Tuesday, February 12, 2019
Alexander Moyzes, Symphonies Nos. 7 and 8, Slovak Radio Symphony Orchestra, Ladislav Slovak
According to the jacket blurb Moyzes brings to us the most well known, most acclaimed it would imply Slovak symphony cycle in Modern times. And clearly from the standpoint of my ears the 7th and 8th Symphonies are quite in the thick of it. Both are reactions to Moyzes experience of tragic happenings, the 7th in memory of his young daughter, taken from him far too soon, and the 8th a response to the Soviet invasion of Czechoslovakia in 1968. Some 14 years separate the two symphonies--the 7th coming in 1954-55, the 8th in 1968-69.
The liners talk of a similarity to Shostakovitch in the 8th. In its brash cry of anguish, perhaps yes. And in the rhythmic passages of motor insistence, absolutely. All in all however what impresses me is Moyzes' own original tone-painting brightness. The liner blurb also mentions his two-fold expression of both Slovak strains and Modern orchestral trends in his compositional outlook. Again, I cannot say I disagree with that from my ear-take on the two works offered on this program. And yet again, he has certainly gone his own way on these symphonies at least. There are vividly descriptive passages, narratives in motif building and development. and in the 8th and parts of the 7th a long unwinding at times of musical pathways that sound like event-amental incidents getting retold in musical terms without being literally programmatic.
Then too the liners inform us that Moyzes studied at the Prague Conservatory and then in a master class program with Viteslav Novak (someone whose music I have just discovered as well), who gave him a mandate to pay attention to the Slovak heritage and in that way set him forward toward folkish expressions which we hear so poignantly expressed in the 7th.
Moyzes' 7th lays out a Slovak landscape of the countryside, the evocation of nature and peasant gatherings, dances and the like. It is not as a stark sadness that we hear Moyzes in this outing. The opening pastorale movement is a sort of Slovak response to Beethoven's 6th, really, but beautifully and originally so. The scherzo continues the rustic mood in most charming ways. Then the largo brings in a gentle sadness, a loss that seems as wistful as it is regretful, and then bursts out in time into a woeful mourning. It is extraordinary music. There is a bittersweet quality a times that reminds me of Prokofiev without directly evoking him, and perhaps even a bit of the epic Mahler depictions? The finale is energetic and dance-like, and not without a parallel of loss and nonetheless a pastoral mood alongside the whole of it. All that by way of a hint of what is being "said" in the music. It is the work of someone who knows what he wants to say and says it beautifully, personally well, very well. It is a rather extraordinarily likable symphony, to my mind.
The 8th, as alluded to above, has a more heightened Modern angst about it in keeping with the upheavals and heartbreaks of the Prague Spring. It is a stunning work as well yet a rather different kettle of fish than the 7th. I will leave it to you to listen and appreciate, which I certainly recommend you do.
This is music that is symphonic in the best of dramatically depictive ways. Like Smetana's Moldau each movement is a chapter in a story that has dramatic unification. Moyzes is less literal than Smetana perhaps and more "Modern" at times, surely. There would be no mistaking on close examination these symphonies for something from the 19th century. Yet the Slovak elements are more timeless than contemporary too.
So there you have it. I come away from listening to this volume with the wish to hear the earlier three volumes of the cycle and I look forward to to the next volume due out shortly. Moyzes has something of his own to offer us. Anyone who looks to Eastern European 20th Century developments might well want to explore this recording--the price is right and the performances are first-rate. Highly recommended.