By Haruki Murakami
A deeply own, intimate dialog approximately tune 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 track permeates each one of his much-loved books. Now, in Absolutely on Music, Murakami fulfills a private dream, sitting down along 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 track and writing, the following they talk about every thing from Brahms to Beethoven, from Leonard Bernstein to Glenn Gould, from list accumulating to pop-up orchestras, and masses extra. eventually this e-book provides readers an remarkable glimpse into the minds of the 2 maestros.
It is vital examining for ebook and song fans far and wide.
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Additional resources for Absolutely on Music: Conversations
Everybody used to do it that way in the States. Maestro Karajan’s recording captures the orchestra’s overall sound. MURAKAMI: Maybe American listeners preferred that—a forceful, deadish kind of sound. Gould’s piano enters (3:31). OZAWA: This is two years later than the other one? MURAKAMI: It’s three years before the fuss over the Brahms, two years after the performance with Karajan. What a contrast with the Karajan! OZAWA: Yes, this one is much more Glenn-style. A lot more relaxed. But to tell you the truth…hmmm…I wonder if it’s okay for me to say this…I really shouldn’t start comparing Karajan and Bernstein.
Originally published in Japan as Ozawa Seiji-san to ongaku ni tsuite hanashi o suru by Shinchosa, Tokyo, in 2011. Copyright © 2011 by Seiji Ozawa and Haruki Murakami. , for permission to reprint an excerpt from a speech given by Leonard Bernstein during “Glenn Gould, Leonard Bernstein: Brahms’ Piano Concerto No. ” Copyright © by Amberson Holdings, LLC. Reprinted by permission of The Leonard Bernstein Office, Inc. Library of Congress Cataloging-in-Publication Data Names: Ozawa, Seiji, [date] | Murakami, Haruki, [date] | Rubin, Jay, [date] translator.
OZAWA: No, never. The woodwinds play, and Gould adds his arpeggios (4:19-5:27). OZAWA: Here it is—the part you were talking about. MURAKAMI: Yes, this is it. The piano is supposed to be accompanying the orchestra, but Gould’s touch is so clear and deliberate. OZAWA: No, this is certainly not an accompaniment—not in Glenn’s mind, at least. Gould ends a phrase, takes a brief pause, and moves on to the next phrase (5:40). OZAWA: Now that—where he took that pause—that’s absolutely Glenn at his freest.