Slovak

Recorded in Bratislava and Czechoslovak and diaspora centres, 1900s–1930s

The published Slovak sides are taken from a vault tagged to the language. Years stamped on the discs themselves are 1917, 1923, 1929 and 1953. Most fall in the 1923–46 gray band, a few remain unclassified, one is bulletproof pre-1923, and one belongs to the riskier 1947-and-after group.

Pachac a Juskanic Slovenska Orkestra carries the largest share, seven sides from 1929: Doktor Polka, Dievky Na Valale, Znivarsky Czardas, Za Vodov Salata, Kosiache Moloko, Nasa Macka By Se Vydavala, and Na Pôdičku. Michael Stiber appears under three closely related band names the same year—Slovenská Banda, Slovenská Orkester, Slovenska Orkester—with Kačáča Polka, Skoči Kráč Polka, Milá moja, and Za Dunaj husky zahnala. The National Czecho Slovak Orchestra under Max Zajicek supplies three 1923 sides: Nemelem Pochod, Nevinny Valčík, and Sira Holubička Valčík.

The earliest credit is Augusta Danilova’s 1917 Sem slovenská dievčina—I Am a Slovak Girl. Later and undated entries include Frank Wojnarowski and His Orchestra with W. Yansick in the 1953 Slovak Polka; the Slovak Teachers Chorus under Jan Strelec in Lovelorn (with E. Suchoň) and Verbunk Dance (with Alexander Moyzes); the Continental Tamburitza Orchestra’s Slovenský kraj; and the Slovak Melody Boys with John Opet in Dedinka.

Orchestra and orch together mark ten of the published titles; polka appears three times and dance once. The set leans toward village floors, harvest czardas, and plain dance-band work rather than grand concert repertoire, the everyday Slovak sound caught on these few sides.