KODALY. Serenade, Op. 12b.

ROZSA. Sonata, Op. 40. Susanne Lautenbacher, bGeorg Egger (vns); abUlrich Koch (va); aMar- tin Ostertag (ye). Bayer/Koch International 0 CD BR100058CD (61 minutes: DDD).

This welcome addition to the catalogue offers us three rarely heard chamber works, in committed, lively and passionate performances. Perhaps the most valuable item here is the Kodaly Serenade, Op. 12. Quite frankly I'm amazed this work has not been recorded more often; it's certainly every bit the equal to his earlier and more frequently heard Duo for violin and cello, Op. 7, and its fairly substantial duration more than repays the time and effort of any self-respecting ensemble. The vigorous, sinewy outer movements (a subtle blend of folk elements within a strong musical argument) contrast well with the central misterioso movement, where sinister tremolandos form the backcloth to quasi-recitative melodies that create an atmospheric twilight sound-world.

Quite different but no less engaging is Dohnanyi's Serenade for string trio, Op. 10. This predates the Koddly by only 14 years, but is clearly closer to the romantic tradition of, say, Brahms or Dvoffik. The first and last movements and the central scherzo fairly bristle with high-spirits and good humour, which at times put me in mind of the youthful exuberance of Korngold's early chamber music. It's a delightful, appealing work, which like the Kodaly deserves a better hand than fate has dealt so far.

MiklOs ROzsa is probably best known as a composer of romantic film music, but his parallel life as a composer of 'serious' music should not be forgotten. ROsza has always eschewed modernistic trends in favour of a more neo-classical, nationalistic style. His large scale Sonata for solo violin (1985) is largely declamatory and rhetorical in vocabulary, and though he never actually quotes folk melodies the listener is left in no doubt as to the nationality of its composer. Susanne Lautenbacher (a name that will need no introduction to those familiar with the Vox Turnabout issues of the 1970s) gives as fine a performance as one could wish for, and copes admirably with the technical difficulties (of which there are many) of this rewarding work.

The rarity value of these items alone should make this a desirable issue, but when given performances as fine as these any hesitations should immediately be dispelled. The recording is vivid and realistic. M.S.

DVORAK. Cypresses, B152.