This item has been stored at home. The contents are like new and in very beautiful condition, but as it is an old item, there are signs of age on the cover, obi, etc. We ask for your consideration if you understand this. Seiji Ozawa and Haruki Murakami Discuss Music "Good music," like love, can never be too much, no matter how much you have. The years Seiji Ozawa spent with maestros like Glenn Gould, Bernstein, and Karajan, the music of Beethoven, Brahms, and Mahler... The maestro and the novelist listened to records together and continued their conversation in deep empathy. A year-long, long-form interview that touches upon the resonance of the heart and the soul of creation. The conductor speaks as if wielding a baton, and the novelist writes as if listening to the resonance of the heart. Tokyo, Hawaii, Switzerland... A miraculous collaboration lasting a year, where the two spoke alone. Table of Contents Chapter 1: On Beethoven's Piano Concerto No. 3 Chapter 2: Brahms at Carnegie Hall Chapter 3: What Happened in the 1960s Chapter 4: On the Music of Gustav Mahler Chapter 5: Opera is Fun Chapter 6: "There's no set way of teaching. I think about it as I go." From Reviews The record of the two people's conversation, which took place over a considerable number of days and ample time, is truly precious. It has a slightly unusual structure where Ozawa himself looks back on his own younger days spent with Bernstein and Karajan, accompanied by actual sound sources. Upon first reading, one is immediately struck by the extensive knowledge of classical music possessed by the interviewer, Haruki Murakami. The description, particularly regarding Mahler, skillfully elicits Ozawa's daily approach to confronting scores, and one becomes interested in that meticulous process. On the other hand, Ozawa carefully looks back on events from long ago, and many facts are recorded that he himself would have been able to recall anew. It is a masterpiece that anyone who loves classical music can read with interest! When I think of Haruki Murakami, I associate him with records, and I am once again amazed at the sheer volume of music he listens to. It's a joy to have two Japanese treasures talking. Including Junko Ohnishi's story (which I'm sure is well-known, but it's an amazing story) made me an even bigger fan of Junko Ohnishi. Seiji Ozawa's approach to young musicians and his rehearsal methods can be said to be almost a copy of Bernstein's methods.