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akooda7's review against another edition
4.0
A wonderful way to explore classical music. I enjoyed the conversational format. It was interesting to “hear” Huraki rather differently than his novels and similarly to hear from Seiji directly - the man behind the music.
benrogerswpg's review against another edition
2.0
This was honestly one of the driest books I have ever read.
I am a music fan, and I am a Murakami fan. Somehow these two combined was just an incredibly dry and boring book.
This was quite possibly the definition of a niche book.
Would only recommend if you eat, breath, and sleep Murakami.
2.5/5
I am a music fan, and I am a Murakami fan. Somehow these two combined was just an incredibly dry and boring book.
This was quite possibly the definition of a niche book.
Would only recommend if you eat, breath, and sleep Murakami.
2.5/5
kumipaul's review against another edition
3.0
Murakami starts off describing himself as an amateur who knows little about classical music. This is very wrong. He has an obvious deep knowledge from a historical standpoint and as a listener. He may not read music or play an instrument, but his musical knowledge made his Seiji Ozawa interviews very smart and informative, and he often challenged Ozawa in ways that turned the conductor introspective. I would only recommend this book to someone who is very familiar with Seiji's career and who has a very wide understanding and exposure to classical music. Next time I read a Murakami book when he refers to a classical piece of music (which he certainly will), I will have a greater respect for how that music becomes a character in his story.
kimba13's review against another edition
emotional
informative
inspiring
reflective
medium-paced
5.0
qmanray's review against another edition
4.0
the in depth orchestra talk went over my head but still really cool & made me appreciate classical music/conducting alot more. two very insightful people!
2 cool quotes-
OZAWA: Even at my age, you change. And practical experience keeps you changing. This may be one of the distinguishing features of the conductor's profession. The work itself changes you. Of course the one thing that any conductor has to do is to get sounds out of the orchestra. I read the score and create a piece of music in my mind, after which I work with the orchestra members to turn that into actual sound, and that process gives rise to all kinds of things. There are the interpersonal relationships, of course, and also the musical judgments you make when you decide which particular points of the work you want to emphasize. There are times when you look at the music and really focus on the long phrases, and, conversely, times when you split haits over the tiny phrases. You also have to decide which of these various tasks you are going to favor. Each of these experiences will change a conductor. I got sick, went into the hospital, and stayed away from conducting for a long time. But then recently I went to New York and had a burst of conducting. Then I came back to Japan, and because I had nothing else to do at New Year's, I listened to recordings of those Saito Kinen performances over and over again.
I learned a lot from them. (226)
MURAKAMI: It's true in just about any field in Japan.
Maybe even in writers circles. People can't do anything until they've gauged the opinions of the other people present. They look around, they absorb the atmosphere, and only then do they raise their hands and say something unobjectionable. That way, there's no progress where it matters, and the status quo becomes set in stone. (320)
2 cool quotes-
OZAWA: Even at my age, you change. And practical experience keeps you changing. This may be one of the distinguishing features of the conductor's profession. The work itself changes you. Of course the one thing that any conductor has to do is to get sounds out of the orchestra. I read the score and create a piece of music in my mind, after which I work with the orchestra members to turn that into actual sound, and that process gives rise to all kinds of things. There are the interpersonal relationships, of course, and also the musical judgments you make when you decide which particular points of the work you want to emphasize. There are times when you look at the music and really focus on the long phrases, and, conversely, times when you split haits over the tiny phrases. You also have to decide which of these various tasks you are going to favor. Each of these experiences will change a conductor. I got sick, went into the hospital, and stayed away from conducting for a long time. But then recently I went to New York and had a burst of conducting. Then I came back to Japan, and because I had nothing else to do at New Year's, I listened to recordings of those Saito Kinen performances over and over again.
I learned a lot from them. (226)
MURAKAMI: It's true in just about any field in Japan.
Maybe even in writers circles. People can't do anything until they've gauged the opinions of the other people present. They look around, they absorb the atmosphere, and only then do they raise their hands and say something unobjectionable. That way, there's no progress where it matters, and the status quo becomes set in stone. (320)
xtinee's review against another edition
5.0
I asked my viola teacher for books on music and he lent me this one. It was everything I had hoped for and so much more. I really like Murakami’s books and this one is just transcripts of his conversations with world renowned conductor Seiji Ozawa. Murakami is a big classical music fan who just enjoys listening so their conversation is extremely accessible. They listen to recordings of different orchestral performances and discuss them with timestamps so you can actually listen along and read their comments at the same time. It got me so excited about listening and playing classical music and helped me appreciate it a lot more.
emilys_reading_endeavors's review against another edition
informative
inspiring
reflective
slow-paced
3.5
theeditorreads's review against another edition
5.0
Absolutely on Music is a book of conversations between Haruki Murakami and Seiji Ozawa, with the former as the interviewer and the latter as the interviewee.
Synopsis
Divided into six conversations between Murakami and Ozawa, with interesting interludes in between, Absolutely on Music—or My Afternoons with Seiji Ozawa (as Murakami would have liked to title it)—is a riveting read for lovers of both music and the written word.
Review
When two masters in their respective fields talk, you listen. Or in this case, read all about it later. In [b:Absolutely on Music: Conversations with Seiji Ozawa|34382959|Absolutely on Music Conversations with Seiji Ozawa|Haruki Murakami|https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1514556240l/34382959._SY75_.jpg|48095356], author extraordinaire Haruki Murakami and acclaimed conductor Seiji Ozawa come together to talk about writing and music.
Writing and music are what I turn to, whenever my feelings spin out of control; the way the book combines them is nothing short of amazing. Moreover, the pandemic and the resulting lockdown can attest to the fact that the arts, whether in any form, are what keep us sane.
Murakami says that the only purpose of this book was to have a discussion about music with Ozawa. As a music lover, he wanted to keep the discussion as open and honest as possible. Moreover, Ozawa himself praises Murakami, saying that “he doesn’t just love music, he knows music.” And thus starts the conversation, spanning from November 16, 2010, to July 4, 2011.
It is said that you can appreciate music if you listen more and listen closely—note all the silences, the highs and the lows, and…you get the point. Murakami truly comes out as an expert in all things music, as he picks up on Ozawa’s feelings about a particular piece before the latter even voices them; all the while music plays in the background. You can almost feel it (and play out, if you want to). It was magical, reading about how art is created, even though Murakami admits how all of what he learned during the course of the conversation could not be recorded in the book.
This conversation had that old-world charm, with discussions regarding records and record players and slow music that ensnares your senses; each conversation itself rises to a crescendo, only to end with a cadenza, as lively as the music it discusses. And there is also that discussion about art, about selling art vs. truly appreciating it, and how diversity adds a unique charm to it, often transcending genres and realms.
Now, along with the old world, the above is something that I recently read about—what I will say is experiencing a “skin orgasm,” even though Murakami doesn’t describe it that way. The above happens at the 5:42 time point when Mitsuko Uchida and Kurt Sanderling’s Beethoven Piano Concerto no. 3 in C minor is playing. Apart from that, my favourite section in this book was when they were discussing Mahler.
From the pure genius of composers/conductors to the brilliant way a piece of music has been paced, with special emphasis on the empty (silent) spaces, concerto music has been vibrantly explored; sadly, I have heard only Zubin Mehta’s (an Indian conductor of Western and Eastern classical music ) name till now, who has been mentioned in passing—I’m not that into live music.
On that note, the dynamics of recording live performances have also been touched upon, keeping in mind that it should provide a rich listening experience. I would definitely want to listen more, especially after listening to the select pieces mentioned in this book. Another aspect that was intriguing to me (as a novice learning to play the acoustic guitar) was how Ozawa relished just reading the scores (maybe because I feel that I need immense patience to study scores).
I will conclude this review with a heartfelt thanks to the translator. Jay Rubin is a master translator, which is evident from this particular line:
P.S. From the pen of Murakami, I now borrow a phrase to answer a question: “If someone told me that I could listen (read/watch, I might add) to only one or the other but not to both, my life would be immeasurably diminished.”
P.P.S. A sensory experience of reading the book will be to simultaneously listen to the pieces of music mentioned, as the story progresses.
Originally posted on:
Shaina's Musings
Synopsis
Divided into six conversations between Murakami and Ozawa, with interesting interludes in between, Absolutely on Music—or My Afternoons with Seiji Ozawa (as Murakami would have liked to title it)—is a riveting read for lovers of both music and the written word.
Review
When two masters in their respective fields talk, you listen. Or in this case, read all about it later. In [b:Absolutely on Music: Conversations with Seiji Ozawa|34382959|Absolutely on Music Conversations with Seiji Ozawa|Haruki Murakami|https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1514556240l/34382959._SY75_.jpg|48095356], author extraordinaire Haruki Murakami and acclaimed conductor Seiji Ozawa come together to talk about writing and music.
What we are doing is entirely different, but I imagine we may well be the same when it comes to the depth of our concentration.
Writing and music are what I turn to, whenever my feelings spin out of control; the way the book combines them is nothing short of amazing. Moreover, the pandemic and the resulting lockdown can attest to the fact that the arts, whether in any form, are what keep us sane.
Like love, there can never be too much “good music”. The number of people who use it as a fuel to recharge their appetite for life is beyond counting.
Murakami says that the only purpose of this book was to have a discussion about music with Ozawa. As a music lover, he wanted to keep the discussion as open and honest as possible. Moreover, Ozawa himself praises Murakami, saying that “he doesn’t just love music, he knows music.” And thus starts the conversation, spanning from November 16, 2010, to July 4, 2011.
It is said that you can appreciate music if you listen more and listen closely—note all the silences, the highs and the lows, and…you get the point. Murakami truly comes out as an expert in all things music, as he picks up on Ozawa’s feelings about a particular piece before the latter even voices them; all the while music plays in the background. You can almost feel it (and play out, if you want to). It was magical, reading about how art is created, even though Murakami admits how all of what he learned during the course of the conversation could not be recorded in the book.
There’s a great deal of satisfaction when you finally come to understand a piece of music.
This conversation had that old-world charm, with discussions regarding records and record players and slow music that ensnares your senses; each conversation itself rises to a crescendo, only to end with a cadenza, as lively as the music it discusses. And there is also that discussion about art, about selling art vs. truly appreciating it, and how diversity adds a unique charm to it, often transcending genres and realms.
This is truly miraculous music making. The two listeners groan simultaneously.
Now, along with the old world, the above is something that I recently read about—what I will say is experiencing a “skin orgasm,” even though Murakami doesn’t describe it that way. The above happens at the 5:42 time point when Mitsuko Uchida and Kurt Sanderling’s Beethoven Piano Concerto no. 3 in C minor is playing. Apart from that, my favourite section in this book was when they were discussing Mahler.
There’s also something deeply abnormal about Mahler’s music. If I had to put a label on it, I’d call it schizophrenic.
From the pure genius of composers/conductors to the brilliant way a piece of music has been paced, with special emphasis on the empty (silent) spaces, concerto music has been vibrantly explored; sadly, I have heard only Zubin Mehta’s (an Indian conductor of Western and Eastern classical music ) name till now, who has been mentioned in passing—I’m not that into live music.
Silence is not just the absence of sound: there is a sound called silence.
On that note, the dynamics of recording live performances have also been touched upon, keeping in mind that it should provide a rich listening experience. I would definitely want to listen more, especially after listening to the select pieces mentioned in this book. Another aspect that was intriguing to me (as a novice learning to play the acoustic guitar) was how Ozawa relished just reading the scores (maybe because I feel that I need immense patience to study scores).
I will conclude this review with a heartfelt thanks to the translator. Jay Rubin is a master translator, which is evident from this particular line:
Beautiful piano solo unfolds, like an ink painting in space.
P.S. From the pen of Murakami, I now borrow a phrase to answer a question: “If someone told me that I could listen (read/watch, I might add) to only one or the other but not to both, my life would be immeasurably diminished.”
P.P.S. A sensory experience of reading the book will be to simultaneously listen to the pieces of music mentioned, as the story progresses.
Originally posted on:
Shaina's Musings
7anooch's review against another edition
4.0
Reading this made me realize that I know nothing about music. Very enjoyable light read, like eavesdropping on a conversation between two great artists among the best in their craft.