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Martin Anderson
International Record Review, February 2002

"The Ninth Symphony (1970-71) is a pained protest of unmistakeable anger... [The Tenth Symphony] is still the work of a composer who has known deep sadness: the phrases are terse, the harmony brittle. Not until the chirrupy, folky finale does the music suggest the jollity that is the hallmark of Symphonies Nos. 1-6, and even then, as in the nervous capering of the skittish second movement, the suspicion lingers that here it is just a mask -- more forced rejoicing.

Ladislav Slovák, who died in 1999, does Moyzes as proud in these two releases as in the previous recordings in the cycle: reliable playing; good sound."

Michael Jameson, January 2002

"Here are two more symphonies by Alexander Moyzes (1906-84) from Marco Polo, again under the direction of Ladislav Slovak. Symphony No. 9, written in the early 1970s, is a dark, gloomily introspective piece, uncannily suggestive of late Shostakovich. ...[the recording] effectively contains the music's wide dynamic range. The Ninth symphony's agitated second section, rising through a massive crescendo to a brutal march-like idea, brings suitably baleful sonorities from the brass. The finale, sardonic and unsettled in mood, is punctuated by some nicely played solo violin passages...and Slovak solidly and consistently sustains the urgent mood.

In complete contrast, Moyzes' Symphony No. 10 (1977-78) is a broadly confident four-movement work. The style is straightforward, lyrical, and uncomplicated, the emotional weight being centered on the slow third movement (Larghetto). An interesting feature is the opening horn solo, strongly reminiscent of the famous one from Tchaikovsky's Fifth symphony. The soloist here has a woolly tone and sonorous vibrato. Listen on, though, and you'll discover that this deeply felt movement also brings the finest music--and certainly the best playing--on the disc. The finale, opening with a relaxed slow introduction (recalling parts of Brahms' Second symphony), develops into a jubilant Allegro."

MusicWeb International, December 2001

"Moyzes at last forsakes the innocence and confidence of the nineteenth century and embraces and expresses the new uncertainties."

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