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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“Fascinating. . . . Ozawa is a beloved figure, known more for his modesty, preparation and smiling-hippie looks than for breaking batons. In Absolutely on Music, he appears in conversation with his countryman, the renowned Japanese novelist Haruki Murakami. Their discussions are prompted by listening to recordings together and range from musical personalities to the nuts and bolts of running an orchestra. Mr. Murakami is a non-musician who is nevertheless quite well-listened. . . . Murakami stays in the background of these conversations, but his preparation and curiosity draw out Mr. Ozawa wonderfully.” —The Wall Street Journal“Absolutely on Music is an unprecedented treasure, valuable if for no other reason than that these conversations mark the first time that Ozawa has reflected at length on his 50-plus years of conducting. . . . Talking about music is like dancing about architecture, it’s often said, but what joy to watch these two friends dance. . . . One of this book’s central pleasures is that of watching a kind of translation at work. With an enthusiast’s brio, Murakami sallies forth with his idiosyncratic, often fanciful ideas about Ozawa’s music.” —The Guardian“Refreshingly honest and enthusiastic, a mental sampler from both the writer and the musician. . . . The subject matter veers and twirls, from the philosophy of education to the phrasing of a specific passage, to the bringing out of an inner voice. And perhaps therein lies the charm of this book—material that only a music wonk could love, some spicy ‘Real Housewives of Vienna’ type dish, intellectual probing of the most arcane musical subjects, and personal expressions of amazement and sheer joy.” —The Buffalo News “Fascinating. . . . Enthralling. . . . What comes through in these conversations is the devotion both men feel for music; the degree to which every detail of a work matters to them; and the strength of their yearning to connect to great symphonies and concertos (and the composers who penned them).”—The Seattle Times “Irresistibly seductive.” —Evening Standard "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“A strange and delightful book. Murakami and Ozawa sit sipping hot hojicha tea, snacking on persimmons, and discussing in riveting detail works by Mahler, Bartok, Beethoven, Brahms, and many other central figures in the history of Western music. . . . While he defers to Ozawa on technical matters, [Murakami] describes music with rich and suggestive metaphors and images that capture something essential about the spirit of the music.” —The Christian Science Monitor“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“The book shines as a deep exploration into how a conductor does his job and how performer personalities, logistical factors, and mundane bureaucracies can change an orchestra’s sound. . . . The book also dishes insider gossip on the greats: Leonard Bernstein is a anti-hierarchical mensch, while Glenn Gould is a fascinating ‘eccentric.’” —New Republic “A special book. . . . Look to this for insights into the broader world of music.” —The Worcester Telegram“Soaring conversations that are at times erudite, funny and deeply personal. . . . An important and engaging reflection on the career of a great conductor.” —The Providence Journal“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“[A] glimpse into the minds of . . . two maestros and their creative process. Never a stormy debate, the talks make sweet melodies that may linger on for many readers—especially book and music lovers. . . . This book is easy reading and music is ‘absolutely’ the winner.” —Otago Daily Times (New Zealand)
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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.
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Product details
Hardcover: 352 pages
Publisher: Knopf; First Edition, Second Printing edition (November 15, 2016)
Language: English
ISBN-10: 0385354347
ISBN-13: 978-0385354349
Product Dimensions:
5.3 x 1.2 x 8.3 inches
Shipping Weight: 1.1 pounds (View shipping rates and policies)
Average Customer Review:
4.0 out of 5 stars
78 customer reviews
Amazon Best Sellers Rank:
#245,973 in Books (See Top 100 in Books)
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.
I am guilty of not finishing this book. The music conversations get a little drifty and rambling. It seems you'd almost have to be listening to the music at the same time and reading their discussions. However, I enjoyed the concept of the author interviewing the musician, and comparing their different passions and hard word. For example, each getting up at 4am to read scores or to write. There are some real gems too, like "a musician finds their flavor as they age." So True.
Murakami is also a writer that rarely fails; he has written the conversations he had with Seji Ozawa, definitely the most important figure on Western music from Japan. But the conversations also are full of love (for Ozawa), and understanding and sympathy. Ozawa comes out bigger...and so does Murakami. Both come out of the book well,very well.
Fascinating. never read anything like it. Murakami is such a fan, and such a good asker of questions; Ozawa is such a regular guy (considering he is a great conductor) and very good at reflecting on what he has played and what others have played. It is great that in this era we can listen to many of the performances mentioned without requiring an enormous record library. The book is entertaining and absorbing even for some one without extensive knowledge of classical music.
I've read most of Murakami's work, and I have great appreciation and respect for it. Although I have enjoyed this particular work, it's really going to be most appreciated by serious students of music, which I am not. Kind of beautiful insights into the minds of the real characters, but if you are looking for a novel, I point you toward Wind Up Bird, or Norwegian Wood, Kafka on the Shore, especially for anyone who has never read this author. He's wonderful and should get a Nobel someday.
What a remarkable lyrical open easy read. I have encouraged anyone who cares about classical music to read it. It's a gem!
Nice insight if you are classical music lover. Conversation is between two great maestros in two different art world which makes it even more intriguing.
Conversations between the Author and Maestro are lovely. They pull you in to the past the emotion,the feel and thought given to the music they discuss. Using my prime music, i listen to the music they talk about too. I love this little book. Note: Mr.Murakami stated that Maestro Maurice Peress was of Puerto Rican American decent.p 130. Paperback. I understood him to be of immigrant Jewish decent.
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