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The Therd Album@

Beethoven Symphony No. 5

Johann Strauss II gDie FledermaushOverture op.362
gKunstlerlebenhWalz op.316

ConductFNoriaki kitamura

OrchestraFthe Slovak Philharmonic Orchestra

Recording placeFSlovak Bratislava Slovak Philharmonic Hall

Recording dateFFeb. 16-17 2013

July 1st ON SALE
details here


Ludwig van Beethoven
Symphony@No.5@in C minor op.67
I Allegro con brio
  II Andante con moto
III Allegro
  IV Allegro

Johann Strauss II
gDie FledermaushOuverture op.362
"Künstlerleben" Walzer op.316


The Slovak Philharmonic Orchestra
Noriaki Kitamura


Used Score : BREITKOPF & HÄRTEL URTEXT Nr. 5345iBeethoven Symphony No.5 in C minor op.67j

recording sound source F It was recorded to the most up-to-date model  i1bit recorder of KORG Co.j by Japanese engineer Mr. Teruo Murakami.

* homepage of recording engineer Mr. Teruo Murakami F http://www.mu-s.com/


Conductorfs comment


I tried to meet the composerfs 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.

Itfs my policy to consider composerfs 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 orchestrafs cases and composerfs idea of that time. And then it is may be right.

We should be careful to remove descriptions but the composerfs. 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 playerfs 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.

Itfs 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 didnft 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. Itfs 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 gThe Bath and gThe Artistfs lifeh by Jh. Strauss II for coupling.

At first, gThe Bath is made by the same motif of this Beethovenfs 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 gThe Artistfs lifeh can be seen in this Beethovenfs symphony, too.

It is my personal opinion without any evidences.

In other words, I movement is gRebellious stage to fatherh, II movement is gLove of motherh, III movement is gAgonize himselfh and IV movement is gVictory of lifeh.

I donft 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 gPastoralh symphony is as sweet days with his lover.

If you feel old wiener music purely, itfs all right.

Tempo-rubarto of Straussfs 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.

Conductor Noriaki Kitamura





There are two media of recording this time.

Above #102 - #105 is SACD/CD Hybrid Disc.
You can listen by usual CD player and enjoy more high quality sound by SACD player.
3000 yen ( no tax)

Bellow #401 - #405 is a set of two discs.
and DVD-ROM Disc of WAV data (24 bit/192 kHz) and WSD data (1 bit) of a part
5000 yen (no tax)


Schumann Symphony No. 1 gSpringh and No. 4
Noriaki Kitamura conduct, Moravian Philharmonic Orchestra
was re-mastered by CD recording engineer
Mr. Teruo Murakami.

1500 yen (no tax)



Please write your address, name, telephone number and number(s) of order for

#105 Beethoven No. 5 SACD/CD -      disc(s)

#405 Beethoven No. 5 SACD/CDDVD-ROM -      set(s)

@#301 Schumann -      disc(s)

then please mail to



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