Slovak Radio Symphony Orchestra
Orchestra
b. 1929. orchestra.
Slovak Radio Symphony Orchestra is a mid-tier recording ensemble frequently used for budget-label recordings (notably Naxos). Sample repertoire skews toward light British orchestral music (Ketelbey, German, Farnon, Duncan, Coates), suggesting nostalgic and uplifting character.
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SaleCoates: Springtime Suite / Edge, Penny, Slovak Radio Symphony Orchestra
Naxos · Jan 2022CD$19.99$9.99 -
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SaleCurzon: Robin Hood Suite etc. / Cápová, Leaper, Slovak Radio Symphony Orchestra
Naxos · Mar 2022CD$19.99$9.99 -
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German: Merrie England Suite & More / Leaper, Slovak Radio Symphony Orchestra
Naxos · Aug 2022CD$19.99 -
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Moyzes: Symphonies Nos. 5 & 6 / Slovak, Slovak Radio Symphony Orchestra
Alexander Moyzes was one of the most significant figures in modern Slovak music, synthesizing the national musical style inherited from his teacher Vitezslav Novak with wider European contemporary trends. Both of these symphonies were written in a happy period of the composer’s life- before his musical oeuvre was overshadowed by conflict. The eloquent and sprightly Fifth Symphony is a celebration of ‘the heritage of my dear father,’ who was also a talented musician and an important figure in Alexander’s development as a composer. The Sixth Symphony is notable for its clarity and symmetry, from the simple theme of its opening to the brilliant contrapuntal fugato in its closing movement. This is Volume 3 in a series of reissues from the Marco Polo label. These releases remain as the only easily accessible reference, and with recordings and performances that still sound fresh and invigorating. Of the original release, MusicWeb International commented: “There are definite folk inflections, all incisively propelled by the late Ladislav Slovak and his orchestra who presumably know these symphonies better than anyone.”
Romantic Violin Concertos - Vieuxtemps: Violin Concertos

The Vieuxtemps violin concertos offer a feast for violinists (and listeners) who are attuned to their special charms and have an affinity for Romantic concertos. Misha Keylin scores on both counts. He's a Russian-born, Juilliard-trained American whose traversal of these works for Naxos is capped by this installment of the final three. The Fifth is the most popular of them all, with splendid recordings by Heifetz and Grumiaux, and Keylin's is right up there with them, and better engineered too. He's somewhere between Heifetz's supercharged virtuosity and Grumiaux's slightly understated elegance, combining both of those essential qualities. The Fifth is an oddly constructed work in three movements, the first being three times longer than the other two. While Keylin excels in that dramatic first movement, the sheer poetry of his Adagio and the brilliant tonal qualities he demonstrates in the fiery brief last movement make his performance especially memorable.
The Sixth and Seventh concertos date from Vieuxtemps' last year, 1881, but there are few valedictory qualities to be found in them. The Sixth is a delightful confection pervaded by a light-hearted spirit and teeming with fetching melodies. The longest movement is the first, an Allegro moderato from which drama is largely excluded, the soloist given the requisite virtuoso fiddling duties but within a lyrical context. Keylin's relaxed phrasing and his rich but sugar-free tone make the most of the beauties of the Pastorale, and he's alive to the rhythmic subtleties that make the Siciliano movement so enticing. The Seventh Concerto is made of sterner virtuoso stuff, as in the coda to the first movement, where Keylin never makes anything approaching a strained or ugly sound, and he sails through the final Allegro vivo without appearing to break a sweat. Throughout the disc, Keylin's technical facility is allied to real feeling for the music, without which these works can strain interest.
It's not just a one-man show, either. Both conductors and orchestras provide first-rate support (Yuasa and the Arnhem Philharmonic in the Seventh and Mogrelia and the Slovak Radio band in the other two), and the engineering captures the performances with admirable realism. At the Naxos price, this is a steal. [9/6/2003]
--Dan Davis, ClassicsToday.com
Coates: British Light Music
With orchestral works at the core of his output, the supreme melodic gift that distinguishes the music of Eric Coates earned him a reputation as the ‘uncrowned king of light music’. It was the London Suite that made Coates a household name, with the Cockney exuberance of its third movement, Knightsbridge, capturing the nation’s imagination as a BBC theme tune, as did the rousing march Calling All Workers. Cinderella and The Selfish Giant were inspired by his son’s bedtime stories, the latter absorbing the jazzy dance rhythms of the day. The Dambusters March was one of Coates’ last pieces, and remains one of the most iconic movie themes ever written.
Coates: Springtime Suite / Edge, Penny, Slovak Radio Symphony Orchestra
Curzon: Robin Hood Suite etc. / Cápová, Leaper, Slovak Radio Symphony Orchestra
German: Merrie England Suite & More / Leaper, Slovak Radio Symphony Orchestra
Acknowledged by Sir Arthur Sullivan as his musical heir, Edward German enjoyed huge acclaim during his lifetime. His dances are ‘charged with the fragrant essence of the greenwood’ and the Overture to Nell Gwyn, with its richly English themes, explains Elgar’s liking for German’s music. The gloriously romanticized Gipsy Suite pays subtle homage to Dvořák; the dances from Henry VIII were responsible for his early celebrity; and Tom Jones (on 8.660270-71) and Merrie England were two of his greatest stage successes. Conductor Adrian Leaper is a prominent conductor in Naxos’ roster and in addition to those light music discs he has also recorded formidable recordings of Elgar and Wieniawski (8.572952), and Havergal Brian (8.572014), among many others.
Holbrooke: Orchestral Works / Leaper, Czecho-Slovak RSO
Holbrooke gained much inspiration from Edgar Allen Poe, whose writings inspired three of the works here. Like Poe, Holbrooke enjoyed conflict and confrontation, and the prevailing tone of the music here is of dark brooding. Holbrooke was uniformly praised for the mastery of his orchestration and the boldness of his harmonies; but his penchant for huge forces and unusual orchestral instruments (including concertinas and sarrusophones) meant he was not always taken seriously (as anyone who has read Beecham's A Mingled Chime will know). It was with The Raven in 1900 that Holbrooke first made his mark, and one cannot but be impressed with what a young man of 21 did with the orchestra. Perhaps, though, it is the orchestral prelude to his cantata The Bells that most grabs the attention. From the Ravelian opening to the grand climax in which massed bells ring out it is impressive stuff. Can we expect a Holbrooke revival? I somehow doubt it; but Marco Polo earn the warmest gratitude for giving us the opportunity to judge for ourselves. Purchasers of their Bantock and Brian recordings will not want to miss out on this rewarding collection.
-- Gramophone [11/1993]