Beethoven: Symphony No. 5 - Strauss II: Die Fledermaus Overture Noriaki Kitamura & Slovak Philharmonic Orchestra

• 1 I. Allegro con brio 09:18
• 2 II. Andante con moto 10:18
• 3 III. Allegro - IV. Allegro 18:23
• 4 Die Fledermaus: Overture 08:59
• 5 Künstlerleben, Op.316 10:15
• Total Runtime 57:13

Info for Beethoven: Symphony No. 5 - Strauss II: Die Fledermaus Overture

I tried to meet the composer’s intention. I used URTEXT above. I used BÄRENREITER URTEXT about Symphony No. 6 & 7. However I decided to use BREITKOPF & HÄRTEL URTEXT Nr. 5345 this time. Because the orchestra prepared that and I thought that version also has a value all its own.

It’s my policy to consider composer’s intention every time. Well, I leave the decision which is the best version to musicologists.

As a performer, I feel necessity to each version, but judgment is difficult. In those days, it was played in many countries, so there were each orchestra’s cases and composer’s idea of that time. And then it is may be right. We should be careful to remove descriptions but the composer’s. They also include kind advices, but in many cases confuse players.

I must volunteer to be a spokesman.

He believed that a score is imperfect and it is player’s duty to add something. This logic had been believed until recently. We can get the correct score edited under the right study since around 2000.

In my study days, I discussed with my master which is right among some scores. It’s called edition study. It is must be done by player himself.

What a good age is! However I think it is regrettable that many associations and players use scores with wrong old editing. I want such insincere musicians to go away from every stage. Not only should them, some musical critics that participate in them should retire. Would you stop panning with insufficient knowledge? You mistake opponent. Your sin is deep, because audience believes your words.

Yet I didn’t perform some parts as this URTEXT this time. The first is about tempo number.

I have some doubt about the tempo that is written by Beethoven himself essentially. I have claimed there were problem of graduation of metronome in those days and it is fast about 10 %. Therefore the tempo that suits to my thought is standard. But the most important aim of my performance is neat one of neat sound. It’s no problem to be influenced by the present situation, I feel. On the whole, the tempo resulted a little slow. This is the same as so far.

The second is special thing. I skipped the optional repetition of about 2/3 from beginning in III movement. There are some reasons that I selected overture of “The Bat” and “The Artist’s life” by Jh. Strauss II for coupling. At first, “The Bat” is made by the same motif of this Beethoven’s symphony and the form is also very similar. It is not certain but he wrote consciously, I can see why he used this motif at the beginning of such a satirical operetta. I think “The Artist’s life” can be seen in this Beethoven’s symphony, too.

It is my personal opinion without any evidences.

In other words, I movement is “Rebellious stage to father”, II movement is “Love of mother”, III movement is “Agonize himself” and IV movement is “Victory of life”.

I don’t ask you to sympathize with me. I believe that he wrote such emotion.

These symphonies of No. 5 and No.6 make contrast. No. 5 is as his life and “Pastoral” symphony is as sweet days with his lover.

If you feel old wiener music purely, it’s all right.

Tempo-rubarto of Strauss’s music is unique slight tempo movement in this area. It influenced composers much. The Slovak Philharmonic Orchestra bases on Bratislava that is the area of wiener music. Bratislava is the capital of Slovak, riverside city of the Danube and 60 km east of Wien. The performance of such music is very difficult in other area. Therefore I made this lineup.

They responded well.

Please enjoy old wiener music.

I would like to take this opportunity to express my appreciation to members of the Slovak Philharmonic Orchestra, manager Ms. Tatiana Schoeferova, Mr. Pavel Hruby, and interpreter Ms. Kinga Valent. She took care of us well during our stay. I deeply thank recording engineer Mr. Teruo Murakami who has been with me from Japan. They made every effort for the recording. I would like to give my best regards to people that support this project and Ms. Hiromi Kitagawa that is manager of NKB and treats general financial affairs, puts documents into English, and negotiated with Slovak side. (Noriaki Kitamura)

Slovak Philharmonic Orchestra
Noriaki Kitamura, conductor

Recorded 16-17 February 2013 at Slovak Bratislava Slovak Philharmonic Hall, Slovak Republic　

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Booklet for Beethoven: Symphony No. 5 - Strauss II: Die Fledermaus Overture