By Haruki Murakami
A deeply own, intimate dialog approximately song and writing among the across the world acclaimed, best-selling writer and his shut buddy, the previous conductor of the Boston Symphony Orchestra.
Haruki Murakami's ardour for song 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 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 along with his buddy, 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 ebook provides readers an unparalleled glimpse into the minds of the 2 maestros.
It is vital examining for e-book and tune fans all over.
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Additional resources for Absolutely on Music: Conversations
I handled the tape recorder, transcribed our conversations myself, and presented the manuscript to him for corrections. ” This was the very first thing Ozawa said to me after reading the finished manuscript. “But wow, my language is so rough! ” It’s true, the maestro does speak his own special brand of Ozawa-ese, which is not always easy to convert to standard written Japanese. He gesticulates grandly, and many of his thoughts emerge in the form of songs. ” Despite being an amateur (or perhaps because of it), whenever I listen to music, I do so without preconceptions, simply opening my ears to the more wonderful passages and physically taking them in.
MURAKAMI: Come to think of it, when Gould played with the Cleveland Orchestra, he and George Szell couldn’t agree and an assistant took over for Szell. I read that somewhere. The solo piano section of the first movement begins (5:56). 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.
It was recorded in 1964, five years after the recording with Gould. OZAWA: It’s kind of an inconceivable performance. MURAKAMI: Why are they in such a hurry? OZAWA: I can’t imagine. MURAKAMI: I don’t think of Rudolf Serkin as a speed demon on the piano. Were performances like this in fashion at that time? OZAWA: Maybe so. But 1964…hmm…Back then, there was a lot of attention paid to the influence on performance styles by early music, and those tended to be uptempo without many sustained notes. Also, stringed instruments had shorter bows.