By Haruki Murakami
A deeply own, intimate dialog approximately track and writing among the the world over acclaimed, best-selling writer and his shut pal, the previous conductor of the Boston Symphony Orchestra.
Haruki Murakami's ardour for track 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 classy and emotional strength 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 tune and writing, right here they talk about every thing from Brahms to Beethoven, from Leonard Bernstein to Glenn Gould, from checklist amassing to pop-up orchestras, and lots more and plenty extra. finally this publication provides readers an extraordinary glimpse into the minds of the 2 maestros.
It is vital interpreting for booklet and song enthusiasts all over.
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Additional resources for Absolutely on Music: Conversations
Gould and Bernstein, Beethoven Piano Concerto no. 3 in C Minor MURAKAMI: Now I’m going to put on an LP of the same Beethoven concerto, but this time it’s a studio recording made in 1959 by Gould and Bernstein with the Columbia Symphony Orchestra (composed of members of the New York Philharmonic), two years after the one with Karajan. The orchestral introduction. It has a kind of directness, like hurling clay at a stone wall. OZAWA: This is totally different from Maestro Karajan’s, isn’t it? It’s certainly not a symphony.
The orchestra plays a long, quiet phrase. MURAKAMI: It must be tough for the orchestra to draw out a long, slow note like this. OZAWA: It is, very tough. Piano and orchestra intertwine at a slow tempo. OZAWA: Oh! They’re not together here. MURAKAMI: You’re right, they’re coming apart. OZAWA: I was just counting the beat, and maybe he is being a little too free. MURAKAMI: The Karajan and Gould performance we heard had some pretty disjointed parts, too, didn’t it? An extraordinarily slow piano solo.
MURAKAMI: Right here, the orchestra and piano are not together, are they? OZAWA: No, you’re right, they’re out of sync here. Oh, here, too, they come in differently. MURAKAMI: Does this mean they haven’t completely worked things out in advance during the rehearsals? OZAWA: No, I’m sure they must have. But in passages like this, the orchestra is usually supposed to adjust to what the soloist is playing… MURAKAMI: In those days, Karajan and Gould were musicians of very different status, I guess. OZAWA: Well, sure, it was 1957—that was probably not long after Gould’s European debut.
Absolutely on Music: Conversations by Haruki Murakami