By John Marchese
How does an easy piece of wooden develop into a violin, the king of tools? Watch and discover as Eugene Drucker, a member of the world–renowned Emerson String Quartet, commissions Sam Zygmuntowicz, a Brooklyn craftsman, to make him a brand new violin. As he tells this notable tale, journalist John Marchese stocks the wealthy lore of this loved device and illuminates an artwork that has slightly replaced because the Renaissance.Marchese takes readers from begin to end as Zygmuntowicz builds the violin, from the 1st collection of the wooden, to the slicing of the again and stomach, in the course of the carving of the scroll and the fingerboard, to the situation of the sound peg. even though a lot of the tale occurs within the craftsman's museum–like Brooklyn workshop, there are facet journeys around the river to the practice session rooms of Carnegie corridor and Lincoln middle, and internationally. Stops at the itinerary comprise Cremona, Italy, the mystical urban the place Antonio Stradivari (and some of his contemporaries) accomplished a degree of violin–making perfection that has persisted for hundreds of years, in addition to issues in France and Germany necessary to the background of the violin.A attractive paintings of narrative nonfiction that's additionally a finely crafted, loving homage to the software that almost all heavily approximates the human voice.
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Extra info for The Violin Maker: A Search for the Secrets of Craftsmanship, Sound, and Stradivari
9. Roland-Manuel’s (unfootnoted) Valéry citation may be found in context in Paul Valéry, “L’Âme et la danse,” in Œuvres, vol. 2, Bibliothèque de la Pléiade (Paris: Gallimard, 1960), 154. 10. Roland-Manuel, “Maurice Ravel,” 20. 11. Roland-Manuel, “Maurice Ravel ou l’esthétique de l’imposture,” 17. 12. , 18. 13. S. Eliot, “Tradition and Individual Talent,” in Selected Essays, new ed. (New York: Harcourt Brace, 1967), 6–7. 14. Roland-Manuel, “Maurice Ravel ou l’esthétique de l’imposture,” 19. 15.
Léon-Paul Fargue, Sous la lampe (Paris: Gallimard, 1937), 22. 62. , 22. 63. , 46. 64. For biographical roots of Fargue’s aesthetics see Warren Ramsey, “‘Words of Light’ and ‘Somber Leaves’: The Poetry of Léon-Paul Fargue,” Yale French Studies 9 (1952): 112–22. 65. Léon-Paul Fargue, “Artisans d’art,” in Lanterne magique (Marseilles: Robert Laffont, 1944), 128–36. 66. M. D. Calvocoressi, “When Ravel Composed to Order,” Music and Letters 22 (1941): 59. 67. Émile Vuillermoz, Histoire de la musique (Paris: Fayard, 1949), 355.
A diatonic circle of fifths driven by suspensions follows in the third measure, so conventional a baroque progression as to suggest deprecatory pastiche. The ensuing cadence, analogous to Chabrier’s, flattens the seventh to produce a modal sound. , mm. 13–14, 19–20). A long dominant pedal point prepares the return classically enough, but Ravel writes modern parallel chords above it. The return itself plays up the hint of the subdominant implied in the first theme with a manifestly overdone run of loud left-hand octaves that aim for B minor instead of the tonic F-sharp.