By Haruki Murakami
A deeply own, intimate dialog approximately tune and writing among the the world over acclaimed, best-selling writer and his shut buddy, the previous conductor of the Boston Symphony Orchestra.
Haruki Murakami's ardour for song runs deep. ahead of 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 cultured and emotional energy of song permeates each one of his much-loved books. Now, in Absolutely on Music, Murakami fulfills a private dream, sitting down along with his buddy, acclaimed conductor Seiji Ozawa, to speak, over a interval of 2 years, approximately their shared curiosity. Transcribed from long conversations concerning the nature of track and writing, right here they speak about every little thing from Brahms to Beethoven, from Leonard Bernstein to Glenn Gould, from list gathering to pop-up orchestras, and lots more and plenty extra. eventually this publication provides readers an exceptional glimpse into the minds of the 2 maestros.
It is key studying for booklet and song enthusiasts far and wide.
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Additional info for Absolutely on Music: Conversations
By nature. He had a different kind of genius. MURAKAMI: Are you saying that he couldn’t provide practical guidance—“Do this,” “Do that”—when he had the musicians there, right in front of him, playing their instruments? OZAWA: Practically speaking, a good conductor, a professional, instructs his musicians. He’ll say, “Listen to this instrument right here,” and “Now listen to this instrument,” and the sound of the orchestra comes together. ” Like that. Maestro Karajan was an absolute genius on that front.
MURAKAMI: Ordinary musicians don’t do it? OZAWA: No, never. Or if they do, the spaces don’t fit in as naturally as this. It doesn’t grab you—you don’t get drawn in as you do here. That’s what putting in these empty spaces, or ma, is all about, isn’t it? You grab your audience and pull them in. East or West, it’s all the same when a virtuoso does it. MURAKAMI: I know of only one recording that you made of this concerto—with Rudolf Serkin and the Boston Symphony in 1982. OZAWA: Yes, that was it. We recorded the complete Beethoven piano concerti.
OZAWA: It’s strangely slow, but playing it like this, Gould makes it work. It doesn’t feel wrong at all. MURAKAMI: He must have such an acute sense of rhythm. I mean, to be able to keep stretching it out like that, adjusting his sound inside the framework of the orchestra… OZAWA: He’s got an absolutely solid grasp of the flow of the music. But Lenny’s got it absolutely right, too. He’s putting his heart and soul into it. MURAKAMI: But isn’t this piece usually played as a big, passionate outburst?