By Haruki Murakami
A deeply own, intimate dialog approximately track and writing among the across the world acclaimed, best-selling writer and his shut pal, the previous conductor of the Boston Symphony Orchestra.
Haruki Murakami's ardour for song runs deep. prior to turning his hand to writing, he ran a jazz membership in Tokyo, and from The Beatles' "Norwegian wooden" to Franz Liszt's "Years of Pilgrimage," the classy and emotional strength of tune permeates each of his much-loved books. Now, in Absolutely on Music, Murakami fulfills a private dream, sitting down together with his buddy, acclaimed conductor Seiji Ozawa, to speak, over a interval of 2 years, approximately their shared curiosity. Transcribed from long conversations in regards to the nature of track and writing, the following they talk about every thing from Brahms to Beethoven, from Leonard Bernstein to Glenn Gould, from list gathering to pop-up orchestras, and masses extra. eventually this e-book offers readers an unheard of glimpse into the minds of the 2 maestros.
It is key interpreting for ebook and song fans in all places.
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Extra info for Absolutely on Music: Conversations
He’d make them do it over and over until they played the way he wanted it. MURAKAMI: All very clear and precise. OZAWA: In Lenny’s case, the musicians would talk with each other during rehearsals. That always bothered me. So during my rehearsals in Boston, if somebody started talking, I would stare straight at them, and the private conversations would stop. Lenny would never do that. MURAKAMI: How about Maestro Karajan? OZAWA: At first I thought he kept a tight lid on stuff like that. But then, one time, near the end of his career, when he brought the Berlin Philharmonic to Japan, he was putting them through a rehearsal of Mahler’s Ninth, to be performed after they got back to Germany.
OZAWA: Oh! They’re not together here. MURAKAMI: You’re right, they’re coming apart. OZAWA: I was just counting the beat, and maybe he is being a little too free. MURAKAMI: The Karajan and Gould performance we heard had some pretty disjointed parts, too, didn’t it? An extraordinarily slow piano solo. MURAKAMI: There can’t be too many pianists who can play this second movement without making it sound draggy and boring. OZAWA: No, it’s true. The second movement ends (10:47). OZAWA: The first time I ever conducted this concerto, it was with the pianist Byron Janis.
When I suggested this to Seiji Ozawa, he liked the idea immediately. ” he said. “I’ve got plenty of time to spare these days. ” To have Seiji Ozawa ill with cancer was a heart-wrenching development for the music world, for me personally, and of course for him; but that it gave rise to this time for the two of us to sit and have good, long talks about music may be one of those rare silver linings that are not in fact to be found in every cloud. — As much as I have loved music over the years, I never received a formal musical education, have virtually no technical knowledge of the field, and am a complete layman where most things musical are concerned.