MOYZES (1906–1984) Symphonies Nos

Alexander MOYZES (1906–1984) Symphonies Nos. 3 and 4 Slovak Radio Symphony Orchestra Ladislav Slovák Alexander Moyzes (1906–1984) Symphonies Nos. 3 and 4 Alexander Moyzes was the son of Mikuláš Together with Eugen Suchoň and Ján Moyzes (1872–1944), an important figure in Cikker, Alexander Moyzes must be considered the development of Slovak national music a leading figure of his generation in the music in the years leading up to 1918 and the of Slovakia. He succeeded in creating a style establishment of Czechoslovakia. He was of composition that was thoroughly Slovakian born on 4 September 1906 at Kláštor pod in inspiration, yet nevertheless took account Znievom, in northwest Slovakia and had his of contemporary trends in European music, a early musical training from his father, before synthesis that he was to consolidate in his later entering the Prague Conservatory in 1925 to years. study the organ, conducting and composition. As a composer, Moyzes is particularly well He graduated in 1929, the occasion of his known for his symphonies, of which he wrote Symphony No. 1 and went on to study in the twelve in total. His Symphony No. 3 in B flat masterclass of Vítĕzslav Novák, completing major, Op. 17a, was completed in 1942 but his period of study there the following year derived from his Wind Quintet of 1933. It is with his Overture for Orchestra, Op. 10. It was described on the composer’s title-page as Little Novák who also directed his concentration Symphony and was given its first performance on Slovak music, the source of his later in Berlin in 1943. The symphony is scored for inspiration. piccolo, pairs of flutes, oboes, clarinets and In 1929 Moyzes was appointed to the bassoons, four horns, two trumpets, celesta, teaching staff of the Academy of Music glockenspiel, harp, timpani, triangle, cymbals, in the Slovak capital, Bratislava. He took side drum and bass drum, and strings. The up the position of professor at Bratislava first movement starts with a dramatic motif Conservatory in 1941 and spent a number that soon mellows into a more lyrical, pastoral of years as principal music adviser to Radio mood, before a fugal section, introduced by Bratislava, until he was compelled to leave the second violins, followed by first violins and in 1948. He became professor of music at other groups of instruments in turn. The texture the Bratislava College of Musical Arts on its is briefly modified by two solo violins, before foundation and headed the college from 1965 the final dynamic climax and the return of the to 1971. opening motif. The theme for the variations 8.573651 2 of the second movement is introduced by the in the 19th century who was professor of oboe in a metre that alternates quadruple and Slav languages at the Evangelical Lyceum in duple time. Variation follows variation, with Bratislava from 1838 to 1846, and about the changes of key from the original D flat major ancient fort of Devín (Theben), an early Celtic of the theme. The angular and sometimes settlement. The symphony combines protest strident Scherzo has a contrasting Trio in which against the injustice of war with the past history the oboe offers a little melody, suggesting folk of the Slovaks. inspiration. The mood is dispelled by the return The symphony is scored for an orchestra of the Scherzo, which ends in the established of pairs of piccolos, flutes, oboes, clarinets key of E flat major. The fourth movement is an and bassoons, cor anglais, bass clarinet and Intermezzo that suggests at times the oriental double bassoon, four horns, three trumpets and in its melodic contours and Ravel in its textures three trombones with bass tuba, a percussion and orchestral writing, perhaps through its section of timpani, triangle, cymbals, side drum, continued use of wind instruments, harp and bass drum and celesta, two harps and strings. celesta, settling into the tonality of F major. The work is thematically related in its three The last movement of the symphony opens movements, both melodically and rhythmically, with a jaunty oboe melody but as the music often modal in its writing, and opens with an unwinds a place is found for reminiscences of ominous motif that is to recur, an element much that has passed, including the opening associated with the Herod and Herodias motif. music. The first movement is in broadly Symphony No. 4 in E flat major, Op. 38, was classical form, with a relaxation of tension at written in 1947 and revised ten years later. the opening of the central development, with While the work reflects some of the events of new thematic material, while the opening motif recent history, it has been associated by the returns to start the final recapitulation. Here biographer and editor of Moyzes, Ladislav textures recall the symphonies of Sibelius, as Burlas, with music Moyzes wrote for a radio the music moves forward to a dramatic climax. play on the bloodthirsty subject of Herod and The second movement is at first lightly scored Herodias, the theme explored by an important for woodwind, celesta, harps and strings. Slovak poet, Hviezdoslav (Pavol Országh). The plaintive opening theme of pure Slovak There is also a connection with incidental inspiration is entrusted to the oboe, answered music for another radio play about L’udovít by the cor anglais, before thematic interest is Štúr, a leading figure in Slovak nationalism passed to the flute, with a passing reference 8.573651 3 in the strings to the opening motif of the moment in the last movement, when, after a symphony, before they take up the theme. The gentle opening, relatively harsh dissonances movement contains a scherzo, marked Allegro give way to a simple dance-like passage of vivace, its urgent forward impetus slowing to popular inspiration. The symphony ends with allow the return of the original oboe melody the triumphant and positive resolution of the and a closing reference to the motto theme. motto theme. If there had been suggestions of Mahler in the occasional use of muted trumpets in the Keith Anderson preceding movements, there is another such 8.573651 4 Ladislav Slovák Ladislav Slovák is ranked as one of the most distinguished personalities in Slovak music life. After finishing the organ course at the City Music School he entered the Conservatory in Bratislava, where he studied organ and conducting with Professor K. Schimpl. Graduating in 1945, he became a producer for Czechoslovak Radio in Bratislava. In 1946 he founded an amateur chorus, which was engaged in 1948 as a professional body by Czechoslovak Radio. Under the ten-year guidance of Ladislav Slovák the ensemble achieved the highest artistic level. Two great conductor personalities,Václav Talich and Evgeny Mravinsky, influenced Slovák’s artistic growth and development. Under Talich’s guidance, in 1953 Slovák completed his conducting studies at the Music Academy in Bratislava. Talich was the first to discover his exceptional talent and organisational abilities, his persistence and uncompromising approach to creative work. In 1954–55 Slovák became Mravinsky’s assistant with the Leningrad Philharmonic Orchestra, where he turned his attention to the rich treasury of Russian orchestral music. After his return Slovák was appointed principal conductor of the Czechoslovak Radio Symphony Orchestra in Bratislava. In autumn 1959 he served as a guest conductor with the Czech Philharmonic Orchestra in an extended tour to New Zealand, Australia, Japan, China, India and the USSR. In 1961 Slovák was appointed principal conductor of the Slovak Philharmonic Orchestra. At the same time he undertook more engagements abroad, conducting important orchestras in Europe and in Asia, particularly in Japan, while accepting some longer lasting engagements in Australia, notably with the Radio Orchestras in Melbourne and Adelaide. In 1968 he undertook an extended tour of Canada and the United States with the Czech Philharmonic Orchestra, alternating with the conductor-in-chief of the orchestra, Karel Ančerl. He was invited to conduct Martinů’s opera Greek Passion and from 1972 to 1976 was also principal conductor of the Prague Symphony Orchestra FOK. He died after a long illness on 22 July 1999. 8.573651 5 Slovak Radio Symphony Orchestra The Slovak Radio Symphony Orchestra was established in 1929 as the first professional symphony orchestra in Slovakia. The orchestra is currently led by conductor Mario Košik. It has made a large number of recordings for labels including Opus, Supraphon, Naxos and Marco Polo. In addition to regular season concerts, which feature works by Slovak composers, many of them as premieres, the orchestra has performed at concerts abroad, visiting Austria and Hungary, and touring in Europe, Japan and Korea. The orchestra has collaborated with renowned conductors such as Ľudovít Rajter, Ondrej Lenárd, Róbert Stankovský, Juraj Valčuha, Andrew Mogrelia, David Porcelijn, Vladimir Spivakov, Yordan Kamdzhalov and also with distinguished soloists. www.sosr.vtvs.sk 8.573651 6 Alexander Moyzes was among the leading Slovak composers of his generation, drawing inspiration from the traditions and landscape of his own country while absorbing a number of wider contemporary trends. His Symphony No. 3, or Little Symphony is derived from an earlier Wind Quintet, while Symphony No. 4, with its occasional suggestions of Mahler and Sibelius, combines protest at the injustice of war with the past history of the Slovaks. DDD Alexander 8.573651 Playing Time MOYZES 1:04:23 (1906–1984) 7 Symphony No. 3 in B flat major, Op. 17a, 23:40 47313 ‘Little Symphony’ (1942) 1 Introduzione: Grave – Allegro moderato ma molto ritmico 4:13 36517 2 Variazioni: Larghetto 3:33 3 Scherzo: Presto 3:58 4 Intermezzo: Largamente 4:32 3 5 Finale: Allegro con moto 7:18 www.naxos.com Made in Germany Booklet notes in English ℗ 2000 & Symphony No.

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