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A deeply personal, intimate conversation about music and writing between the internationally acclaimed, best-selling author and his close friend, the former conductor of the Boston Symphony Orchestra.
Haruki Murakami's passion for music runs deep. Before turning his hand to writing, he ran a jazz club in Tokyo, and from The Beatles' "Norwegian Wood" to Franz Liszt's "Years of Pilgrimage," the aesthetic and emotional power of music permeates every one of his much-loved books. Now, in Absolutely on Music, Murakami fulfills a personal dream, sitting down with his friend, acclaimed conductor Seiji Ozawa, to talk, over a period of two years, about their shared interest. Transcribed from lengthy conversations about the nature of music and writing, here they discuss everything from Brahms to Beethoven, from Leonard Bernstein to Glenn Gould, from record collecting to pop-up orchestras, and much more. Ultimately this book gives readers an unprecedented glimpse into the minds of the two maestros.
It is essential reading for book and music lovers everywhere.
- Sales Rank: #1046 in Books
- Published on: 2016-11-15
- Released on: 2016-11-15
- Original language: English
- Number of items: 1
- Dimensions: 9.00" h x 1.20" w x 6.00" l, .88 pounds
- Binding: Hardcover
- 352 pages
Review
“What most fascinates about Absolutely on Music is how it unlocks the challenging question of what makes for genius in the performance of music. . . . [It is] a book that opens a new side of [Murakami’s] authorial persona and that will open doors for people who want to love classical music. It is a quirky, oddly compelling book carried along by the smooth, laid-back rhythms of its relaxing conversations. Reading it, I found myself digging out pieces I hadn’t listened to in ages, engaged with a newfound appreciation. . . . Readable, accessible, highly entertaining, educational.” —Scott Esposito, San Francisco Chronicle
"A useful guide [that] is also about the way the concert hall's values of composition and rhythm can apply to any kind of creative life." —A.V. Club
“Intriguing insights about the nature of music. . . . Deliberate and contemplative. In some ways, these conversations are High Fidelity for classical music fans.” —Publishers Weekly
“Transcribed from conversations between the phenomenal Japanese author Murakami (who ran a jazz club in his youth) and magician-with-a-baton Seiji Ozawa, whom I remember fondly as conductor of the Boston Symphony Orchestra in my student days long, long ago? I cannot resist. For all your smart readers.” —Barbara Hoffert, Library Journal
“Engaging. . . . [Murakami’s] knowledge of music is beyond impressive, as anyone who has read his novels already knows. He loves jazz, and one of the most interesting passages involves exchanges about blues in Chicago in the 1960s. Ozawa also declares a deep admiration for Louis Armstrong. . . . A work that general readers will enjoy and the musical cognoscenti will devour.” —Kirkus Reviews
“Haruki Murakami loves music, from naming one of his most beloved novels Norwegian Wood (recalling the hit from The Beatles) to being the former owner of a jazz club in Tokyo. In these brilliantly illuminating conversations with his friend, the former conductor of the Boston Symphony Orchestra, Seiji Ozawa, these two creatives discuss the power of music. From pop-up orchestras to Brahms, these two insightful artists trace the way music has impacting them and society in general.” —BookRiot
About the Author
HARUKI MURAKAMI was born in Kyoto in 1949 and now lives near Tokyo. His work has been translated into more than fifty languages, and the most recent of his many international honors is the Jerusalem Prize, whose previous recipients include J. M. Coetzee, Milan Kundera, and V. S. Naipaul.
Translated from the Japanese by Jay Rubin.
Most helpful customer reviews
3 of 3 people found the following review helpful.
The Conductor and The Deep Listener
By Dr. Debra Jan Bibel
Classical music has scores with composers' notes and instructions; yet each performance, each conductor, each orchestra creates a different result. Soloists especially make a career out of their unique approach to the music. Novelist Haruki Murakami and conductor Seiji Ozawa, battling cancer, had a series of conversations on such subjects, as well as on Ozawa's life as a music director. This book, in translation, presents the interviews conducted over several years. Murakami happens also to be an avid collector of classical albums, CD and LP, and besides an extensive gathering of Ozawa's own recordings, he has multiple renditions of particular Beethoven, Brahms, Mahler, and Berlioz pieces, which he played to further the discussion. Good familiarity of these core classical composers is necessary to appreciate the topics. No scores are presented but a website is given with samples of the compositions. For the classical music enthusiast, the easily and quickly read book provides insights into the art and also the duties of the conductor. Ozawa had training with Leonard Bernstein and Herbert von Karajan and subsequently has led numerous orchestras. I personally remember his youthful years as conductor of the San Francisco Symphony after Josef Krips. The entertaining and informative talks explain the ways of conducting and the interactions with musicians, and the extensive presentation on Mahler adds a new dimension to listening to his symphonies . Murakmai proved to be a deep listener, who while not a musician himself, has an ear for subtle differences in performances of soloists and the orchestra at large. Thus, the two men could delve into specifics. The magic of a brilliant performance remains a mystery, but the reader will have gained greater understanding of its components.
9 of 9 people found the following review helpful.
Conversations on the Magic and Mystery of Music
By Fairbanks Reader - Bonnie Brody
Absolutely on Music, Conversations, by Haruki Murakami with Seiji Ozawa translated from the Japanese by Jay Rubin delivers a stunning sense of what music can mean. Both Murakami and Ozawa are Japanese to the core, are about the same age, and both have received universal acclaim in the west. Murakami is someone who listens to multiple recordings of the same piece - and then hears it live multiple times - and can hear the differences, but he makes no music himself. Ozawa has been a conductor since he was a teenager and has handled the most complex and demanding challenges of musical interpretation all over the world. The two are personal friends. The conversations took place during the period that Ozawa was recovering from esophageal cancer.
The book speaks to different interpretations of the same music by different orchestras in different venues and by different conductors. We are offered insights into how conductors elicit a particular sound from their orchestras, and how gifted musicians are mentored. We are offered detailed descriptions of musical interpretations that are so well articulated that it enables the reader to become more astute at hearing and appreciating.
The only complaint I have with the book is that there are no scores to look at, no music to hear, and no direct reference about how the interested reader could access that source material. We have to take on faith that what the two say is musical truth. The writing is so good that we hear the voice of each person. What they say is clear and forceful so that we believe them. However, it would be good to have an appendix or footnotes listing the specific recordings and the scores.
The quality of the writing encourages readers to look at scores and hear the multiple interpretations of each piece. We are challenged to learn to enjoy music more, to hear better, with more discernment and greater appreciation. Osawa speaks with his friend so clearly and with such deep appreciation, and Murakami listens, learns and writes so well that it enhances the reader’s capacity to experience the musical universe.This book is a truly great gift.
6 of 6 people found the following review helpful.
A Writer and a Conductor Talk for Fellow Music Lovers
By Thomas F. Dillingham
As a public presentation of a series of (recorded) private conversations between the writer, Haruki Murakami, and the conductor, Seiji Ozawa, this volume offers a number of possible attractions. There is the fascination of eavesdropping on a great musician discussing the techniques and challenges he has faced in his career, with many precise and detailed analyses of performance practices affecting our experiences of some of the major symphonic works--especially those of Beethoven, Brahms, Mahler, as well as descriptions of performances by Ozawa's colleagues, from Leonard Bernstein to Thomas Schippers and others, including, especially, Herbert von Karajan. His comparative comments on their ways of performing specific passages in the pieces under discussion are certainly fascinating.
In addition, for fans of Mr. Murakami's fiction, there is a very different set of insights to be gained as he talks about his nearly lifelong habit of buying and listening, with intense absorption and concentration, to recorded performances of his favorite symphonic works. He obviously has a vast collection of recorded music, both jazz and classical, and multiple performances of many works, conducted and performed by different conductors, orchestras, and soloists. His ability to observe, describe, and ask probing questions about the differences among performances of the same passages by different performers is one of the driving forces of the conversations and the book as a whole. While the text has little of the fascination that Murakami can generate in his fiction, the "characters" not only of the two conversationalists but of the many musicians they discuss based on personal acquaintance and knowledge, add extra interest to the discussions.
I am like Murakami in that I am not a musician, have never learned to play an instrument, but have been a passionate listener to much of the same music at the center of these discussions, and I have shared his fascination with hearing different artists approaching the same works, most often with enormously different overall effects or fine points of interpretation. The point of such comparison is not to denigrate one, inflate another, but to recognize the richness of the musical works being performed. Murakami also makes a number of efforts to develop analogies between the artistic act of creating and performing music and his own act of writing. Some of these are illuminating thoughts, though many are strained or not really worth mentioning because so obvious.
At the time of these conversations, Ozawa was recuperating from treatments for esophageal cancer and was just beginning to return to public performance after a long period physical weakness and necessary inactivity. He comes across in the conversations as a man who knows well how and why he is regarded as a brilliant musician, but he also makes it clear that becoming that kind of musician requires enormous and sustained work. He has little to say about "inspiration" or "sudden illumination," but a great deal to say about deep and disciplined reading of scores, memorizing whole massive works (Beethoven's 9th, Mahler's 5th, and so many others), and careful rehearsing and interaction with the orchestras he has worked with. He also expresses profound and credible gratitude to his mentors (especially the Japanese musician and teacher, Saito, and both Bernstein and Karajan, among others) and shows that he was both open to instruction and ready to work to be worthy of the quality of his teachers.
Readers of this book will possibly encounter some frustrations. Much of the discussion of the musical works presupposes knowledge of the pieces--for example, the opening section involves a thorough discussion of Beethoven's 3rd Piano Concerto, and the reader will need to be familiar with that piece to get the full pleasure of the insights the men share. Later, Brahms symphonies, especially the 1st and 3rd, are also discussed in depth, with focus on tiny moments where the conductor must make decisions about how to vary details in the orchestration in order to gain the maximum or most beautiful effect. These are fascinating and do not necessarily require a deep knowledge of musical scores or music theory, but there is no doubt that having heard (or being able to listen to) the pieces under discussion is a great advantage. Since most of the works discussed are well-known and easily accessible, even at YouTube, the reader should take advantage of that and improve the experience of the commentary.
Perhaps inevitably, there are times when the conversations sink to the level of gossip or mere personal observations, and the best that can be said about those parts is that the two men are personable, congenial, and therefore interesting companions when they are not being serious thinkers about music. Nonetheless, fair warning--a reader who does not share the fascination with the intricate, often tiny, details of the ways great music can best work to provide the powerful emotional and aesthetic experiences it offers, may well become impatient with some of the more trivial passages and wonder why the book was not more rigorously edited. I have not felt oppressed by the flatter passages, but I was aware of them as I read through them. The book is mostly very enjoyable, mostly informative, occasionally quite inspiring. Murakami writes in his introduction that he was hoping to find, during the conversations, "the heart's natural resonance," especially coming from Ozawa, but he has realized (and he is certainly right, that he has captured those resonances from both conversants, and has produced a valuable document as a result.
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