Most advanced nations have found the need and the means to provide their citizenry regular access to the timeless, universal beauties of great symphonic music. National orchestras are found in the capitals of countries around the globe. They are standard-bearers of artistic, intellectual and spiritual enrichment in their societies, and of the cultural traditions and achievements of their nations.

Lithuania and Slovakia are two such countries. Surrounded, constrained and occasionally embattled by much larger neighbors, they fervently preserve their finest symphonic institutions, cultural ambassadors on the world stage, protecting their cultural and artistic heritages as a matter of national pride.

Lithuanian National Symphony Orchestra

Nov. 25, Juozas Domarkas conducting in Tokyo Geijutsu Gekijo -- Cantata "De Profundis" (Mikalous Constantinas Ciurlionis, 1875-1911); Symphony No. 9 in D Minor, Op. 125 "Choral" (Ludwig van Beethoven, 1770-1827) with Regina Maciute, Inesa Linaburgyte, Audrius Rubezius, Vladimiras Prudnikovas, the Shibuya Chorus, Andante Chorus, Ensemble Pleasure, Kanazawa Bach Academy Chorus and Shinagawa Chorus

The Lithuanian National Symphony Orchestra under Juozas Domarkas presented a special performance in Sakura Hall last year. Founded in 1940, the 80-member orchestra was making its second visit here in five years.

Mikalous Ciurlionis is not a widely known composer outside Lithuania, and the national orchestra has made worthy efforts on its tours overseas to promote his attractive compositions. Conservative in style and temperament, the music, which he wrote at age 24, proved to be very accessible, mild in tone and pleasant to listen to, reminiscent of Brahms.

Domarkas has served as chief conductor of the LNSO since 1964. His early experience working with choruses in Lithuania and Russia stood him in good stead in this program; the preparation of the cantata "De Profundis" was a credit to the collaborative efforts of the chorus, a special amalgamation of five local groups.

Domarkas did not, however, carry over in his cues to the orchestra the same preparation of the breath which he employed in his cues for the chorus. Imperiled by cues without an indication of the preparatory breath, wind entrances in this work were not always secure.

It is for more than his musical qualities alone that Domarkas is appreciated by his orchestra and his nation. His dedication over so many years has built an orchestra which can do justice to the canon of Beethoven symphonies (an orchestra's first major hurdle), contemporary Lithuanian works and, no doubt, other demanding repertoire as well. His commitment, moreover, has brought the orchestra to Japan for the second time, indicating a respect that goes beyond mere curiosity.

Beethoven's "Choral" symphony revealed a very capable orchestra. Domarkas' tempos were in the groove and the orchestra played well for him. Performing it was a very good decision for several reasons: It demonstrated that the Lithuanian National Symphony is an orchestra to be taken seriously; it offered 235 Japanese choristers an opportunity to perform, incidentally swelling the audience with their families and friends; and it provided the well-balanced quartet of Lithuanian soloists an artistic spotlight they well deserved. It was no doubt an adventure and a learning experience for the Lithuanians, another part of Domarkas' legacy.

Slovak Philharmonic Orchestra

Dec. 9, Hideaki Muto conducting in Tokyo Geijutsu Gekijo -- "Moldau" (Bedrich Smetana, 1828-84), Slavonic Dances, Op. 46/72 (Antonin Dvorak, 1841-1904); Symphony No. 9 in E Minor, Op. 95 "From the New World" (Dvorak)

The Slovak Philharmonic Orchestra gave a special performance in Sumida Triphony Hall under Hideaki Muto last year. Founded in 1949, the 84-member orchestra was making its third visit here in seven years.

The music of Smetana and Dvorak is accessible, playable and popular the world over. It is also claimed equally by both the Czechs and the Slovaks, regardless of their other differences, and at least in this unites all those of the lands formerly known as Bohemia in their common heritage.

Performing this well-known music was a strategic decision for the orchestra and the music promoter. It identified the Slovak orchestra with a major musical tradition and a popular repertoire, and that tends to draw an audience. It also suggested that the orchestra's performance would be authentic and perhaps definitive, and that is always interesting.

Based on folk dances heard in the countryside, Dvorak's Slavonic Dances resonate with the infectious emotions of the people in their celebrations. They call for freedom and flexibility to move with the music. The baton work was clear and well formed, and made short work of the four dances.

Dvorak's "New World" symphony had many good points and revealed a very capable orchestra. The tempo was basically correct; the music carried itself, and we began to hear the orchestra's own sound. The Slovakian musicians made some good chamber music in the slow movement, and there was restraint and good detail in the finale.

Muto must be much appreciated by the orchestra for his personal qualities. He was very modest in demeanor and pleasant and gracious to the musicians. He had applied himself earnestly to the task as he saw it, studying diligently to beat through the entire program from memory. His commitment was generously applauded by the SPO musicians at the conclusion of the program.