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Seiji Ozawa
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(b Hoten, 1 Sept 1935). Japanese conductor. After early conducting experience in Tokyo he studied at the Berkshire Music Center, Tanglewood; Münch, Bernstein and Karajan were early mentors. He was music director of the Toronto SO, 1965-70, and after a period with the San Francisco SO became music director of the Boston SO in 1973. His London début was in 1965, with the LSO, and he has conducted at Salzburg since 1969. He is at his best in large-scale, late Romantic music.
| Biography: Seiji Ozawa |
The Japanese musician, Seiji Ozawa (born 1935), was one of the very few non-Westerners able to achieve international renown as a conductor of Western music. His natural musicality, energy, and warmth endeared him to orchestras and public alike.
Seiji Ozawa was born on September 1, 1935, in Fenytien (now Shenjang), in the Manchurian province of Liaoning, China, during the Japanese occupation of that region. When war broke out, his Buddhist father and Presbyterian mother moved the family to Tokyo.
His mother's decision to raise her children as Christians brought Ozawa into early contact with Western church music. This contact was reinforced by his older brother, who became a church organist. From the start Ozawa gravitated toward Western music and only developed an interest in the traditional music of his homeland through association with cross-over composers such as Takemitsu, after his career was well established.
Early Training
Ozawa began piano study at the age of seven and numbered among his teachers Toyomasu, a Bach specialist with whom he studied for ten years. He entered the Toho School in Tokyo at the age of 16 with hopes of becoming a concert pianist. When he broke both index fingers in sports activity Toyomasu suggested he also take up conducting, recommending him to Hideo Saito. Ozawa was awarded first prizes in conducting and composition upon graduation from the Toho School.
Ozawa worked with Saito from 1951 to 1958 and served as his assistant and factotum in order to help pay for lessons. His duties were said to have included everything from orchestrating music to mowing the lawn. Ozawa later considered Saito to be one of the three most important influences in his musical development, the others being Charles Munch and Herbert von Karajan.
His rapid rise through the ranks of conductors may be seen as a chain of increasingly important introductions and fortuitous meetings. This same rapid rise, though, did not allow him time for learning the immense repertoire required to be at the top of his craft. He would spend years catching up.
In 1959 Ozawa left Japan, hoping to further his career in Europe. In Paris he saw an ad for the Bensanáon International Conductor's Competition, which he entered and won. The judges at Bensanáon included Charles Munch, who invited him to enter another competition at Tanglewood in western Massachusetts, a music camp and summer home of the Boston Symphony Orchestra. There he won the Koussevitsky Prize in 1960.
The same year, while in studying in Berlin with Karajan, he met Leonard Bernstein. Ozawa was invited to accompany Bernstein and the New York Philharmonic Orchestra on a tour of Japan in early 1961 and to be one of three assistant conductors with the same orchestra for the 1961-1962 season. In the 1964-1965 season he held this position alone. He made his debut with the New York Philharmonic Orchestra as one of three conductors needed for Charles Ives' "Central Park in the Dark." Ozawa credits Bernstein's children's concerts as the inspiration for a series he later did for Japanese television, though Ozawa's concerts were aimed at an adult audience.
An enthusiastic recommendation by Bernstein to Ronald Wilford of Columbia Artists' Management led to Ozawa's debut with the San Francisco Symphony Orchestra in 1962. It also secured for him the music directorship (1964-1968) of the Ravinia Festival, summer home of the Chicago Symphony Orchestra. In 1964 he guest conducted the Toronto Symphony Orchestra and became its musical director the following year. This lasted until 1970, when he was appointed to the same position with the San Francisco Symphony Orchestra. Critics commented on his rather lopsided repertoire, which featured very little German or Austrian music from Haydn to Schumann, but much music from the late 19th and early 20th centuries, including Brahms, Schoenberg, Bartok, Ravel, and Debussy.
Long Tenure in Boston
In 1972 he became musical adviser for the Boston Symphony Orchestra and the following year its musical director, still holding his San Francisco appointment. This dual directorship continued until 1976. When this burden became too taxing, he was compelled to give up the West Coast orchestra. His duties with the Boston Symphony Orchestra included directorship of the Tanglewood Festival, a position he had held since 1970, though jointly with Gunther Schuller the first year.
Ozawa retained ties with both Japan and China during his career, serving as musical adviser to the New Japan Philharmonic Orchestra from 1968 and making many guest appearances with orchestras in Osaka and Saporo. When the Peoples Republic of China reestablished cultural ties with the West in 1977, he accepted an invitation to conduct the Beijing Central Philharmonic Orchestra, and the following year led the Boston Symphony Orchestra on a tour of China. Ozawa also retained ties with Japan in his personal life, preferring to settle his wife Vera and their two children in Tokyo and hopping continents to conduct.
While performances in the earlier part of his career were marred by a roughness of sound and did not bear the stamp of a strong musical personality, Ozawa later developed a full, well-rounded tone and distinctive style that were particularly suited to big, coloristic pieces from the late 19th through the 20th centuries, including works by Mahler, R. Strauss, Sibelius, and Messiaen. He also had surprising success with Stravinsky, Bartok, and Schoenberg, whose "Gurrelieder" ranked among his best recordings. He was criticized on occasion for failing to probe beneath the surface beauty, even in works such as Verdi's "Requiem" which might seem to have been ideally suited to him.
Opera presented further challenges to Ozawa, both in the immense amount of time needed to learn a score and in his additional difficulties with the Italian, German, French, and Russian languages. His opera debut came with Mozart's "Cosi fan tutte" at Salzburg in 1969; others in his repertoire included Tchaikovsky's "Eugene Onegin," Mussorgsky's "Boris Gudonov," and Messiaen's "Saint François d'Assise," of which he conducted the first performance at the Paris Opéra in November 1983. Ozawa's Metropolitan Opera debut came in 1992.
By the late 1990s, Ozawa's extended stay with the Boston Symphony gave him seniority among directors of American orchestras. He made regular guest appearances with the Berlin Philharmonic, the New Japan Philharmonic, the London Symphony, the Orchestre National de France, the Philharmonia of London, and the Vienna Philharmonic and released recordings with the Berlin Philharmonic, the Chicago Symphony, the London Philharmonic, the Orchestre National, the Orchestre de Paris, the Philharmonia of London, the Saito Kinen Orchestra, the San Francisco Symphony, the Toronto Symphony, and the Vienna Philharmonic.
Ozawa recorded over 130 works with the Boston Symphony, representing more than 50 composers. He received two Emmy awards, the first for his television series, "Evening at Symphony," and his second for Individual Achievement in Cultural Programming for the Boston Symphony's "Dvorák in Prague: A Celebration."
In 1992 Ozawa founded the Saito Kinen Festival in Natsumoto, Japan, repaying a debt to the memory of his old master. Honors flowed to Ozawa as well, with the opening of a new concert hall at Tanglewood bearing his name in 1994, and the conferring of honorary doctor of music degrees from the University of Massachusetts, the New England Conservatory of Music, and Wheaton College. In Japan, Ozawa became the first recipient of the Inouye Sho ("Inouye Award").
Ozawa did not forget to pay other debts to the muse: he commissioned several new works of music, including one series commemorating the Boston Symphony's centennial and another celebrating Tanglewood's fiftieth anniversary.
Further Reading
Because Ozawa conducted one of the major orchestras in the United States and continued to record, reviews of his concerts and recordings turn up frequently in all of the well-known music magazines. Articles in Hi-Fi/Musical America, Stereo Review, and American Record Guide are all indexed in The Music Index, as are those in non-music-specific publications such as Saturday Review, the Christian Science Monitor, and the Village Voice. Chapters devoted to Ozawa are found in Helena Matheopoulos' Maestro: Encounters with Conductors of Today (1982) and in Philip Hart's Conductors: A New Generation (1983). The latter also contains a comprehensive list of recordings. Andrew L. Pincus' Scenes from Tanglewood (1989) gives more information about the conductor than is suggested by the title.
General biographical information may also be found on the Internet at sites maintained by BMG Music and the Boston Symphony Orchestra as well as in Michael Walsh's article "What Makes Seiji Run" in Time (March 30, 1987).
| Columbia Encyclopedia: Seiji Ozawa |
Ozawa, Seiji (sā'jē ōzä'wä), 1935-, Japanese conductor, b. Manchuria. A graduate of the Toho School of Music, Ozawa won competitions in Europe and the United States and was hired (1961) by the New York Philharmonic as an assistant conductor. He was director of the Toronto Symphony Orchestra (1965-70) and the San Francisco Symphony Orchestra (1970-73) before he served as music director of the Boston Symphony Orchestra for almost thirty years, from 1973 to 2002. In 2002, he left Boston to become director of the Vienna State Opera. Ozawa was the first Japanese conductor to gain recognition in the West. Interested in performing unfamiliar works, he is noted for the breadth of his repertoire and the clarity, sensitivity, and precision of his technique.
| Artist: Seiji Ozawa |
- Period: Contemporary (1950- )
- Born: September 01, 1935
Biography
Seiji Ozawa, born of Japanese parents in Manchuria, began music lessons at the age of seven. At 16 he entered the Toho School of Music in Tokyo, intending to pursue a career as a professional pianist. He abandoned that plan after breaking both of his index fingers in a rugby game. It was then that he turned to conducting and composition. While still a student Ozawa gained podium experience with professional ensembles, including the NHK Symphony Orchestra and the Japan Philharmonic. He graduated in 1959 with first prizes in conducting and composition and traveled to Europe to pursue further studies. There, Ozawa supported himself as a traveling salesman of Japanese motor scooters. In the course of his work he saw a notice for an international conducting competition, entered it, and won. So impressed was one of the judges -- longtime Boston Symphony conductor Charles Münch -- that he arranged for Ozawa to study at the Berkshire Music Center at Tanglewood in the summer of 1960. Ozawa won the Koussevitzky Award as well as a scholarship to work with Herbert von Karajan and the Berlin Philharmonic. During a visit to Berlin, Leonard Bernstein hired him as an assistant conductor of the New York Philharmonic. Ozawa made his debut with the orchestra in Carnegie Hall on April 14, 1961, and traveled with the ensemble on tour (including appearances in Japan). From 1964 to 1968 Ozawa served as music director of the Ravinia Festival. His career burgeoned as he became noted for his brilliant performances, penetrating musical insight, and total command of the most complex scores. He enjoyed multiple successes as music director of the Toronto Symphony Orchestra (1965-1969), including a career-making recording of Messiaen's Turangalila Symphony and Takemitsu's November Steps. In 1968 he became music advisor to the Japan Philharmonic Orchestra. In the following year he made his operatic debut at the Salzburg Festival and became principal guest conductor of the Chicago Symphony Orchestra. In 1970 he became the music director of the San Francisco Symphony, and in that post proved himself a particular advocate of new music.At the same time, Ozawa developed ever-closer ties to Boston. He became the co-artistic adviser of the Tanglewood Music Center in 1970, and in 1972 was named music advisor of the Boston Symphony Orchestra. 1973 brought him the music directorship of the BSO as well the sole artistic directorship of Tanglewood. His tenure in Boston, which reached into the twenty-first century, was one of the longest in the history of any American orchestra.
Ozawa's career-long dedication to new music is evident from his role in the commissioning and/or premiering of works like Ligeti's San Francisco Polyphony (1975), Messiaen's opera Saint François d'Assise (1983), Davies' Symphony No. 2 (1981), and Harbison's Symphony No. 1 (1983). He assumed the post of music director of the Vienna State Opera in 2002. ~ AMG, All Music Guide
Discography
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| Wikipedia: Seiji Ozawa |
Seiji Ozawa (小澤 征爾 Ozawa Seiji, born September 1, 1935) is a Japanese conductor, particularly noted for his interpretations of large-scale late Romantic works. He is most known for his work as music director of the Boston Symphony Orchestra and the Vienna State Opera.
Contents |
Biography
Japanese conductor, Seiji Ozawa, was born on September 1, 1935 to Japanese parents in the city of Shenyang, China, while it was under Japanese occupation. When his family returned to Japan in 1944, he began studying piano with Noboru Toyomasu, heavily studying the works of Johann Sebastian Bach. After graduating from the Seijo Junior High School in 1950, Ozawa sprained his finger in a rugby game. Unable to continue studying the piano, his teacher at the the Toho Gakuen School of Music[1] (Hideo Saito), brought Ozawa to a life-changing performance of Beethoven’s Symphony No. 5, which ultimately shifted his musical focus from piano performance to conducting.[2] Almost a decade after the sports injury, Ozawa won the first prize at the International Competition of Orchestra Conductors in Besancon, France.[3] His success in France led to an invitation by Charles Munch, then the music director of the Boston Symphony Orchestra, to attend the Berkshire Music Center (now the Tanglewood Music Center). In 1960, shortly after his arrival, Ozawa won the Koussevitzky Prize for outstanding student conductor, Tanglewood’s highest honor. Receiving a scholarship to study conducting with famous Austrian conductor, Herbert von Karajan, Ozawa moved to West Berlin. Under the tutelage of von Karajan, Ozawa caught the attention of prominent conductor, Leonard Bernstein. Bernstein then appointed him as assistant conductor of the New York Philharmonic where he remained for the next four years.[3] While with the New York Philharmonic, he made his first professional concert appearance with the San Francisco Symphony in 1962.[4] In December 1962 Ozawa was involved in a controversy with the prestigious Japanese NHK Symphony Orchestra when certain players, unhappy with his style and personality, refused to play under him. Ozawa went on to conduct the rival Japan Philharmonic Orchestra instead.[5] From 1964 to 1971, Seiji Ozawa served as the first music director of the Ravinia Festival, the summer home of the Chicago Symphony Orchestra.
He was music director of the Toronto Symphony Orchestra from 1965 to 1970, and of the San Francisco Symphony Orchestra from 1969 to 1976.
Between the years of 1964–1973, he directed various orchestras until he became music director of the Boston Symphony Orchestra in 1973. His tenure at the BSO was maintained for twenty-nine years, the longest tenure of any music director that surpassed the twenty-five years that held by Koussevistzky.[4] Ozawa won his first Emmy Award in 1976, for the Boston Symphony Orchestra’s PBS television series, “Evening at Symphony.” In 1994, the BSO dedicated its new Tanglewood concert hall "Seiji Ozawa Hall" in honor of his 20th season with the orchestra. In 1994, he was awarded his second Emmy for Individual Achievement in Cultural Programming for “Dvorak in Prague: A Celebration.” [4] An effort to merge all-Japanese orchestras and performers with international artists, Ozawa, along with Kazuyoshi Akiyama, founded the Saito Kinen Orchestra in 1992. Since its creation, the orchestra has gained a prominent position in the international music community.[2] In the same year, he also made his debut with the Metropolitan Opera in New York. He has additionally conducted the Berlin Philharmonic and Vienna Philharmonic on a regular basis. Ozawa can also be seen in concert with the New Japan Philharmonic, the London Symphony, the Orchestre National de France, La Scala in Milan and the Vienna Staatsoper. Ozawa caused controversy from 1996–1997 with sudden demands for change at the Tanglewood Music Center, which caused Gilbert Kalish and Leon Fleisher to resign in protest.[6] Towards the end of Ozawa's tenure, he received strong criticism from the American critic and composer Greg Sandow, which led to controversy in the Boston press.[7] Other critical commentary on Ozawa's tenure in Boston has been aired.[8]
Ozawa has also been an advocate of 20th century classical music, giving the premieres of a number of works including György Ligeti's San Francisco Polyphony in 1975 and Olivier Messiaen's opera Saint François d'Assise in 1983. He is noted to have somewhat of a photographic memory, as he is able to memorize the scores of large works such as the Mahler Symphonies.
In 2001, Ozawa was recognized by the Japanese government as a Person of Cultural Merit.[9]
Since 2002, he has been music director of the Vienna State Opera. Ozawa continues to play a key role as a teacher and administrator at the Tanglewood Music Center, the Boston Symphony Orchestra’s summer music home that has programs for young professionals and high school students. In 2002, he continued to follow in Herbert von Karajan’s footsteps, as he became music director of the Vienna State Opera. On New Years Day 2002, Ozawa conducted an all-Strauss concert with the Vienna Philharmonic, programming the concert so it would have a nice flow and keep everyone’s interest as they ushered in the New Year.[10] In 2005, he conducted the Tokyo Opera Nomori’s debut of Richard Strauss’ Elektra. Ozawa has received a significant amount of criticism, especially from Boston music critic Greg Sandow, as he reports that some BSO members claim that Ozawa gives “no specific leadership in matters of tempo and rhythm”, providing no “expression of care about sound quality.” [7] Despite the criticism, Ozawa serves a musical role model: an Asian performer who has not only attained fame in the West, but has also devoted his life to fostering a global community within classical music.[2] On February 1, 2006, the Vienna State Opera announced that he had to cancel all his 2006 conducting engagements because of illness, including pneumonia and shingles. He returned to conducting in March 2007 at the Tokyo Opera Nomori.[11] Ozawa is scheduled to step down from his post at the Vienna State Opera in 2010, to be succeeded by Franz Welser-Möst.[12]
Ozawa became famous not only for his conducting mannerisms, but also his sartorial style: he wore the traditional formal dress with a white turtleneck rather than the usual starched shirt, waistcoat, and white tie.
In October 2008, Ozawa was honored with Japan's Order of Culture; and an awards ceremony for the Order of Culture will be held at the Imperial Palace.[13] He is a recipient of the 34th Suntory Music Award (2002) and the International Center in New York's Award of Excellence.
Seiji Ozawa holds honorary doctorate degrees from Harvard University, the New England Conservatory, the University of Massachusetts, and Wheaton College.
Awards and honors
- 1958: Toho School of Music: 1st Prize in conducting and composition
- 1959: International Competition of Orchestra Conductors, Besancon, France
- 1960: Koussevitzky Prize for Outstanding Student Conductor, Tanglewood
- 1976: Emmy for "Evening at Symphony"
- 1994: Emmy for "Dvorak in Prague"
- 1994: Inouye Award, Japan
- 1998: Chevalier de la Légion d'honneur, France
- 2001: Membership in the Academic des Beaux-Arts de l'Institut de France (Given by French President Jacques Chirac)
- 2002: Austrian Cross of Honor for Science and Art, First Class (Given by Austrian President Thomas Klestil)
- 2003: Mainichi Art Award and Suntory Music Prize
- 2004: Honorary Doctorate from the Sorbonne University of France
Recording Labels
- Sony BMG
- RCA Victor Red Seal
- Philips
- Deutsche Grammophon
- Universal Music Group
- EMI Classics
- RCA
- DG Galleria
- Teldec
Bibliography
- Seiji: An Intimate Portrait of Seiji Ozawa (Hardcover) by Lincoln Russell (Illustrator), Caroline Smedvig (Editor) ISBN 0-395-93943-7
References
- ^ "Seiji Ozawa". Naxos. http://www.naxos.com/conductorinfo/Seiji_Ozawa/32249.htm. Retrieved 17 August 2009.
- ^ a b c James, Jamie “Seiji Ozawa”. Time Magazine , 5 November 2006.
- ^ a b Green, Aaron “Conductor Seiji Ozawa”, 2007.
- ^ a b c “Seiji Ozawa: Conductor”
- ^ Nakasone, Yasuhiro (1999). The Making of the New Japan: Reclaiming the Political Mainstream. trans. Lesley Connors. Routledge. pp. 170–171. ISBN 0700712461. http://books.google.com/books?visbn=0700712461&id=JBEz5Ot9yXoC&pg=PA170&lpg=PA170&vq=%22nhk+symphony+orchestra%22&sig=4qbn6mPkQuAl1tasKrLfgFZCKbY.
- ^ Anthony Tommasini (31 March 2002). "A Last Bow, To Polite Applause". New York Times. http://query.nytimes.com/gst/fullpage.html?res=980DE2DB133BF932A05750C0A9649C8B63&sec=&spon=&pagewanted=all. Retrieved 2007-10-12.
- ^ a b Greg Sandow, "Conduct(or) unbecoming". Wall Street Journal, 15 December 1998.
- ^ Lloyd Schwartz, "So long, Seiji!" Boston Phoenix, 25 April-2 May 2002.
- ^ "Cultural Highlights; From the Japanese Press (August 1–October 31, 2001)," Japan Foundation Newsletter, Vol. XXIX, No. 2, p. 7.
- ^ Great Performers, “From Vienna: The New Year’s Celebration 2002”. ‘’PBS’’, 2001.
- ^ Matthew Westphal (21 March 2007). "Seiji Ozawa Returns to Podium After More Than a Year". Playbill Arts. http://www.playbillarts.com/news/article/6195.html. Retrieved 2007-10-12.
- ^ Matthew Westphal (6 June 2007). "Vienna State Opera Appoints Dominique Meyer Its Next Director, with Franz Welser-Möst as Music Director". Playbill Arts. http://www.playbillarts.com/news/article/6603.html. Retrieved 2007-10-12.
- ^ "Donald Keene, 7 others win Order of Culture," Yomiuri Shimbun. October 29, 2008; 平成20年度 文化功労者及び文化勲章受章者について 平成20年度 文化勲章受章者（五十音順）－文部科学省 Ministry of Education, Culture, Sports, Science and Technology (Japan) Retrieved October 28, 2008
External links
- Seiji Ozawa at Allmusic
- Sony Classical: Seiji Ozawa
- The Jack Robinson Archives, images of Ozawa
- Decca Classics, biography of Ozawa
- Seiji Ozawa Says Farewell, NPR, July 14, 2002
- International Music Academy – Switzerland
- Seiji Ozawa Hall at Tanglewood
- (English) Productions Internationales Albert Sarfati (France Management) : Seiji Ozawa
| Preceded by Claudio Abbado |
Music Director, Vienna State Opera 2002–present |
Succeeded by Incumbent |
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Mentioned in
- Concerto at Work (1985 Music Film)
- Seiji Ozawa: A Gershwin Night (Music Film)
- Listen with Your Eyes: Sampler and Catalogue 2005-2006 (Music Film)
- Rachmaninoff Goes to the Movies (1997 Album by Original Soundtrack)
- Leonard Bernstein: Reaching for the Note (1998 Music Film)
- Kazuhiro Koizumi
- Boston Symphony Orchestra (music)
- San Francisco Symphony Orchestra
- Saint François d'Assise (opera)
- Toshi Ichiyanagi (Classical Artist, '60s-2000s)
- Life Music (1978 Album by Toshi Ichiyanagi)
- Gala Concert: 50th Anniversary of the Reopening of the Vienna State Opera (2005 Film)
- Toshi Ichiyanagi (Classical Musician)
- Tianwa Yang (Classical Musician)
