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The Violin Maker: Finding a Centuries-Old Tradition in a Brooklyn Workshop, by John Marchese
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How does a simple piece of wood become a violin, the king of instruments? Watch and find out as Eugene Drucker, a member of the world–renowned Emerson String Quartet, commissions Sam Zygmuntowicz, a Brooklyn craftsman, to make him a new violin. As he tells this extraordinary story, journalist John Marchese shares the rich lore of this beloved instrument and illuminates an art that has barely changed since the Renaissance.
Marchese takes readers from start to finish as Zygmuntowicz builds the violin, from the first selection of the wood, to the cutting of the back and belly, through the carving of the scroll and the fingerboard, to the placement of the sound peg. Though much of the story takes place in the craftsman's museum–like Brooklyn workshop, there are side trips across the river to the rehearsal rooms of Carnegie Hall and Lincoln center, and across the world. Stops on the itinerary include Cremona, Italy, the magical city where Antonio Stradivari (and a few of his contemporaries) achieved a level of violin–making perfection that has endured for centuries, as well as points in France and Germany integral to the history of the violin.
A stunning work of narrative nonfiction that's also a finely crafted, loving homage to the instrument that most closely approximates the human voice.
- Sales Rank: #308597 in Books
- Published on: 2007-03-27
- Released on: 2007-03-27
- Format: Deckle Edge
- Original language: English
- Number of items: 1
- Dimensions: 9.50" h x 5.50" w x 1.00" l, .88 pounds
- Binding: Hardcover
- 240 pages
From Publishers Weekly
Celebrated Brooklyn violin-maker Sam Zygmuntowicz recently accepted a challenging commission from violinist Eugene Drucker of the Emerson String Quartet: to make a new violin that would equal Drucker's beloved Stradivarius. Marchese (Renovations: A Father and Son Rebuild a House) documents their collaboration. He follows Zygmuntowicz through the exacting, scrape-by-scrape process of trying to transform a block of wood into an exquisitely wrought vibrating box that somehow captures the inexpressible sonic essence the finicky Drucker longs to hear. Along the way, Marchese goes on a pilgrimage to Stradivarius's hometown of Cremona and delves into the secrets behind the maestro's incomparable sound. Was it the wood? The varnish? The nap-time transmigration of his spirit into the violin under construction? Zygmuntowicz's example, Marchese finds, suggests a more prosaic, if no less marvelous, possibility—that the genius of craftsmanship resides not in magic ingredients or arcane techniques, but simply in taking infinite, exhausting pains with the work, in "caring more and more about less and less." He also broaches a more inflammatory corollary: that modern violins actually sound just as good as Strads. The result is a beguiling journalistic meditation on the links—and tensions—between art, craft and connoisseurship. (Apr.)
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.
From Booklist
In exploring the relationships to one another of Antonio Stradivari of Cremona, Sam Zygmuntowicz of Brooklyn, Eugene Drucker of Manhattan, and a violin made of spruce and maple, Marchese corrals the acoustics and technology of violin building, the love of violin making, and the history of seventeenth-century Italian violins into one book. Emerson Quartet violinist Drucker plays a 1686 Stradivari that is temperamental, especially when traveling. Polish immigrant Zygmuntowicz, whom Marchese met at a luthiers' workshop, is one of the foremost luthiers making violins. Knowing both enabled Marchese to trace the construction of the violin from the beginning to its premier use. Marchese also relates Drucker's need for a more reliable and powerful instrument, the origins and history of violin making, and Zygmuntowicz's careful attention to every detail of his craft--all in a free-flowing style based on interviews and personal observation. LikeThad Carhart's The Piano Shop on the Left Bank (2001), this exploration of the lore of musical instrument manufacture is easy, entertaining, and uniquely informative reading. Alan Hirsch
Copyright © American Library Association. All rights reserved
Review
“An impassioned account...shows what magic is secretly being practiced behind many nondescript doors.” (New York Times)
“Marchese is engaging and funny and he uses his substantial skill to tell a story worthy of his subjects.” (Newsweek)
“A deeply descriptiveand appreciative look at a slow, exacting craft. Marchese is a skilled writer.” (USA Today)
“Strikes a high note, with rich overtones on the themes of art, creation, and the power of music. (Entertainment Weekly)
“A beguiling journalistic meditation on the links—and tensions—between art, craft and connoisseurship.” (Publishers Weekly)
“You don’t have to be a fiddler to enjoy this small gem of a book. A fine, informative read.” (Santa Fe New Mexican)
“Well researched...an appreciation for the ability and dedication of a man working with his hands.” (Hartford Courant)
“An edifying adventure from hewn log to work of art. On pitch reporting documents an inspiring craft.” (Kirkus Reviews)
“Honest, witty and dramatic. A thoroughly gripping read.” (The Strad)
“Informative. Insights (into) why classical music’s most analyzed instrument retains so many mysteries. (San Diego Union-Tribune)
“Entertaining...(Marchese) shows a talent for engaging turns of phrase, and his accessible style and dry humor commingle well.” (Library Journal)
“Like The Piano Shop on the Left Bank, THE VIOLIN MAKER is easy, entertaining, and uniquely informative reading. (Booklist)
“A magical, profound and elegant look at the continued need for high quality in our throw away society.” (Douglas Brinkley, Professor of History at Tulane University and author of THE GREAT DELUGE)
“Engaging…[In] the tradition of John McPhee and Tracy Kidder, John Marchese wittily deconstructs the capacious lore of violin-making.” (Ben Yagoda, author of About Town: The New Yorker and the World It Made and When You Catch an Adjective, Kill It: The Parts of Speech, for Better and/or Worse)
Most helpful customer reviews
17 of 17 people found the following review helpful.
Great insight into the mind and craft of a luthier
By Pitchfixer
Sam Zygmontowicz is one of the great contemporary violinmakers, and John Marchese has more than done him justice in describing the process of his making a violin (for the Emerson String Quartet's first violinist, Gene Drucker). In the process, Marchese takes us not only into Zyg's studio, but also to Cremona, the birthplace of the violin in its modern form (in the 1560s) and the home of the three greatest families of violinmakers--Amati, Stradivari, and Guarneri. In addition, Marchese reports on his meetings with Drucker, who commissioned the violin, and on Drucker's reaction to his new instrument--which complements the Strad on which he had been playing but cannot, in his opinion, fully replace it.
6 of 6 people found the following review helpful.
So this is how a Violin Maker works!
By boatman
I am happy to reccomend this fine book which answers many questions about the art and craft of string instrument making. The violin in question is for Eugene Drucker and we learn of his his needs as a great violinist.He compares it to his old Italian Masterpiece. Why does he wants this instrument? We see the needs of each of the parties involved. I also have applauded Mr. Drucker's first novel - "The Savior" in another Amazon review.My only other comment is that this same book is published in paperback under a slightly different title- The Violin Maker: A Search for the Secrets of Craftsmanship, Sound, and Stradivari (P.S.) by John Marchese - I almost bought it to read more. (Enjoy either edition.)
4 of 4 people found the following review helpful.
Great insight on any "craft"
By Scott Swift
Very well written- get's the heart of what it takes to be one of the best at your craft. I especially like the fact Sam (like all artists and craftsmen) needs to be inspired to "create." It's nice to know those special people are not much different than you and I. We all have self-doubts, we all need to be reassured...yet well need to press forth and create.
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