Just finished Stradivari's Genius by Toby Faber. The book begins with a short history of violin making in Cremona and a quick biography of Antonio Stradivari. Then the author follows five violins and a cello from their creation through the swirl of European politics and wars to their current resting place. It is an interesting look at the coevolution of violins and virtuoso violinists (also cellos and cellists, but to a lesser degree). Having studied the violin, I was fascinating to see how violin playing and the different schools of study evolved, and to see Kruetzer, Rode, Sevcik, etc. as people, not just study books. There was a genealogy of violinists that I had never seen before, all illuminated by how the different instruments passed through their hands. I also had no idea of the critical role of collectors and brokers throughout history.
The author did a good job of balancing the science and the mystique of these old instruments. He also pointed to the advances by modern luthiers and the excellence of modern violins. He leaves room for people to explore lost secret varnish formulas, special treatment of wood, impacts of the little ice age on forests etc., but his take is that Stradivari was a rare genius workaholic who kept experimenting and searching for the perfect violin. I like that. We don't ask about Bach's secret formula.
BTW, like the ukulele, the violin was initially seen as more of a folk or street instrument rather than an advance from the the fretted and bowed viols of the 16th century. It might be OK to lead a dance troupe, but was considered a bit brash or crude for ensemble playing. Eventually there was great demand for violins in the 17th century, yet It wasn't until virtuoso violinists of the late 18th and early 19th century gave public concerts in larger halls that the Stradivarius and Guanerius instruments were preferred rather than those by Stainer and Amati. And like the ukulele violin making has had its ups and downs: Violin making in Cremona declined to essentially zero by the end of the 18th century.
The author did a good job of balancing the science and the mystique of these old instruments. He also pointed to the advances by modern luthiers and the excellence of modern violins. He leaves room for people to explore lost secret varnish formulas, special treatment of wood, impacts of the little ice age on forests etc., but his take is that Stradivari was a rare genius workaholic who kept experimenting and searching for the perfect violin. I like that. We don't ask about Bach's secret formula.
BTW, like the ukulele, the violin was initially seen as more of a folk or street instrument rather than an advance from the the fretted and bowed viols of the 16th century. It might be OK to lead a dance troupe, but was considered a bit brash or crude for ensemble playing. Eventually there was great demand for violins in the 17th century, yet It wasn't until virtuoso violinists of the late 18th and early 19th century gave public concerts in larger halls that the Stradivarius and Guanerius instruments were preferred rather than those by Stainer and Amati. And like the ukulele violin making has had its ups and downs: Violin making in Cremona declined to essentially zero by the end of the 18th century.
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Should you see the book on the shelf at your local used bookshop or thriftmart, you could do a lot worse.
