Julian Steckel digs into the first chord of Kodály’s Solo Sonata (1914) with a gruff flourish, and from there his fierce concentration doesn’t waver for a single bar. But, then, this sprawling and technically fiendish work seems to inspire the best from cellists of all stripes, and there are more than a few superb recordings in the catalogue – including four by János Starker, who (at the age of 15) played it for Kodály, winning the composer’s enthusiastic approval. Steckel studied the Sonata with Starker, who advised him: ‘always remain clear in your expression’, and that ‘precise rhythm is of utter importance’. I’d say Steckel has taken this guidance to heart, and I’ll go a step further and maintain that his performance here surpasses his mentor’s in its balance of vigour and refinement. Indeed, he communicates with an oratorical fervour that makes this sprawling score feel almost compact.

Even in the expansive Adagio, Steckel binds the variegated phrases together so they sound not only indissoluble but lead inexorably from one to the next, holding fast to the music’s twisting and sometimes shredded melodic thread. I’m particularly impressed by the way he handles the passages that are simultaneously bowed and plucked, suggesting a singer accompanying himself with a zither or tamburica, perhaps – listen starting at 3'13", and then also at 9'13", where his tone becomes choked with emotion. In the wild finale, Steckel dances more nimbly than Starker – and more rhythmically precise – even if he isn’t quite as earthy.

The Duo (1915) is cut from similar cloth and violinist Antje Weithaas’s wiry sound suits it well. She doesn’t uncover quite as much expressive detail as Josef Gingold in his riveting performance with Starker (Delos, 1/89), but there’s no lack of passion or dramatic concision – turn, for example, to the end of the slow movement (starting at 7'30") where enraptured delicacy unexpectedly turns to tragedy. The more dreamily Debussian Sonatina (1922) is marvellously fluid, vividly flecked with colour and smartly placed as the programme opener.

My disc has a reprise of the first few bars of the Sonata’s finale tacked on after a pause at the end of the Duo, a minor glitch on an otherwise splendid – and splendidly recorded – release.