo. Do any of you know it? I recall it as something very special indeed but lost touch with my LP years ago. There were some wonderful things on Saga including, in 1974, a 2LP version of Granados’ Goyescas from the pianist Mario Miranda (Saga STXID 5343-4. If only we could hear these recordings again.

When it comes to Kodály’s orchestral music you could not ask for a better selection from Decca. I say this unless you insist on stunning digital sound in which case you must go for individual discs culled from here and there. There’s no comparable package that competes head-on and certainly nothing at the bargain price offered here. The set is well documented by Colin Anderson and the track separation is generous with each variation, scene, movement and interlude separately tracked; only Marosszék among the multi-movement works has to manage with a single track. Sadly the booklet does not provide the sung texts or translations. That’s presumably the price you pay for the set being so low priced.

János appears as the customary suite (Doráti) as well as the full fairytale singspiel (Kertész) in a prologue and four adventures all done luxuriously with Peter Ustinov as narrator. You might I suppose find Ustinov or the sound effects irritating; I don’t. You could opt for the modern complete premium price version on Accord but you will not escape a narrator. In Accord’s case it is Gérard Dépardieu. Hungaroton have a full 2 CD version as well with the Hungarian State Opera forces conducted by János Ferencsik (HCD12837-38). Unfortunately I have not heard this - though I would like to along with many other Hungaroton Kodály entries. So far as the suite is concerned the cimbalom, in the Doráti recording, has a relishable tangy twang and is given lots of very welcome presence in the audio-image. Doráti’s expatriate Hungarian band working in the safe confines of Marl in Germany relish the break from their mammoth Haydn Symphony Edition. The technicians pay admiring court to the braying blast of the brass and the bucolic spindrift woodwind. The Galanta Dances whirl and shimmer in pastoral delight. Again the bold recording image never hints at modesty - false or otherwise. Kodály wrote a very large amount of choral music which really should be recorded as an intégrale. The BBC in the 1980s studio recorded large tracts of it. This brings me to tr. 12 of CD 1 which is the folksong for male choir on which the warm, vivacious and dancingly rapturous Peacock Variations are based. It is sung with thrumming presence by the chorus of the LSO under the composer-conductor Arthur Oldham. Do not on any account miss out on CD 2. Kodály lost none of his freshness in opting for unaccustomed conventional formats such as the concerto and the symphony. The pensive and then bustling Theatre Overture was initially intended for Háry János but now lives an independent existence. The Concerto for Orchestra and the Symphony are each three movement works and have a fresh outdoor spirit, brilliantly orchestrated and agreeably proportioned. Each has uncanny overtones of E.J. Moeran so if you like the Moeran Symphony, Sinfonietta and Serenade you must hear these works. Other composers who occasionally come to mind in the orchestral music are Rimsky, de Falla and passim Stravinsky. The Hungarian accent is present but you may be surprised by how close Kodály is to Moeran in the Concerto and Symphony - purely coincidental on both sides, I am sure. Summer Evening is an early work and is perfectly consistent with its title. Again if you enjoy the orchestral Delius or Hadley then you will appreciate this lavishly sun-bathed music. Interesting that the composer-conducted versions of Concerto for Orchestra [22:26] and Summer Evening [21:12] with the Budapest Philharmonic on Deutsche Grammophon Dokumente 427 408 recorded in Budapest Qualiton Studios in July 1960 are substantially longer than Doráti in this set. The music is so engaging but one wonders whether Kodály’s pastoral idylls are just as idealised and oneiric as the country rhapsodies of Delius, RVW, Moeran, Bridge and Hadley. Turning to the final works on CD 4 (Doráti and Philharmonia Hungarica), there is the stately Minuetto serio with its echoes of Haydn and Prokofiev’s Classical, the grumpily original, volatile and Honegger-like Ballet Music and the sunny disposition of the Hungarian Rondo. Very pleasing and with Kodály demonstrating that he has surprises up his sleeve alongside moments that can be heard as linking with the national rhapsodies of Alfvén and Enescu. Kertész is back at the helm for the turbulently patriotic Psalmus Hungaricus. The tenor Lajos Kosma is suitably heroic and imploring. Strange how strongly this bubbling broth of defiance and invocatory reflection reminded me in its outer movements of Sibelius’s Kullervo. Incidentally among Kodály’s legion compositions for unaccompanied choir is Vainamoinen Makes Music. The fervent singing of the choirs in the Psalmus is notable in the Igaz vagy Uram, itéletedben finale. That said I went back to the Fricsay live concert version (bedecked with coughs) with German forces on DG 445 410-2 and thought the heat of protest and fervour a few degrees higher than that projected by Kertész. However Fricsay’s tenor Ernst Haefliger singing in German not Hungarian was a degree more smooth though with less vibrato than Kosma. There is a further good modern version to be had in a 2CD set from Brilliant Classics. There the tenor is András Molnár.

The full singspiel Háry János in Op. 15 (1927) spans discs 3 and 4. The artists are Margit László (soprano), Zsolt Bende (baritone), John Leach (cimbalom), Olga Szönyi (soprano), Erzsébet Komlossy (soprano), László Palócz, György Melis (baritone); Edinburgh Festival Chorus, Wandsworth School Boys' Choir. London Symphony Orchestra/István Kertész. Recorded in 1968 this comes into a degree of competition with Accord's two CD version. The Accord is quite new but this Decca is still in stereo and as indicated earlier bears up Decca’s most exalted technical traditions of the 1960s. While the Accord has Gérard Dépardieu Decca has that master of a thousand voices and of the absurd in the shape of the iconic Peter Ustinov. Ustinov, radiating intelligence, plays a host of parts and speaks in English. He introduces and guides you through the work which could perhaps be irritating to some when you really get to know and love the work. Sound effects - applause, clatter of cutlery and of horse hooves (CD1 tr 12) - are used liberally. The effect is of a radio extravaganza with Ustinov holding court as narrator (out of the extreme LH channel) and voicing characters amid a full-cream sung and orchestral canvas. While Ustinov speaks in English the singing is in Hungarian and is magnificent in its occasionally Goons-like characterisation, its nobility and its clarity. Impressions crowd in: the cool flutes in CD 3 trs. 1 and 4, folksy pleasures flightily articulated by the women’s chorus (tr. 5), Leach's solo cimbalom registers under the voice of the tenor. In tr. 10 the cimbalom takes its place in the famous march - wonderfully registering and not losing an ounce of its metallic-plucked resonance. In tr. 13 there are the Heath Robinson style bells and whistles of the musical clock. Tr. 16 is resplendent in antiphonal fanfares - a true spatial spectacular with no apparent hiss. Tr. 18 has its raspberry bellowing trombones and tuba as the 11 ft high Napoleon enters the stage. There are shades here of the giant Hitler and Nazi party officials in Brecht-Eisler’s Schweik in WW2. The sound and the balances are in the best vivacious Decca tradition. Tr 10 reminds us how close Hungary is to the Orient. Tr 13 exudes the heroic turbulence of the patriotic spirit. It’s a delightful score where romance and zany satire meet, embrace or do wooden-sworded battle. It has a counterpart in the Prokofiev scores for Kijé and Three Oranges.

This is a joyous set - satisfyingly capacious and much more than just a wonderful introduction to Kodály’s orchestral music.

-- Rob Barnett, MusicWeb INternational
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Works on This Recording

1. Háry János, Op. 15 by Zoltán Kodály
Performer:  Zsolt Bende (Baritone), Olga Szonyi (Soprano), György Melis (Baritone),
László Palócz (Baritone), Erzsébet Komlossy (Alto), Peter Ustinov (Narrator),
Margit László (Soprano), Lajos Kozma (Tenor)
Conductor:  István Kertész
Orchestra/Ensemble:  London Symphony Orchestra,  Brighton Festival Chorus,  Edinburgh Festival Chorus  ... 
Written: 1927 
2. Háry János, Op. 15: Suite by Zoltán Kodály
Conductor:  Antal Doráti
Orchestra/Ensemble:  Philharmonia Hungarica
Period: 20th Century 
Written: 1927; Hungary 
3. Dances of Galánta by Zoltán Kodály
Conductor:  Antal Doráti
Orchestra/Ensemble:  Philharmonia Hungarica
Period: 20th Century 
Written: 1933; Hungary 
4. Variations on a Hungarian folksong "The Peacock" by Zoltán Kodály
Conductor:  Antal Doráti
Orchestra/Ensemble:  Philharmonia Hungarica
Period: 20th Century 
Written: 1938-1939; Hungary 
5. Dances of Marosszék by Zoltán Kodály
Conductor:  Antal Doráti
Orchestra/Ensemble:  Philharmonia Hungarica
Period: 20th Century 
Written: 1927; Hungary 
6. Theatre Overture by Zoltán Kodály
Conductor:  Antal Doráti
Orchestra/Ensemble:  Philharmonia Hungarica
Period: 20th Century 
Written: 1927; Hungary 
7. Concerto for Orchestra by Zoltán Kodály
Conductor:  Antal Doráti
Orchestra/Ensemble:  Philharmonia Hungarica
Period: 20th Century 
Written: 1939-1940; Hungary 
8. Summer evening by Zoltán Kodály
Conductor:  Antal Doráti
Orchestra/Ensemble:  Philharmonia Hungarica
Period: 20th Century 
Written: 1906/1929; Hungary 
9. Symphony in C major by Zoltán Kodály
Conductor:  Antal Doráti
Orchestra/Ensemble:  Philharmonia Hungarica
Period: 20th Century 
Written: 1961; Hungary 
10. The Peacock by Zoltán Kodály
Conductor:  Arthur Oldham
Orchestra/Ensemble:  London Symphony Orchestra
Period: 20th Century 
Written: 1937; Hungary 
11. Psalmus hungaricus, Op. 13 by Zoltán Kodály
Performer:  Lajos Kozma (Tenor)
Conductor:  István Kertész
Orchestra/Ensemble:  London Symphony Orchestra,  Brighton Festival Chorus,  Wandsworth School Boys' Choir
Period: 20th Century 
Written: 1923; Hungary 

Customer Reviews

Average Customer Review:  1 Customer Review )
 A must have performance! November 21, 2012 By Stephen Schoeman (Westfield, NJ) See All My Reviews "Anyone who enjoys Hungarian music must have this CD set! Indeed anyone who enjoys music period should have this CD set! Conductor Dorati studied with Kodaly and so this is reason enough to purchase this CD set! But it is the music which should be the primary reason. And especially the opera Harry Janos which is really a singspiel which is brilliantly narrated by none other than Peter Ustinov who plays several different voices to a tee, including that of Harry Janos and the emperor. Its such an extraordinarily whimsical opera. Harry Janos likes to boast and his boast in the opera is that he defeated Napoleon Bonaparte! Need I say more? Kodaly collected Hungarian folk song on his tours of rural Hungary and worked with Bartok in this effort. Kodaly received his Ph. D. for his doctoral thesis on Hungarian folk song. He make great efforts to promote Hungarian music. He is considered a Hungarian national hero. His teaching methods remain influential. All this done with little formal education! Enjoy! Stephen Schoeman, Ph. D. Political Scientist" Report Abuse
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