Absolutely on Music

Introduction
My Afternoons with Seiji Ozawa
 
Until we started the interviews in this book, I had never had a serious conversation with Seiji Ozawa about music. True, I lived in Boston from 1993 to 1995, while he was still music director of the Boston Symphony Orchestra, and I would often go to concerts he conducted, but I was just another anonymous fan in the audience. Not long after that, my wife and I happened to become friends with his daughter, Seira, and we would see and talk to her father now and then. But our acquaintance was casual and had nothing to do with either his work or mine.
 
Perhaps one reason we never talked seriously about music until recently is that the maestro s work kept him so fully involved. As a result, whenever we got together to have a drink, we d talk about anything other than music. At most, we might have shared a few fragmentary remarks on some musical topics that never led anywhere. Ozawa is the type of person who focuses all his energy on his work, so that when he steps away from it, he needs to take a breather. Knowing this, I avoided bringing up musical topics when I was in his company.
 
In December of 2009, however, Ozawa was found to have esophageal cancer, and after major surgery the following month, he had to restrict his musical activities, largely replacing them with a challenging program of recuperation and rehabilitation. Perhaps because of this regime, we gradually began to talk more about music whenever we met. As weakened as he was, he took on a new vitality whenever the topic turned to music. Even when talking with a musical layman such as myself, any sort of conversation about music seemed to provide the refreshment he needed. 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

Haruki Murakami with Seiji Ozawa

A fascinating collection of conversations. . . . The unpretentious and engaging dialogues between passionate artists the bewitching writer in whose novels music plays a prominent part and the indefatigable, amiable conductor make the pages fly. The New York Times

Highly entertaining. . . . A book that opens a new side of [Murakami s] authorial persona. San Francisco Chronicle

Absolutely on Music is an unprecedented treasure. . . . Talking about music is like dancing about architecture, it s often said, but what joy to watch these two friends dance. The Guardian

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. The Seattle Times
 
Fascinating. . . . [Murakami s] preparation and curiosity draw out Mr. Ozawa wonderfully. The Wall Street Journal

An enviable word picture of the artistic life of two men at the top of their professional games. . . . [Absolutely on Music] offers so much that bears re-reading and considering. The Washington Times
 
Irresistibly seductive. Evening Standard
 
Refreshingly honest and enthusiastic, a mental sampler from both the writer and the musician. The Buffalo News

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 New Republic

Intriguing insights about the nature of music. . . . In some ways, these conversations are High Fidelity for classical music fans. Publishers Weekly
 
A strange and delightful book. . . . [Murakami] describes music with rich and suggestive metaphors and images that capture something essential about the spirit of the music. The Christian Science Monitor