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Noriaki Kitamura

Warsaw Philharmonic Orchestra

 

Claude Debussy (1862-1918)

Prélude à lfaprés-midi dfun faune 1894
(Prelude to the Afternoon of a Faun; inspired by the poem of the same name by Stèhane Mallarm
è


Trois Esquisses Symphoniques gLa Merh 1905
(Three Orchetral Sketches "The Sea")

De Lfaube Emidi sur la mer (From Dawn to Noon on the Sea)

Jeux de vagues (Wave Play)

Dialogue du vent et de la mer (Dialogue of Wind and Sea)

 

Maurice Ravel (1875-1937)

Poème chorégraphique pour Orchestre (Choreographic poem for orchestra) gLa Valseh 1920

 

Léo Delibes (1836-1891)

Mazurka et Valse du Ballet gCoppéliah 1876

 

 

Used scores

Prélude / Bȁrenreiter Urtext TP841

gLa Merh / Breitkopf & Hȁrtel Urtext Nr. 5516

gLa Valseh / Breitkopf & Hȁrtel Urtext Nr. 5523

gCoppéliah /@unknown

 

recorded source F@Recorded by Mr. Teruo Murakami with the most up-to-date tool i1bit recorder of KORGj

http://www.mu-s.com/

http://www.hyper-resolution.com/Release/NKB-402.html

104        404
104         404

 

Comment of Conductor

I aimed to come up to composerfs intention as possible. That is a present standard recognition and I was conscious about former recording of Beethoven.

The concept of this recording is to record the performance that comes up to composerfs intension, without adding alterations by individual interpretations as French music old-performances. (Correctly, not only using URTEXT trendy. Writing later.)

Fortunately, these URTEXTs are published by Breitkopf and Brenreiter recently and I could use these scores.

However, there are doubts on these URTEXTs. To clear them, itfs the best way to read the composerfs handwriting score. We can get only gLa Merh by IMSLP. http://imslp.org/wiki/La_mer_(Debussy,_Claude)
 I could correct two points by this way.

 

1: Cor. and Timp. have on bars 84-85, two bars just before no.9. I movement.

Handwriting score has every . There is no .

104-1


Itfs easy to infer that the editor changed them. He might judge itfs unable to play so. But the composer is more thoughtful than him, I think.
 As we imagine the way of wave, there is no question. Oppositely, this correction is difficult and players are at a loss.
 Me, too. I felt discomfort in this old-performance. All is cleared up by this handwriting score.

 

2: Upper notes of tr. of Vc. on bars 31-35, five bars before no. 19, II movement.

Every upper note has # in printed score. Handwriting score has only two H# on a#

of bars 31 and 33. Others have no #.

104-2@

I see the editorfs thought, too. He considered pentatonic that is popular Debussyfs individual style.
 
Indeed I was lost, too. I decide to have H# on only A# as this handwriting score, because Debussy surely wrote such cases exactly.
 It is better that other notes have no # for moving from A#-G#-F# to E of no. 19.
 Hp. does, too.

There are two (or more) URTEXTfs interpretations. One is the first ver. and another is the last ver. by the composer himself.

My principle is the former. I think it is better to cherish his technique and feeling at that point in time. I believe his idea afterwards is the same of othersf.

 

There is one more issue for long.

Bars 237-244, eight bars before no. 60, III movement. 

There was passage for cor. and Trp. The composer is said to delete it afterwards.
I performed without it as usual, because I have no evidence.

 

There is no correction about gPréude à lfaprés-midi dfun fauneh and gLa Valseh.

Especially, I mention about the difference from other performances. I made strings play tremolo as exact-notes.
 Purposes are to make the moving of notes clear and to prevent no-written Agogic as the tempo is uneasy to change so that in-tempo is kept.   
 That was very effective. Especially, I could express delicate melody by in-tempo in g
Préude à lfaprés-midi dfun fauneh. I think it is important thing in performance of French music.

I could not catch gdestructive apotheosis of Vienna Waltzh in gLa Valseh as the commentator wrote. I rather recognize as ghomageh.
 Because I think music must be expressed only positive but negative as gironicallyh or gcontemptlyh.

However, the players of this orchestra seem to know such common notice and then several parts were performed in a little overdone tempo-changing.

 

The players of this orchestra seem to have great effusion with Mazurka than Valse in gCoppéiah.
I thought each player has slight difference of it. This maybe divides taste.
Anyway,
Mazurka became exciting.

 

I write about my own interpretation above-mentioned.

Remarkably, we are inexperienced to performance as score exactly. Such an idea is established in just recent years.

Actually, URTEXT of Beethoven and Mozart that are the most famous and are performance frequently were published around 2000.

We could not obtain only the score that no other people edited before then. Indeed, many orchestrasf archives have part score of such type yet.

In fact, we must wait for the modern technique, because we could not obtain handwriting score or we could not judge whether itfs true. And mostly, the players believed that to perform exactly as composed is not individual. Many players still believe so. Itfs actual.

 Postwar, URTEXT-ism and one tendency were born. It was to be exact for the score. Those came through the New-existentialism well-known as conductor Otto Klemperer.

 Nowadays, performance by Period-method became popular. Not only restoration of custom for performance and playing-method, but also renovation and use of instruments in these days became done.
 There are many opinions for propriety to restore the old style. I think it is proper to define performance as function that realizes the composerfs music.

 It is my policy for performance.

 I want to thank the members of Warsaw Philharmonic Orchestra, Director Mr. Wojciech Nowak, Personal Manager Mr. Tadeusz Boniecki and Ms. Beata M. Kowalczyk as our interpreter.
 And I deeply thank Mr. Andrzej Sasin and Ms. Aleksandra Nagko
from CD Accord that helped recording. http://www.cdaccord.com.pl/@
 Especially, I thank Mr. Teruo Murakami that accompanied with me from Japan. Besides, I would like to express my deepest gratitude to people that support this project and Director of NKB Ms. Hiromi Kitagawa that takes charge of general finance, English translation and negotiation with Warsaw Philharmonic.

Conductor Noriaki Kitamura