By Haruki Murakami
A deeply own, intimate dialog approximately song 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 tune runs deep. earlier than 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 one 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 thing from Brahms to Beethoven, from Leonard Bernstein to Glenn Gould, from list gathering to pop-up orchestras, and masses extra. finally this ebook offers readers an remarkable glimpse into the minds of the 2 maestros.
It is vital analyzing for ebook and track fans all over.
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Additional info for Absolutely on Music: Conversations
And, brazen as it may seem, the only “somebody” that happened to cross my mind at the moment was me. 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.
In the end, due to a chronic back problem aggravated by the long flight and to a case of pneumonia brought on by the severe cold wave that struck New York that winter, Ozawa unfortunately had to cede the baton to a replacement, but on this particular afternoon we were able to spend a full three hours in a conversation that centered on the concerto. We took occasional breaks to prevent Ozawa from tiring and enable him to take in the periodic nutrition required by his medical condition. Beginning with the Brahms Piano Concerto no.
MURAKAMI: And I suppose the Boston Symphony Orchestra is different in its own way. OZAWA: That’s true. Boston has a milder sound. They don’t do performances like this. The musicians wouldn’t like it. MURAKAMI: Is the Chicago Symphony Orchestra closer to New York Philharmonic? OZAWA: Yes. But the Cleveland Orchestra would never do a performance like this. Cleveland is more like Boston, even milder. This is way too wild for them. But the orchestra aside, I can hardly believe this is Serkin at the piano, just gliding along.
Absolutely on Music: Conversations by Haruki Murakami