Book collects dialogue about music between Haruki Murakami and director Seiji Ozawa


Two bigs. One writer and the other musician. Haruki Murakami Y Seiji Ozawa, friends on the art route who have always built bridges between each other, now leave it reflected as conversations in a book of which both are authors: Music, just music (Tusquest Publishers).

According to the information, “over two years, Murakami and your friend Seiji Ozawa, former conductor of the Boston Symphony Orchestra, had these delightful conversations about well-known pieces by Brahms and Beethoven, by Bartok and Mahler, about conductors like Leonard Bernstein and exceptional soloists like Glenn Gould, about chamber pieces and about opera. Thus, while listening to records and commenting on different interpretations, the reader attends juicy confidences and curiosities that will infect him with the enthusiasm and pleasure of enjoying music with new ears ”.

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On Haruki Murakami (Kyoto, 1948), a lot is known. He is the author of “Tokio blues”, “Kafka on the shore”, “1Q84” and “The death of the commander”. Of Seiji Ozawa (Shenyang, 1935) has, in his outstanding career, having directed the Boston Symphony Orchestra for thirty years, as well as the Toronto Symphony Orchestra and the San Francisco Symphony, among other.

Here we leave you as a sample a moment of dialogue between both teachers.

Interlude II

The relationship of writing to music

(Page 115)

Murakami: I have listened to music since I was a teenager and lately I seem to understand it a little better than before. I explain. Perhaps I pay more attention to certain details, to certain passages, and I also have the impression that writing fiction has naturally improved my hearing. On the contrary, if one does not develop a certain musical ear, he will not be able to construct sentences well. In my opinion, music improves writing and writing the ear. It is a double effect, it happens simultaneously in both directions.

Ozawa: It’s interesting.

Murakami: Nobody has taught me to write and I have not studied anything specific about it. I’ve learned to do it thanks to music, and that’s why the most important thing for me is the rhythm, as in music, don’t you think? Some phrases without rhythm will not be read by anyone. I do not know how to explain it. It takes a kind of rhythm that pushes the reader forward. Reading an instruction manual, for example, is an ordeal for anyone, don’t you think? It is a paradigmatic case of writing without rhythm.

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