By Haruki Murakami
A deeply own, intimate dialog approximately tune and writing among the the world over acclaimed, best-selling writer and his shut good friend, the previous conductor of the Boston Symphony Orchestra.
Haruki Murakami's ardour for track 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 song permeates each of his much-loved books. Now, in Absolutely on Music, Murakami fulfills a private dream, sitting down together with his good friend, acclaimed conductor Seiji Ozawa, to speak, over a interval of 2 years, approximately their shared curiosity. Transcribed from long conversations concerning the nature of tune and writing, right here they speak about every little thing from Brahms to Beethoven, from Leonard Bernstein to Glenn Gould, from list amassing to pop-up orchestras, and lots more and plenty extra. finally this ebook offers readers an remarkable glimpse into the minds of the 2 maestros.
It is vital examining for booklet and tune fanatics all over.
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Additional resources for Absolutely on Music: Conversations
OZAWA: After Leinsdorf came William Steinberg. MURAKAMI: Oh, right. ” The players put the bow in deep. It makes for a heavier sound. Until then the Boston sound was always light and beautiful. That’s because they used to concentrate on French music. Munch and Pierre Monteux had a major influence. Monteux wasn’t music director by that point, but he was there all the time. And Leinsdorf wasn’t all that German, either. MURAKAMI: So when your time came, the orchestra changed its sound. OZAWA: I really wanted to do German music.
The pure joy one experiences listening to “good” music transcends questions of genre. During one of Seiji Ozawa’s visits to my home, we were listening to music and talking about one thing or another when he told me a tremendously interesting story about Glenn Gould and Leonard Bernstein’s 1962 performance in New York of Brahms’s First Piano Concerto. “What a shame it would be to let such a fascinating story just evaporate,” I thought. ” And, brazen as it may seem, the only “somebody” that happened to cross my mind at the moment was me.
OZAWA: The next was Alfred Brendel. I played the Beethoven Third with him in Salzburg. The next one was probably Mitsuko Uchida. And Serkin came after that. Serkin and Bernstein, Beethoven Piano Concerto no. 3 in C Minor MURAKAMI: I’d like you to listen to one more recording of the Third Piano Concerto. OZAWA: Fine. The first movement begins. Opening passage. Uptempo orchestra. OZAWA: Now, this feels completely different again. It’s fast. Wow, it is really fast! They’re galloping. MURAKAMI: Is it rough?