BEYOND THE STANDARD vol.1

ドヴォルザーク：交響曲第9番「新世界より」
伊福部昭：シンフォニア・タプカーラ、ゴジラ

アントニン・ドヴォルザーク：交響曲第9番ホ短調 作品95「新世界より」
Antonín Dvořák : Symphony No.9 in E minor, Op.95 “From the New World”

1. 第1楽章 Adagio - Allegro molto
2. 第2楽章 Largo
3. 第3楽章 Scherzo. Molto vivace
4. 第4楽章 Allegro con fuoco

伊福部昭：シンフォニア・タプカーラ
Akira Ifukube : Sinfonia Tapkaara

5. 第1楽章：Lento Molto - Allegro
6. 第2楽章：Adagio
7. 第3楽章：Vivace

8. 伊福部昭：ゴジラ～交響ファンタジー「ゴジラVSキングギドラ」より第7曲
   Akira Ifukube : Godzilla -Symphonic Fantasy “Godzilla vs. Kingghidora”

• 配信限定 2018年4月18日発売 COKM-40256
  

  アンドレア・バッティストーニ：エラン・ヴィタール　＜世界初録音＞
  Andrea Battistoni : Elan Vital (Rhapsody for Orchestra) 〈World Premiere Recording〉

【録音】2017年6月1-2日　東京オペラシティ コンサートホール
1-2 June,2017 Tokyo Opera City Concert Hall

• 新時代を築く指揮者の筆頭格アンドレア・バッティストーニと、日本が世界に誇る東京フィルハーモニー交響楽団は、聴き慣れたクラシックの名曲を、まさに今生まれたかのような瑞々しさと類まれな生命力で描き、クラシックファンに新鮮な驚きを与える力を持っている一方、クラシックに深い親しみを持っていない音楽ファンを熱狂させる、エネルギーとエンタテインメント性を備えている希有な存在である。
  DENONレーベルは、その両者の持てる力を最大限に引き出す為、響きの豊かな東京オペラシティコンサートホールにおけるセッション録音を開始。シリーズ「BEYOND THE STANDARD」と銘打ち、クラシック王道の名曲中の名曲と、日本人作曲家による傑作をカップリングし、時代と国を越え、新しいスタンダードを生み出す。
  第1弾としてリリースするのは、定期演奏会でもセンセーションを巻き起こした、ドヴォルザークの名曲「新世界より」、そしてカップリングに伊福部昭の「シンフォニア・タプカーラ」。セッション録音ならではの細部にまでこだわった充実の演奏に仕上がり、首席指揮者のバッティストーニと東京フィルの蜜月な関係を象徴するような深く立体的な音楽が構築される。
  フィルアップには、伊福部の手になる映画「ゴジラ」のテーマ曲が収録されている。 配信限定では、バッティストーニ自身が作曲したオーケストラ曲「エラン・ヴィタール」を世界初録音。
• Andrea Battistoni is a vivacious conductor. He is full of energy, constant flexibility, and driving force. It is always thrilling to watch him conducting. Now he is beginning a series of recordings for CDs with the Tokyo Philharmonic Orchestra with which he has been developing a congenial relationship in recent years, planning recording sessions - not live recordings - at the gorgeous concert hall of Tokyo Opera City. That alone is exciting news to hear. Japanese orchestras are very good. They performed under domestic and overseas first-rate conductors all the time. There are opportunities for new star conductors like Battistoni to conduct at major concerts. Japan has built an outstanding culture of orchestras to be proud of. Yet, Japan does not have so much tradition of leaving great recordings as a legacy for the future generations by having a series of recordings at an ideal location. It feels wrong, imbalanced.
  
  BEYOND THE STANDARD is a project to break down the imbalance. There is a clear intention in the selection of music. They will feature standard masterpieces, but with completely new concepts outside the preconceived notion. This album contains Antonín Dvořák's Symphony No. 9 in E minor "From the New World", which is considered one of the standard masterpieces. It will be exciting to listen to this vibrant piece with the Tokyo Philharmonic Orchestra under the baton of Battistoni. But what if the same conductor recorded the same piece with a prominent orchestra from overseas? People may be interested in listening to that version as well as the version recorded with the Tokyo Philharmonic Orchestra. And what if they performed a Japanese composer's work? There must have been a special sensitivity that only Japanese orchestras could get. Each orchestra of each country has an advantage of expressing its identity by performing its native works as a standard repertoire. And in the modern and postmodern eras, Japanese composers have made several great masterpieces that can meet the global standards. In that sense, we are coming to the era when Japanese orchestras should extend their standard beyond the tradition. How about listening to the New World Symphony and a Japanese standard symphony side by side? That should be interesting. Some people may say, let's leave Japanese works to be conducted by Japanese conductors. That is also understandable. But the combination of a composer's work, a conductor and an orchestra all from the same country might be considered to be too ordinary. If British conductors did not introduce Sibelius or if American conductors did not introduce Shostakovich with great enthusiasm, would their music have been internationally and favorably accepted? (They might have.) So, if Battistoni records Japanese composers' works in earnest, it could be something tremendously significant.
  
  Let's cross the border of repertoire and renew your standard with Battistoni.
  
  

  America-Slav-Hokkaido
  - Connection between Dvořák and Akira Ifukube

  The selection of music reflects the culture of the country. This album contains Antonín Dvořák's Symphony No. 9 in E minor "From the New World" and Akira Ifukube's Sinfonia Tapkaara. This combination of the two pieces can be regarded as a new proposal for classical music fans, presented by the Tokyo Philharmonic Orchestra under the baton of Andrea Battistoni. One is a work by a Czech composer from the 19th century, and the other is a work by a Japanese composer from the 20th century. Some people may feel they are too remote. However, both were similarly earthy, nationalistically tinged symphonies, which have in fact various things in common.
  For example, Ifukube's Sinfonia Tapkaara was world premiered in Indianapolis in 1955, while Dvořák's Symphony No. 9 was world premiered in New York in 1893, both in the USA. This Symphony No. 9, popularly known as the New World Symphony, was composed by Dvořák in 1893 while he was the director of the National Conservatory of Music of America in New York, inspired by the American culture and music.
  On the other hand, the Sinfonia Tapkaara was composed by Ifukube who was born and raised in Hokkaido, a northern island of Japan, with his attempt to compose a symphony rooted in the ethnic culture of his homeland. It was not inspired by American culture, but there is an affinity between Hokkaido and America. Hokkaido for modern Japanese was like the North American continent for Europeans. It was a new world. Covered with an extensive plain, the climate and vegetation in Hokkaido are very different from those of the mainland of Japan, and are rather similar to North America. The pioneers of Hokkaido followed the knowledge and experience of the cultivation of North American continent, and many American scientists and engineers played active roles as 'foreign employees'.
  Akira Ifukube, the composer of the Sinfonia Tapkaara, is a graduate of the practical forestry course of the Faculty of Agriculture of Hokkaido Imperial University. He worked as a forestry technologist in the remote area of Hokkaido until 1945, and composed in his spare time. The predecessor of the university where he learned in the 1930's was Sapporo Agricultural College that opened in the 1870's. The first president of the school was William Smith Clark, whose wise saying "Boys, be ambitious." is widely known in Japan. The second president was William Wheeler, also an American. Clark was a pioneer of agricultural education, while Wheeler was an expert of flood control and civil engineering. Ifukube was educated in a college under such a tradition. Meanwhile, Dvořák was born in 1841, Clark was born in 1828, Wheeler was born in 1851, all crossing in the same era.
  Perhaps because of such a particular environment of Hokkaido, Ifukube's music was introduced in the United States earlier than Japan. Japanese Rhapsody, Ifukube's first orchestral piece he composed during his college days in 1935, was world premiered in Boston by the Peoples Symphony Orchestra under the baton of Fabien Sevitzky. His Sinfonia Tapkaara was also world premiered by the same conductor with the Indianapolis Symphony Orchestra later.
  Since its premiere, the Sinfonia Tapkaara has often been referred to be 'Slavic' both domestically and abroad. The Russian violinist David Oistrakh commented on the Sinfonia Tapkaara as an excellent symphony that has a Slavic taste, close to Russian music, after listening to the recording of the piece. It can be said that the New World Symphony is a symphony tinged with Slavic nature composed by Dvorak who was Slavic Czech, so both symphonies can be overlapped with a keyword 'Slavic'.
  Ifukube adored Stravinsky, and studied under Alexander Tcherepnin, a son of Nikolai Tcherepnin who was the best disciple of Nikolai Rimsky-Korsakov. As a composer who studied in Rimsky-Korsakoff's style in Japan, it is no wonder that his music took on the character of Slavic sounds.
  Originally, Hokkaido was a conflict area between Russia and Japan since the 18th century when the area was still called Ezo. Hokkaido is adjacent to Russia, and its climate is similar to Russia as much as North America. Therefore, young people in Hokkaido tended to have a sense of affinity in Russian culture. What Ifukube was familiar with during his childhood in Sapporo, the central city of Hokkaido, was not the traditional Japanese music, but the Russian folk songs sung by the exile Russian baker in his neighborhood, and the sound of the balalaika he played. Ifukube was inclined to Stravinsky's music when he was in junior high school, which prompted him to pursue to become a composer. Perhaps it was because the Slavic sense of sounds had already seeped in his mind during childhood.
  Then, what is the Slavic sense of sounds? Roughly speaking, it is the sense of sounds departed from the notions of major and minor scales, developed in Western Europe and Central Europe. When we hear a melody in seven-note scale, which may start in minor then shift to major, then come back to minor, we feel this Slavic nature. We often see such a harmonic movement or development in the folk music in Russia, Ukraine, Czech and their neighbors. This Slavic sense of sounds goes well together with the five-note scale in traditional Japan and China, closer than the Western major and minor scales. The reason why 'Slavonic nostalgia' can be sympathized with 'nostalgia of Japan' or 'nostalgia of China' might be because Slavic music can share the similar sense of sounds with that of East Asia and Central Asia, the sounds which are foreign in the music of Germany, Austria, France and Italy.
  Therefore, it was quite natural that Ifukube was attracted by the magnetic field of Slavic music via the climate and culture of Hokkaido, while searching for the music that was rooted in Japanese and Asian culture. In fact, Ifukube's music is compatible not only with Russian music but also with Czech music. When Ifukube's Violin Concerto No. 2 was world premiered in Brno, Czech Republic in 1979, it is said that many of the audience of Brno thought it was more like Czech traditional music than Japanese or Asian music.
  In this way, the Slavic sense of sounds contains a power to make various melodies in the world to be sympathetic to the listeners. Roughly speaking again, the openness of the structure of the Slavic music can easily take in various other elements without conflicting. Dvořák made this 'Slavic Magic' work in the United States, too. He tried to teach his disciples that the future American music should be born from American sounds rooted in America, not as imitations of European music, trying to write his own composition as its model. During the time, Dvořák discovered the music of the descendants of the people who were brought as slaves from Africa as well as America's indigenous music as traditional music in America, which sounded very Slavic to Dvořák's ears.
  Perhaps, when composing the New World Symphony, Dvořák aimed at composing a symphony that sounded like American music by paying respect to the music of African Americans and indigenous people. But at the same time, the music of black people and indigenous people and Slavic music came together and dissolved into oneness in his ears, so the resulted symphony sounded like the music of the Czech nationalist school. While honoring the indigenous music, the symphony swallowed it as a part of it, which must be the true value of Slavic symphony.
  If the New World Symphony has this particular background, the Sinfonia Tapkaara can be said to have a similar background in a way. Dvořák was a foreign employee for the United States, while Ifukube was a Hokkaido native. But the Ifukube family was originally from the mainland of Japan. His grandfather and father moved to Hokkaido, and his son who was to be a future composer was born in Kushiro, the eastern part of Hokkaido, who grew up while moving around all over Hokkaido with his family - as a family of pioneers.
  Ifukube lived in a pioneering village in Tokachi Plain in central Hokkaido for several years when he was an elementary school kid. There he encountered the rituals, entertainments and music of the Ainu, the indigenous people of Hokkaido. The living areas of indigenous people and settlers were completely separated, but as a son of the mayor of the village, Ifukube was treated specially by the Ainu, and he had rare experiences of Ainu culture that other settlers' children rarely had. Initially, the young Ifukube felt the music of Ainu quite foreign. It might have been compared to how the European settlers felt about Native American music when they heard it for the first time. However, if a composer tried to make the music which was strongly tied with the climate and culture of Hokkaido, rooted in northern Asia, it was crucial for him to find creative inspiration in the music of the northern ethnic groups such as the Ainu, not in the music of the settlers, since their music was the real thing born in that land. Young Ifukube gradually came to think that way in the 1930's. His Sinfonia Tapkaara was born in the peak of this creative direction. Tapkaara is a name of an Ainu dance. However, every melody in this symphony was Ifukube's original creation arisen from his 'Slavic imagination' when he was thinking about songs and dances of the northern ethnic group, which was not so different from the mental attitude of Dvořák who composed the New World Symphony.
  There are good reasons for enjoying these two symphonies side by side.

  ---

  Antonin Dvorak’s The Symphony No. 9 in E minor, Op. 95, "From the New World"

  Antonín Dvořák (1841-1904) was the director of the National Conservatory of Music in New York City from 1892 to 1895. He tried to teach American young musicians the spirit and the method to create 'American Music'. The first thing he conceived was the creation of an opera that could be an example of American national music. Dvořák had been fond of reading Henry Wadsworth Longfellow's 1855 epic poem 'The Song of Hiawatha' when he was in Europe.
  Hiawatha was a great Native American leader from the 16th century, but the story of 'The Song of Hiawatha' was not directly related to the actual achievements of Hiawatha, and was a ballad of Native American mythology, featuring Hiawatha as a fictional main character. Dvořák seemed to propose his idea of making 'The Song of Hiawatha' into an opera, and if it was impossible, into a cantata or an oratorio. However, the patrons of the National Conservatory of Music seemed to show reluctance to his proposal. If the story were about the U.S. president or the settlers, it would be OK, but a story of Native Americans?
  Then, what did he do? Dvořák had already started to make a sketch for an opera based on 'The Song of Hiawatha', intending to reflect the African American spiritual songs and Native American music. So he decided to compose a symphony using those materials. And then, the New World Symphony was born.
  However, the first movement of the symphony seems to have little relation with the sketch for 'The Song of Hiawatha'. The concept of this movement is simply shown in the first theme in which the horn's first anthem-like phrase and the immediate response by the woodwinds which evokes an ethnic dance come together as a set, which shows the composer's intention to link a rustic song and a dance together. The second movement is considered as an opera based on 'The Song of Hiawatha', in which the motif was originally supposed to be a melody played in the scene of Native Americans traveling to the original homeland of their souls. This melody was later spread as a song entitled 'Goin' Home' in the 1920's, with a lyric written by William Arms Fisher, a disciple of Dvořák at the National Music School. Perhaps Fisher had known the original idea of Dvořák for this movement.
  Scherzo of the third movement is considered to be based on a sketch for the scene of the wedding feast of the hero Hiawatha. The heroic fourth movement is considered to have developed from the original idea for the music for Hiawatha's heroic hunting scene in the opera. Dvořák liked railroads, and it is said that he often visited a train station in New York, thrillingly watching steam locomotives running into the vast continent of North America. Since the similar rhythms of locomotives are recognized in this final movement, he might have overlapped the image of the locomotive age and the Native American's horseback riding journey.

  ---

  Akira Ifukube's The Sinfonia Tapkaara

  Akira Ifukube (1914-2006) completed his composition of Sinfonia Tapkaara in 1954, which was world premiered in the United States in 1955 and received high praise. However, the Japanese premiere of the piece performed by the Tokyo Symphony Orchestra under the baton of Masashi Ueda in 1956 received negative reviews by critics and young composers in general. At that time, they were more interested in Schoenberg, Webern and Messiaen, and Ifukube's Sinfonia Tapkaara was regarded as an old style. Ifukube was disappointed. The symphony was not performed for a long time after that. The score was not published, the recordings were not released, and the piece was completely buried in the 60's and the 70's. Ifukube wanted to make this symphony public again. He also revised the work in the 70's. He made a major modification to the piece, by adding a moderate introduction to the first movement in which originally began with the main Allegro part. The revised version was premiered in 1980 by The New Symphony Orchestra under the baton of Yasushi Akutagawa who was a disciple of Ifukube. Since then, the piece was repeatedly performed in various places, the score was published, the recordings were released on records, and the piece became widely known this time.
  The first movement evokes 'the life in the north land' where indigenous people and settlers mingled, with Allegro evoking a brave hunt in the forest, lively rhythms evoking field labors and fishing operations as we were hearing a rallying call "Oof! Oof!", the entertainment music played by guiro in the field, a march evoking luggage transporting - all were unfolded like an illustrated handscroll in a sonata form. The second movement is a nocturne, in which a falling scale of A-flat, G, F, E-flat, D-flat, C plays a key role. Ifukube liked falling scales as clearly shown in the famous figure symbolizing the movie monster Godzilla, 'C - B - A, C - B - A, C - B - A - G - A - B - C - B - A'. And the movement of the sounds must have derived from the composer's impulse to want to go back to the roots of the earth - as if he were descending down to the north homeland of his soul in the sleep of the night - which must be equivalent with the 'Goin' Home' nostalgia of Dvořák's the New World Symphony. The third movement is a festival. There are the music elements that seem to specifically connect with Ainu culture. The dance rhythm, which accents the fourth beat and is persistently, repeated is exactly the same rhythm of one of Ainu's traditional dance Tapkaara. By extending both arms to the front and kneeling down, the dancers stamp their feet on the ground strongly. By dancing Tapkaara like that, Ainu people show their gratitude for the gift of nature. The rhythm leads to an enthusiastic development toward the finale.

  ---

  Akira Ifukube's The Symphonic Fantasy 'Godzilla vs. Kingghidorah' - No. 7, Godzilla

  Ifukube composed a film music for the Toho Movie 'Godzilla' in 1954, in the same year when he finished Sinfonia Tapkaara, and later composed for most of the Godzilla series - eight film scores until its fifteenth film 'Terror of Mechagodzilla' in 1954. After that, Ifukube did not work on the film scores of the Godzilla series, but came back after sixteen years absence to compose for the film 'Godzilla vs. King Ghidorah' in 1991. He arranged the film music into orchestration for concerts as a suite form in the same year, and ‘the Symphonic Fantasy’ was born. In the finale 'Godzilla', you will hear the most famous melodies that Ifukube wrote for the Godzilla series among many.
  Morihide Katayama (music critic)
  (Translation by Yuko Zama)

BEYOND THE STANDARD vol.2

チャイコフスキー：交響曲第6番「悲愴」
武満徹：系図－若い人たちのための音楽詩－

ピョートル・チャイコフスキー：交響曲第6番「悲愴」
Peter Ilyich Tchaikovsky : Symphony No.6 in h moll, Op.74 “Pathétique”

1. 第1楽章 Adagio - Allegro non troppo
2. 第2楽章 Allegro con grazia
3. 第3楽章 Allegro molto vivace
4. 第4楽章 Finale. Adagio lamentoso - Andante - Andante non tanto

武満徹：系図－若い人たちのための音楽詩－　詩：谷川俊太郎
Toru Takemitsu : Family Tree - Musical Verses for Young People-

5. むかしむかし　ONCE UPON A TIME
6. おじいちゃん　GRANDPA
7. おばあちゃん　GRANDMA
8. おとうさん　　DAD
9. おかあさん　　MOM
10. とおく　　　　A DISTANT PLACE
語り：のん

【録音】2018年5月21-22日　東京オペラシティ コンサートホール
21-22 May,2018 Tokyo Opera City Concert Hall

• 日本コロムビアのDENONレーベルで2018年4月からスタートした、イタリア出身の若き天才指揮者アンドレア・バッティストーニと東京フィルハーモニー交響楽団によるレコーディング・プロジェクト「BEYOND THE STANDARD」。クラシック王道の名曲中の名曲と、日本人作曲家による傑作をカップリングし、時代と国を越え、新たなスタンダードとして打ち出すシリーズの第2弾は、チャイコフスキーの晩年の代表作、交響曲「悲愴」と、日本を代表する作曲家、武満徹の同じく最晩年の傑作である「系図」をカップリング。
  「悲愴」は、バッティストーニにとって、キャリアの最初から繰り返し取り上げ、入念な研究も重ねた、大切なレパートリーであり、これまでのライブでの成果も踏まえた明確なビジョンをもって、この録音に臨みました。数多の名録音が残されてきた「悲愴」ですが、録音のクオリティも含め、そのページに、確実に新たな成果として刻まれる、名演の誕生と言えるでしょう。
  そして日本を代表する作曲家：武満徹が最晩年に残した、音楽と語りによる美しい音楽詩「系図(Family Tree)」。谷川俊太郎のテキストを語るのは、映画『この世界の片隅に』でヒロインの声優を務めて、その天才的な感情表現が好評を博した女優・アーティスト：のん。彼女は、谷川俊太郎が詩に表した、現代の家族の不思議なリアリティと、武満の精妙なオーケストレーションを感じながら、時空を超えた存在感で語り、決定的とも言える演奏を生み出しました。
  「悲愴」と「系図」。ほぼ100年の時を隔てて、どちらも作曲家の最晩年に書かれた名曲の組合せは、「死」と「永遠性」という普遍のテーマをあぶりだし、「系図」のむすびで語られる詩「どこからか うみのにおいがしてくる
  でもわたしはきっと うみよりももっととおくへいける」に、のんが込めた感情は、その音楽と相まって「希望」と「救済」の意志を強く聴く者の心に感じさせてやみません。



• この度、武満徹さんの曲に流れる谷川俊太郎さんの詩を読ませていただくという役をいただき、心から嬉しく思っています。
  バッティストーニさんの指揮のもと、東京フィルハーモニー交響楽団の皆様とのレコーディングは、とてつもない緊張を感じる中ではありましたが、美しい演奏と詩が一つになっていくのを体験できる貴重な時間を過ごさせていただきました。系図 family tree、キラキラと輝く音の中に落ちる不穏な裂け目は、不思議と胸に染み渡って希望を見出す。素敵な曲に参加できて、素晴らしいオーケストラの皆様バッティストーニさんとご一緒できて、本当に楽しかったです。沢山の方のもとに届く事を願って。
  のん

BEYOND THE STANDARD vol.3

ベートーヴェン：交響曲第5番「運命」
吉松隆：サイバーバード協奏曲

ルートヴィヒ・ヴァン・ベートーヴェン：交響曲第5番 ハ短調 作品67「運命」
Ludwig van Beethoven : Symphony No.5 in C minor, Op.67

1. I. Allegro con brio
2. II. Andante con moto
3. III. Allegro
4. IV. Allegro

吉松隆：サイバーバード協奏曲
Takashi Yoshimatsu : Cyber-bird Concerto

5. I. 彩の鳥(Bird in Colors)
6. II. 悲の鳥(Bird in Grief)
7. III. 風の鳥(Bird in the Wind)

上野耕平(サクソフォン) Kohei Ueno (Saxophone)
山中惇史(ピアノ) Atsushi Yamanaka (Piano)
石若駿(パーカッション) Shun Ishiwaka (Percussion)

【録音】2019年4月8-9日　東京オペラシティ コンサートホール
8-9 April, 2019 Tokyo Opera City Concert Hall

• DENONレーベルのセッション・シリーズ「BEYOND THE STANDARD」第3弾は、超王道の名曲＜運命＞と日本を代表する作曲家 吉松隆の、サクソフォンによる＜サイバーバード協奏曲＞をカップリング。「スタンダード」とは革新の集合体であることを証明するバッティストーニの＜運命＞の説得力。＜サイバーバード＞では、ソロサクソフォンは名実ともにナンバーワンの上野耕平が務め、同世代の才能溢れるピアノ山中惇史とパーカッション石若駿が参加。3人の“恐るべき若者たち”が三位一体となりバッティストーニのタクトと溶け合い、まるで一個の飛翔する生命体のように解き放たれていくさまは圧巻の一言。同曲の決定盤と断言できよう。

BEYOND THE STANDARD vol.4

ベルリオーズ：幻想交響曲 作品14
黛敏郎：バレエ音楽「舞楽」

ルイ・エクトル・ベルリオーズ：幻想交響曲 作品14
Louis Hector Berlioz : Symphonie fantastique op.14

1. I. 夢、情熱 Rêveries - Passions
2. II. 舞踏会 Un bal
3. III. 野の風景 Scène aux champs
4. IV. 断頭台への行進 Marche au supplice
5. V. 魔女の夜宴の夢 Songe d'une nuit du Sabbat

黛敏郎：バレエ音楽《舞楽》
Toshiro Mayuzumi : BUGAKU

6. I. Lento
7. II. Moderato - Un poco meno mosso - Allegretto - Lento

【録音】2018年5月20日、2020年1月21&22日 東京オペラシティ コンサートホール
20 May 2018, 21&22 Jan. 2020, Tokyo Opera City Concert Hall

• DENONレーベルのセッション・シリーズ「BEYOND THE STANDARD」第4弾は、標題音楽の金字塔、ベルリオーズの「幻想交響曲」。バッティストーニにとっても10代の頃から指揮をするのが夢であったベルリオーズの若き日の当作品は、多種多様な楽器が多彩な音色で効果的に響き合い、倒錯した狂気がほとばしる50分を超える大傑作だ。4度目のセッション録音となり、いつも以上に密度の濃い、充実した音色を存分に響かせている。
  カップリングには、日本を代表する作曲家：黛敏郎による《舞楽》をカップリング。1962年にニューヨーク・シティ・バレエ団からの委嘱によって作曲したバレエ音楽で、振付家バランシンからの注文をもとに、スタンダードなオーケストラ編成を用い、日本的な音色を活かした舞楽的な作品を構想し、作曲された名作。

BEYOND THE STANDARD vol.5

オーケストラ名曲集

オーケストラ名曲集

1. スメタナ：モルダウ
2. シベリウス：フィンランディア
3. ムソルグスキー：禿山の一夜
4. ワーグナー：ワルキューレの騎行
5. ファリャ：火祭りの踊り
6. バーンスタイン：キャンディード序曲
7. 外山雄三：管弦楽のためのラプソディー
8. バッティストーニ：Elan Vital

【録音】2017年6月2日、2019年4月8-9日、2020年1月21－22日　東京オペラシティ コンサートホール
2 Jun. 2017, 8&9 Apr. 2019, 21&22 Jan. 2020, Tokyo Opera City Concert Hall

• 2018年からスタートしたDENONレーベルのセッション・シリーズ「BEYOND THE STANDARD」が完結。「スタンダード名曲集」と銘打ち世界の珠玉の名曲を選曲。
  スコアを緻密に読み解いたバッティストーニと、セッションごとに音の密度が増していく東京フィルとの関係性を余すことなく収録している。既に配信限定でリリースしたバッティストーニ作曲の「Elan Vital」も収録し、全シリーズが完結する。