Eötvös’s affinity for folk music is strongly evident in his account of The Rite, and he is even more in his element in the rarely heard “Mavra” (1921-22). Drawing liberally on the style – if not the substance – of traditional Russian folk-music, Stravinsky’s mini-opera is one of the great curiosities of his catalogue, somewhat reminiscent of “Les noces” in its melding of traditional and neo-classical elements. According to Zoltán Farkas’s informative booklet note, Stravinsky considered “Mavra” to be his most accomplished work, and it is certainly possessed of an impressive confidence and lightness of touch, not to mention sparkling wit.

It positively bubbles over with exuberant good spirits, and Eötvös’s account (this time with the Gothenburg Symphony Orchestra) is sheer delight, with supremely Russian-sounding contributions from Maria Fontosh as Parasha and Valerij Serkin as The Hussar.