By Haruki Murakami
A deeply own, intimate dialog approximately tune 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 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 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, the following 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. eventually this booklet supplies readers an remarkable glimpse into the minds of the 2 maestros.
It is vital examining for publication and song fans in all places.
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Extra resources for Absolutely on Music: Conversations
You’re right, this performance is not what you’d call passionate. The piano plays the first movement’s beautiful second theme (7:35). OZAWA: Here, the slow tempo is just fine. With this second theme. Good, don’t you think? MURAKAMI: It really is. OZAWA: Before, the loud section was maybe a little sluggish or unsophisticated, but this really grabs you. MURAKAMI: Before, you said, “Lenny’s got it absolutely right…He’s putting his heart and soul into it,” but you also said you thought it was not a good idea to get up like that and give a speech before a performance.
The only thing of Berlioz’s I ever did until then was his Symphonie fantastique. I’m pretty sure that everything else I did of his was at the request of the record company. MURAKAMI: Isn’t Berlioz difficult? Sometimes when I’m listening to him I can’t tell what’s going on. OZAWA: Difficult? His music is crazy! Sometimes I don’t know what’s going on, either! Which may be why his music is suited to being performed by an Asian conductor. I can do what I want with it. Once a long time ago I conducted Berlioz’s opera Benvenuto Cellini in Rome.
By contrast, Maestro Karajan’s got Beethoven solidly rooted inside him and it’s not going to budge. He might as well be out there playing a symphony. Plus he has absolutely no intention of cleverly adapting his style to fit Gould’s. ” So then in Gould’s solo parts and cadenzas and stuff, he’s creating his own world. But the two never quite meet—they feel like they’re slightly out of kilter. OZAWA: Which doesn’t seem to bother Maestro Karajan at all, wouldn’t you say? MURAKAMI: No, not at all. He’s totally immersed in his own world.