By Haruki Murakami
A deeply own, intimate dialog approximately tune and writing among the across the world 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. 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 tune 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 in regards to the nature of tune and writing, right here they speak about every thing from Brahms to Beethoven, from Leonard Bernstein to Glenn Gould, from checklist gathering to pop-up orchestras, and lots more and plenty extra. finally this publication offers readers an exceptional glimpse into the minds of the 2 maestros.
It is vital analyzing for e-book and song enthusiasts all over.
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Extra info for Absolutely on Music: Conversations
Final part of the cadenza. The pacing of the notes undergoes dizzying change. MURAKAMI: His interpretation here is absolutely free, isn’t it? OZAWA: Pure genius. Utterly convincing. But it’s very different from the score. Still, it doesn’t sound at all strange. MURAKAMI: When you say things are not in the score, you don’t mean just in the cadenza or other solo parts, do you? OZAWA: No, not just there. That’s what’s so great about this. The first movement ends (17:11). I lift the needle. MURAKAMI: You know, I first heard this Gould and Bernstein recording when I was in high school, and ever since then, this version of the C Minor Concerto has been one of my favorites.
In Maestro Karajan’s case, he had it from birth—the ability to make long phrases. It was something he taught us, the ones who studied with him. Lenny was more what you’d call a genius. He had an instinctive ability to make long phrases, but he couldn’t do it consciously, intentionally. In Maestro Karajan’s case, he would set his desires in motion by sheer force of will—in Beethoven, say, or Brahms. So when Karajan was conducting a Brahms, for example, his will had this overwhelming strength. And he would give it priority even if that meant sacrificing details of the ensemble.
In that sense, Ozawa was an interviewee with whom it was impossible to relax. I had to stay constantly alert in case I might miss some furtive tone that I knew would be there. If I missed those subtle cues, the very meaning of what he said could be lost. In that sense, Seiji Ozawa is simultaneously an unschooled “child of nature” and a fountain of deep, practical wisdom; a man who must have what he wants immediately and who can be infinitely patient; a man with bright confidence in the people around him who also lives in a deep fog of solitude.
Absolutely on Music: Conversations by Haruki Murakami