Kodály
Budavári Te Deum (1936)
Psalmus Hungaricus Op.13 (1923)
Bartók
Transylvanian Dances (Erdély táncok) Sz. 96 (1931)
Cantata Profana Sz. 94 (1930)

Luiza Fatyol (soprano, Te Deum), Roxana Constantinescu (mezzo-soprano, Te Deum), Marius Vlad (tenor, Te Deum and Psalmus Hungaricus), Ioan Hotea (tenor, Cantata Profana), Bogdan Baciu (baritone, Te Deum and Cantata Profana), Junior VIP, Children’s Choir (Psalmus Hungaricus), Transylvanian State Philharmonic Choir & Orchestra / Lawrence Foster

Pentatone PTC 5187071 [64’14”] Texts and English translations included

Executive & Recording Producer Job Maarse Balance Engineer & Editing Erdo Groot Engineer Lauran Jurrius
Recorded May 2022, Radio Studio of Radio Cluj, Romania

Written by Ben Hogwood

What’s the story?

Here is a chance to gain an insight into the choral music of two 20^th century Hungarian composers known predominantly for their orchestral works. Bartók and Kodály were born just a year apart, and while their music is fiercely proud of their heritage their musical trajectories extend well beyond Hungary. Kodály stayed largely within Europe but brought back influences from Paris, while Bartók reluctantly emigrated to the US in late 1940.

Psalmus Hungaricus was Kodály’s first major post-war composition, in 1923. It is a landmark in his output, using for its text a Hungarian paraphrase of Psalm 55. Kodály uses a tenor soloist for the central dramatic role, the choir taking up their position as commentators. The Budavári Te Deum, completed 13 years later, marks the 250^th anniversary of the liberation of Buda Castle from the Turks. While referencing Gregorian chant, Kodály incorporates references to Hungarian melodies and ornamentations in a dramatic setting.

In 1930 Bartók completed his first major work for chorus and orchestra. Cantata profana has Transylvanian roots, and Oana Andreica’s booklet note gives the context of its libretto, starting from two Romanian ‘colinde’ – ballads sung during the Christmas season but with a wide range of subjects well beyond the birth of Christ. Such is the case here, Bartók dramatising a myth of nine sons turned into stags. The cantata charts their fate and their father’s conflicting emotions, expressed by a baritone soloists. The Transylvanian Dances are a complementary addition, a short trio of works for small orchestra containing five traditional songs.

What’s the music like?

The Budavári Te Deum is a thrilling start to the album. This is red-blooded choral writing, Kodály diving in headlong to a high octane first section. He challenges choir’s higher sections, who respond admirably to the loud dynamic, retaining impressive clarity in the part writing. The work’s climactic points are notable for their power and passion.

This performance of the Psalmus Hungaricus has the authentic inflections to the melody, its bracing start turning to contemplation. Tenor soloist Marius Vlad inhabits the full tone and strong line demanded by Kodály, and sung so memorably by Ernst Haefliger in the legendary recording with Ferenc Fricsay. This makes for a fine digital alternative, with the choral response both full-bodied and unified. The meaningful counterpoint between Vlad and the Transylvanian woodwind in the middle section (Te azért lelkem) is especially memorable.

Bartók’s Cantata profana starts ominously, with an underlying menace that grows steadily as the hunt in the story progresses. Again the choral passages are well drilled, especially when in league with the percussion. The passionate tenor solo (Ioan Hotea) and fulsome bass (Bogdan Baciu) prove to be ideal foils, alighting on some spicy chords. There is little consolation at the end, in spite of the relative calm this performance leaves.

The Transylvanian Dances are over in a flash but leave a charming impression, with rustic themes. The recording is much closer, taking the action indoors to the tavern rather than outside in the wilds.

Does it all work?

Very much so. There is an adjustment to be made for the Transylvanian Dances, with the smaller ensemble and closer recording, but the performances justify the means. The choral works are a resounding success, brilliantly performed and with electric singing from the Transylvania State Philharmonic Choir, especially in the high passages. The orchestra match them under Lawrence Foster, who secures incisive rhythms and impressive clarity from such large forces.

Is it recommended?

It certainly is. This is an enterprising and very accessible coupling of three thrilling choral works, revealing fresh insights into the Hungarian composers.

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