By Haruki Murakami
A deeply own, intimate dialog approximately track 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. 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 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 pal, 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 song and writing, the following they speak about every 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 publication offers readers an unparalleled glimpse into the minds of the 2 maestros.
It is vital studying for e-book and track fans all over the place.
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Additional resources for Absolutely on Music: Conversations
It’s totally different from other pianists’ performances. OZAWA: He would have to be overwhelmingly self-confident to do something like that. Let’s listen to it. It just so happens I’m working on this piece now. I’m going to be playing it soon with Mitsuko Uchida. In New York. With the Saito Kinen Orchestra. MURAKAMI: I’m looking forward to that. I wonder how that performance will go. I turn the record over and start the second movement, but first we take a short break to drink hot hōjicha tea and eat rice cakes.
OZAWA: Pretty much. MURAKAMI: But Bernstein’s not like that. OZAWA: Maybe not. He’s doing it more on the spot, instinctively. The recording continues. Gould takes a relaxed approach with the solo (4:33-5:23). OZAWA: Here, Glenn is being truly free with the music. MURAKAMI: You mean, compared with the Karajan performance we just heard, Bernstein lets his soloist play more freely—and to some extent he makes his music conform to the flow of the piano? Is that it? OZAWA: There is some of that, I’d say—in this piece, at least.
The central topic for our first session was the Beethoven Third Piano Concerto in C minor. We got to this by way of discussing the Gould and Bernstein performance of Brahms’s Piano Concerto no. 1 that he had mentioned to me earlier, but it so happened that Ozawa was scheduled to perform the Beethoven with Mitsuko Uchida the following month in New York. 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.
Absolutely on Music: Conversations by Haruki Murakami