BeethovengLeonorehoverture No.3 op.72
Beethoven Symphony No. 9 D Minor op.125
OrchestraFthe Slovak National Symphny Orchestra
Slovak National Singing Choir
- mezzo soprano
Pavol Oravec - tenol Peter Mikuláš - bass
Recording placeFMusikverein Grosser Saal in Wien
Recording dateFNovember 20 2020
18th ON SALE
used score F BÄRENREITER URTEXT TP907@iSymphony
D minor op.
@@@@ @@Slovak Filharmoni's Archiv igLeonore h overture No.3 op. 72)
recording sound source F It was recorded to the most up-to-date model i1bit recorder of i-Quolia Co.j by Japanese engineer Mr. Hiromichi Aikawa
* homepage of recording engineer
I made every effort to follow the composer's intent, as the same as my previous
We used BÄRENREITER URTEXT (original version) TP909 for Symphony No. 9. This time, however, the orchestra used their old version and players corrected partly with reference to the URTEXT. So it was not the same completely.
We used parts of the Slovak Philharmonic for "Leonore" Overture No.3.
I corrected partly with reference to the BÄRENREITER URTEXT BA8833.
Detailed comments are omitted, since the issues and intentions of the score are the same as before,
There is no particular reason why I selected "Leonore" Overture No.3, because it
is a well-known masterpiece. I noticed its
higher completeness as a stand-alone work than the opera "Fidelio" and other
The description of the scene in which Leonore enters the underground jail at the beginning was become slightly brighter, because of my own exhilaration that came from my deep emotion at the first wonderful sound of that Golden Hall. I regret a little.
I think that Fidelio's reunion etc. I could have drawn well.
We recorded the concert in
as the 10th anniversary of NKB live. The
theme of this recording is "Freude". It is joy the same as the theme of the
symphony no.9, too. I tried to draw each joy differently. In other words,
reunion of a couple and liberation for "Leonore", Creation for symphonyfs 1st
movement, explosion of life for 2nd movement, affection for 3rd movement and
peace and friendship for 4th movement are that I emphasized as the composerfs
Symphony No. 9 is a work that I played many times. Through my experiences; organized from minimum to maximum, the choir number was a little too much and the balance was broken slightly, but I am convinced that it is the best of mine.I think the number of choir is desirable to be strings.
This symphony is a work that is different from other eight ones, but it is just typical Beethovenfs. And it is his culmination with no doubt. I think that he had a desire to write like Haydn's "Creation" in his vision.
1st movement, especially the beginning, makes it emphatic. And not only that, but also the whole composition also contains such thoughts, I think. It is no doubt that there is full of "Freude". Just like Haydn's work, it is full of joy.
2nd movement is performed with long repeat in the middle that is rarely in general. The most impressive timpanifs motive is usually played p for the fifth time, but I remained f as per the score. I think only Otto Klemperer played f. This part does not be described p in any score, including autograph. It is maybe a custom from the past. guess it probably followed the Furtwänglerfs performance. No one would have been able to offend his way of performance. It is the time to break that spell, isn't it? I think Beethoven is absolutely correct.
3rd movement is a bit squeezed. The 2nd movement of "Pastrale" is reminded. But it's a bittersweet memory not like it used to be sweet in gPastraleh. And it goes happier gradually, while holding loneliness at last.
4th movement is a symphony and not a vocal song,
this movement might be a cantata and
This time, the choir should have been a
little smaller, I think.
Lyrics dominate the song. However, we can understand composerfs feelings better in the instrumental music alone. I think that just the music of instrument may be able to make a good finale.
conductor Noriaki Kitamura
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