Composer: Alexander Moyzes
Works: Symphony No. 9 (1970), Symphony No. 10 (1978)
Performers: Slovak Radio Symphony Orchestra, Ladislav Slovák
Recording: 26-30 June 1995, 7-11 February 1994, Concert Hall, Slovak Radio, Bratislava
Label: Marco Polo 8.225092
Alexander Moyzes, a pivotal figure in Slovak music, navigated a complex tapestry of influences throughout his career, particularly evident in the contrasting textures and emotional landscapes of his Ninth and Tenth Symphonies. Composed in 1970 and 1978 respectively, these works reflect the composer’s evolution as he grappled with the disillusionment of his era, marked by socio-political upheaval and artistic introspection. The Ninth, in particular, emerges as a poignant statement, eschewing the dense orchestration typical of composers like Mahler, favoring instead a more delicate, almost fragile sonic architecture, reminiscent of the intimate textures found in Debussy’s later works.
The interpretation by the Slovak Radio Symphony Orchestra under Ladislav Slovák is commendable for its clarity and nuanced understanding of Moyzes’ intricate orchestration. The Allegro con brio of the Ninth Symphony showcases exuberant brass writing, particularly the horn and trombone passages, that stir the listener with both exultation and a sense of underlying tension. The solo violin, prominent in both the first and third movements, serves as a haunting voice, expressing profound sorrow and disillusionment. This is particularly evident in the third movement, where the violin ascends to a fervent climax, resonating with a poignant sense of longing that culminates in a rushing crescendo. Such moments reveal the depth of Moyzes’ emotional palette, suggesting that the grand finale may be more than mere orchestral display; it appears to be a politically compliant gesture, capturing the dichotomy between personal expression and external expectation.
The Tenth Symphony, structured in four movements, presents a more complex and ambitious reassembly of thematic materials, drawing from the legacies of Beethoven, Brahms, and the Eastern European traditions of Kodály and Bartók. The Larghetto movement features a vibrato-less horn solo that, while reminiscent of Tchaikovsky’s Fifth, lacks the expansive thematic development of its predecessor, instead offering an elusive, ethereal quality that invites contemplation. The piano pizzicato in the second movement of the Ninth exemplifies the exemplary recording quality of the Slovak Radio’s Concert Hall, showcasing the meticulous attention to detail afforded by the engineers. The clarity of the orchestral textures allows the listener to appreciate the subtle interplay of voices, enhancing the overall interpretative depth.
Moyzes’ symphonic output, particularly these two works, encapsulates a unique blend of introspection and external commentary, shaped by the influences of his time. The performances captured in this recording stand as a testament to the artistic integrity of the Slovak Radio Symphony Orchestra, whose engagement with Moyzes’ material reveals both the technical prowess and emotional resonance inherent in his music. This release is a significant addition to the existing catalog of Moyzes’ symphonies and showcases the continued relevance of his work within the broader context of 20th-century classical music. The intricate balance of historical context, interpretative insight, and technical execution positions these symphonies as essential listening for those seeking to understand the evolution of Slovak music in the face of adversity.
