By Haruki Murakami
A deeply own, intimate dialog approximately song and writing among the the world over acclaimed, best-selling writer and his shut buddy, the previous conductor of the Boston Symphony Orchestra.
Haruki Murakami's ardour for song runs deep. sooner 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 song 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, the following they speak about every little thing from Brahms to Beethoven, from Leonard Bernstein to Glenn Gould, from checklist amassing to pop-up orchestras, and lots more and plenty extra. eventually this ebook supplies readers an unparalleled glimpse into the minds of the 2 maestros.
It is key interpreting for publication and song fanatics all over the place.
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Extra info for Absolutely on Music: Conversations
MURAKAMI: Around here [the volume grows, the timpani enter (5:18)] the orchestra sounds as if it’s beginning to come apart. OZAWA: True. This wasn’t recorded at Manhattan Center, was it? At Carnegie Hall? MURAKAMI: Right. It’s a live recording from Carnegie Hall. OZAWA: I thought so. That’s why the sound is so dead. You know, they did a proper studio recording of the performance the next day in Manhattan Center. MURAKAMI: Of the same Brahms piece? OZAWA: The same one. But the record was never released.
The audience loved it. MURAKAMI: There’s no way you can do that with German music, I suppose. OZAWA: No, no. …oh, yes, Grande Messe des Morts, the one that uses eight sets of timpani. Talk about taking a free hand with a piece of music! I conducted it first in Boston, then went all over the place with it. When Munch died, I performed it in Salzburg in his honor, conducting the ensemble that he had put together, the Orchestre de Paris.
OZAWA: Hmm…I wonder…I’m not sure what you mean. MURAKAMI: You will agree that the Boston’s sound changes a lot with its conductors. OZAWA: Yes, it does. MURAKAMI: For a long time the conductor was Charles Munch, then Erich Leinsdorf, and then, I think, it was you, am I right? OZAWA: After Leinsdorf came William Steinberg. MURAKAMI: Oh, right. ” The players put the bow in deep. It makes for a heavier sound. Until then the Boston sound was always light and beautiful. That’s because they used to concentrate on French music.
Absolutely on Music: Conversations by Haruki Murakami