By Haruki Murakami
A deeply own, intimate dialog approximately song and writing among the the world over acclaimed, best-selling writer and his shut good friend, the previous conductor of the Boston Symphony Orchestra.
Haruki Murakami's ardour for tune 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 song permeates each one of his much-loved books. Now, in Absolutely on Music, Murakami fulfills a private dream, sitting down together 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 song and writing, right here they talk about every little thing from Brahms to Beethoven, from Leonard Bernstein to Glenn Gould, from list accumulating to pop-up orchestras, and masses extra. finally this publication offers readers an remarkable glimpse into the minds of the 2 maestros.
It is key studying for e-book and track enthusiasts in every single place.
Read or Download Absolutely on Music: Conversations PDF
Best arts & literature books
3 of the best operas ever written—The Marriage of Figaro, Don Giovanni, and Cos? fan tutte—join the beautiful track of Wolfgang Amadeus Mozart with the peerlessly matched libretti of Lorenzo Da Ponte. Da Ponte’s personal lengthy existence (1749–1838), despite the fact that, used to be extra exceptional than any opera plot. A terrible Jew who turned a Catholic priest; a clergyman who grew to become a tender gambler and rake; a instructor, poet, and librettist of genius who turned a Pennsylvania greengrocer; an impoverished immigrant to the USA who grew to become professor of Italian at Columbia University—wherever Da Ponte went, he arrived a penniless fugitive and made a brand new and eventful existence.
World-class artwork and poetry at the colonization of the Americas.
The interesting narrative of an grand lifestyles: from baby television famous person to poet and feminist activist. Robin Morgan is mostly a prize-winning writer, a political theorist, and a founding father of the modern women's stream. yet those grownup accomplishments eclipsed an past repute. "Saturday's baby has to paintings for a living," and Morgan has--since the age of 2.
- Corbino: From Rubens to Ringling
- This Must Be the Place: The Adventures of Talking Heads in the Twentieth Century
- Alan Jay Lerner: A Lyricist's Letters
- Elvis for Dummies (For Dummies (History, Biography & Politics))
Additional resources for Absolutely on Music: Conversations
I didn’t learn any of that from Maestro Karajan—oh, maybe Afternoon of a Faun. MURAKAMI: No kidding? I always thought French music was your first specialty. OZAWA: No, not at all. Never before Boston. The only thing of Berlioz’s I ever did until then was his Symphonie fantastique. I’m pretty sure that everything else I did of his was at the request of the record company. MURAKAMI: Isn’t Berlioz difficult? Sometimes when I’m listening to him I can’t tell what’s going on. OZAWA: Difficult? His music is crazy!
And the very fact that I was not in his field probably set him at ease. I have been a fervent jazz fan for close to half a century, but I have also been listening to classical music with no less enjoyment, collecting classical records since I was in high school, and going to concerts as often as time would permit. Especially when I was living in Europe—from 1986 to 1989—I was immersed in classical music. Listening to jazz and the classics has always been both an effective stimulus and a source of peace to my heart and mind.
He’s totally in charge now. In Japan we talk about ma in Asian music—the importance of those pauses or empty spaces—but it’s there in Western music, too. You get a musician like Glenn Gould, and he’s doing exactly the same thing. Not everybody can do it—certainly no ordinary musician. But somebody like him does it all the time. MURAKAMI: Ordinary musicians don’t do it? OZAWA: No, never. Or if they do, the spaces don’t fit in as naturally as this. It doesn’t grab you—you don’t get drawn in as you do here.