What do you think?
Rate this book
Stradivari's Genius: Five Violins, One Cello, and Three Centuries of Enduring Perfection
Antonio Stradivari (1644—1737) was a perfectionist whose single-minded pursuit of excellence changed the world of music. In the course of his long career in the northern Italian city of Cremona, he created more than a thousand stringed instruments; approximately six hundred survive, their quality unequalled by any subsequent violin-maker. In this fascinating book, Toby Faber traces the rich, multilayered stories of six of these peerless creations–five violins and a cello–and the one towering artist who brought them into being. Blending history, biography, meticulous detective work, and an abiding passion for music, Faber takes us from the salons of Vienna to the concert halls of New York, and from the breakthroughs of Beethoven’s last quartets to the first phonographic recordings. This magnificent narrative invites us to share the life, the intrigue, and the incomparable beauty of the world’s most marvelous stringed instruments.
288 pages, Paperback
First published January 1, 2004
58 people are currently reading
998 people want to read
Ratings & Reviews
Friends & Following
Create a free account to discover what your friends think of this book!
Community Reviews
Displaying 1 - 30 of 65 reviews
June 13, 2012
Pearl Ruled:: STRADIVARI'S GENIUS by TOBY FABER (p59)
I just don't care. Stradivarius is dead on p59, buried next to his wife and across the street from their house, and I simply do not care.
I'm interested in the eighteenth century, and I like microhistory, and all things Italian make me smile. What is it about this book that fails to ignite my very congruent interest? I wish I knew. The writing's okay, not world-beating but not leaden or inept. The idea of tracing famous instrument-maker Stradivarius's creations through time and space is appealing, too.
But this book could not grab me and did not entice me. I might pick it up again one day, but I don't know what would make me do so. *shrug*
I just don't care. Stradivarius is dead on p59, buried next to his wife and across the street from their house, and I simply do not care.
I'm interested in the eighteenth century, and I like microhistory, and all things Italian make me smile. What is it about this book that fails to ignite my very congruent interest? I wish I knew. The writing's okay, not world-beating but not leaden or inept. The idea of tracing famous instrument-maker Stradivarius's creations through time and space is appealing, too.
But this book could not grab me and did not entice me. I might pick it up again one day, but I don't know what would make me do so. *shrug*
September 2, 2017
This book/thesis could be compared in a way to a violin, and the author, to a violin player. Faber, as an experienced violinist, identified the right moment to put tension on the violin strings, enough as to grasp the audience into the narrative. The author's topics of choice, and their specific longevity, are managed in a masterly fashion, making the reader enjoy the book just as one would with a movement divided symphony.
At the beginning I could have thought that this would be an over-the-top praise to Stradivari instead of an accurate statement of facts; such was my delight to find that the book is perfectly balanced and gives Stradivari just the right amount of applause.
More than just Stradivari, this book will take the reader to the world of string music from the XVIII century to the date. Following a simple but perfectly structured narration line,the author provides an immeasurable amount of interesting facts that proves the quality of the research and the merit of the prose.
At the beginning I could have thought that this would be an over-the-top praise to Stradivari instead of an accurate statement of facts; such was my delight to find that the book is perfectly balanced and gives Stradivari just the right amount of applause.
More than just Stradivari, this book will take the reader to the world of string music from the XVIII century to the date. Following a simple but perfectly structured narration line,the author provides an immeasurable amount of interesting facts that proves the quality of the research and the merit of the prose.
June 30, 2013
Stradivarius violins are reknown for their beauty and powerful voices. This book traces Antonio Stradivari's life, that of his children, and more importantly, the journeys made by 5 violins and 1 cello made by him. The Lipinski, the Viotti, the Messiah (which almost never was played), the Paganini and the Khevenhuller are the violins and their owners are followed and described in this book, and the Davidov, the cello currently owned and played on by YoYo Ma.
Having worked from violin designs from Nicolo Amati, another famous Cremona luthier, research provides descriptions of the adjustments that Stradivari made in the structure of his violins over time, perfecting the sounds can be coaxed from the more than 1000 instruments that were made in his workshop.
The secrets that Stradivari took to his grave continue to confound makers of violins, cellos and violas today. Despite all that technology allows today, there are no instruments that produce the beautiful depth of sound as beautifully as a Stradivari.
Having worked from violin designs from Nicolo Amati, another famous Cremona luthier, research provides descriptions of the adjustments that Stradivari made in the structure of his violins over time, perfecting the sounds can be coaxed from the more than 1000 instruments that were made in his workshop.
The secrets that Stradivari took to his grave continue to confound makers of violins, cellos and violas today. Despite all that technology allows today, there are no instruments that produce the beautiful depth of sound as beautifully as a Stradivari.
March 28, 2022
A brief biography of Stradivari and an accompanying microhistory of five of his violins and one of his cellos.
I generally love microhistories and this one sounded so fascinating. But sadly, it's...not. Instead, it's pretty dry, actually, which is disappointing.
I generally love microhistories and this one sounded so fascinating. But sadly, it's...not. Instead, it's pretty dry, actually, which is disappointing.
June 13, 2021
I stumbled upon this book while I was browsing through the Libby app, looking for some books to grab from the library. I’m not sure how the recommendation came up but it was all in a sequence of books of genius.
I have never really thought about looking into deeper things about Stradivari or violins, or classical music. But the description and such, my own.
This is an interesting Lee balanced book. Giving fairly in-depth, but not too scholarly a look at six of the instruments attributed to Stradivari, for violins one cello and a viola.
Overall, I think the first part of the book – especially the history and feeling into the early days in life of Stradivari, was the most interesting part of the book to me. Following along the history of these instruments to the modern day was less informative and much more a commentary on how we value violins and the mistake of Stradivarius. Clearly this was fairly well researched, and was definitely interesting and if you would like to find out more about why hundreds of years later people still are amazed by the genius of Stradivari, this would be a good intro- and bibliography to lead you to other sources for more in depth investigation, if you’re so inclined.
I have never really thought about looking into deeper things about Stradivari or violins, or classical music. But the description and such, my own.
This is an interesting Lee balanced book. Giving fairly in-depth, but not too scholarly a look at six of the instruments attributed to Stradivari, for violins one cello and a viola.
Overall, I think the first part of the book – especially the history and feeling into the early days in life of Stradivari, was the most interesting part of the book to me. Following along the history of these instruments to the modern day was less informative and much more a commentary on how we value violins and the mistake of Stradivarius. Clearly this was fairly well researched, and was definitely interesting and if you would like to find out more about why hundreds of years later people still are amazed by the genius of Stradivari, this would be a good intro- and bibliography to lead you to other sources for more in depth investigation, if you’re so inclined.
January 11, 2015
First, this review is from the perspective of a lay person. I'm not a musician and while I prefer the strings over any other music family, my primary exposure is through soundtracks and YouTube (Lindsey Stirling anyone?).
I started reading this book back when it was published in 2005, found it very dry, set it on a shelf somewhere, and picked it up now 10 years later in an effort to complete a New Year's resolution to get through my old reading list.
While I found it much more readable now than I did then, it was still a bit of a slog getting through it. There are too many gaps from a lack of historical records, too much informed speculation, too many varying and contradictory accounts, in short too little history for me to feel like I really learned anything by the time I finished the book. The lack of historical facts and prevalence of incorrect anecdotes and "popular" lore is not the author's fault. He repeatedly pointed out the inconsistencies and I believe included the self-proclaimed contradictory accounts as an example of why there are so many examples of "fake" Strads and faulty provenances. However, it did make me question why the book was published to begin with.
Ultimately, I think the book was published for a violin and cello enthusiast and not for a lay person. I'd recommend mild enthusiasts and history dabblers give it a past.
I started reading this book back when it was published in 2005, found it very dry, set it on a shelf somewhere, and picked it up now 10 years later in an effort to complete a New Year's resolution to get through my old reading list.
While I found it much more readable now than I did then, it was still a bit of a slog getting through it. There are too many gaps from a lack of historical records, too much informed speculation, too many varying and contradictory accounts, in short too little history for me to feel like I really learned anything by the time I finished the book. The lack of historical facts and prevalence of incorrect anecdotes and "popular" lore is not the author's fault. He repeatedly pointed out the inconsistencies and I believe included the self-proclaimed contradictory accounts as an example of why there are so many examples of "fake" Strads and faulty provenances. However, it did make me question why the book was published to begin with.
Ultimately, I think the book was published for a violin and cello enthusiast and not for a lay person. I'd recommend mild enthusiasts and history dabblers give it a past.
May 5, 2008
To those who love strings music or play a string instrument, this book will be fascinating! Well-researched, anecdotal, historically rich. The author explores most of the recent theories about Stradivari's mysterious and legendary superiority as a luthier and details the creation, ownership and colorful characters associated with Stradivari's most famous instruments. Did you know that Yo-Yo Ma now owns the beloved Davidov cello?
After reading the book, I found out why the Messiah violin is so named. This violin is like the Messiah of the Jews, "because one always waits for him but he never appears." Bequeathed to the Ashmolean Museum in Oxford, England, it can never be played (a condition in the will of the former owner). It remains unplayed and is almost in its original state as when it was made in 1716. Because of this, it one of the most valuable of all the Stradivari instruments.
I gave it 4 out of 5 stars because it will only appeal to those who love both music and history.
After reading the book, I found out why the Messiah violin is so named. This violin is like the Messiah of the Jews, "because one always waits for him but he never appears." Bequeathed to the Ashmolean Museum in Oxford, England, it can never be played (a condition in the will of the former owner). It remains unplayed and is almost in its original state as when it was made in 1716. Because of this, it one of the most valuable of all the Stradivari instruments.
I gave it 4 out of 5 stars because it will only appeal to those who love both music and history.
July 18, 2021
This is just a beautiful book. My love for classical music helped me to choose and enjoy this book. I heard on the radio this man telling how his Stradivari's violin was stolen from his arms. The police were a bit slow in questing him. His frustrating led him to call the chief of police - knowing he was a huge fan of music. In no time there were over 7 cars there.... even one from the homicide division! Fortunately the violin was found. I thought it would be interesting to hear other such stories. Unfortunately, the stories in the book were not quite as exciting and happened awhile back. I loved the one about the girl that left her Strad on the bed of her hotel room. Thinking that she would not leave it behind led the KGB to not think she would be escaping. But she was...
Tony Faber also gives you information on Stradivari's life, family, and masterful work. Despite the fact that others tried, nothing was quite the same. This one I will read again. I know there was a lot I missed.
This gets 4 stars from me.
Tony Faber also gives you information on Stradivari's life, family, and masterful work. Despite the fact that others tried, nothing was quite the same. This one I will read again. I know there was a lot I missed.
This gets 4 stars from me.
This entire review has been hidden because of spoilers.
May 26, 2008
I picked up this book after seeing in on a friend's Goodreads list. It sounded really interesting and I was right.
Tony Faber examines the artistry of Antonio Stradivari as told by the stories of his own instruments, as they were made, as they traded hands and as they were played. Faber's narrative is quick moving and fun to read, as if he were inviting the reader along on the very journey he made in researching his subject rather than simply reporting back.
A good read (indeed) for anyone interested in history, music or the business of the arts.
Tony Faber examines the artistry of Antonio Stradivari as told by the stories of his own instruments, as they were made, as they traded hands and as they were played. Faber's narrative is quick moving and fun to read, as if he were inviting the reader along on the very journey he made in researching his subject rather than simply reporting back.
A good read (indeed) for anyone interested in history, music or the business of the arts.
June 7, 2009
I really enjoy Faber's story telling prose style. Knowing nothing about classical music in general or violin making in particular this work about Stradivari and his instruments was most enlightening and seemed to be aimed at people like me. For the more knowledgeable it would probably be pitched too simplistically.
Tells the story through 6 instruments and their history. THis is the bulk of the narrative, the life of the master himself given enough coverage but not the most important part of the book - I like the approach
Tells the story through 6 instruments and their history. THis is the bulk of the narrative, the life of the master himself given enough coverage but not the most important part of the book - I like the approach
September 25, 2011
I picked this book up on a whim. I am glad I did. For his first novel, the author does well to engage the reader in an historical journey that not only informs, but entertains. I learned so much about the chronology of the violin, and the fascinating characters in the history of music. This is a book for anyone who loves music, especially the violin.
October 6, 2009
I was surprised how interested I became in the subject. Faber ably talks the reader through instrument manufacture, what made Stravarius such a genius, and how the music world responded to his creations.
December 24, 2024
This is a fun little book to give you an introduction into the obsessive world of violins. Of course it immediately sets off the part of my brain that knows that your high-priced sommeliers and whiskey or vodka experts are all frauds. Every blind taste test has demonstrated they're no more capable of discerning $5 vodka from $250 vodka, or a $10 bottle of wine from a $1000 vintage. It's all about marketing. I'd love to see some exploration of that theme here; if you could somehow do a double-blind test in which neither the performer nor the audience knew which instrument was which, would the Stradivarious (or as I've learned in this book other 18th century instrument from Cremona) still come out on top? Doubtful.
Regardless, the world we live in is one in which people will pay way more than top dollar to own a Strad. I was once a trumpet player, and the top line trumpet you could get was called a Stadivarius. I still own one somewhere in a closet. It's got a certain cachet, that Strad brand.
There's also some interesting depth on how violins were made then, though not so much on how they're made now. We never really get to REASONS that old violins are so well regarded, but it's just accepted fact that they are. Again, it's a matter of taste and opinion - not one of fact. A little bit of biography of Antonio Stradivari is in here too, but there's not a lot of documentary evidence, so doing much more would be pretty much impossible.
I guess the only criticism I'd level at the book and not the broader stupid obsessed world of old Italian violins is that I didn't feel like the artifice of "following" a few instruments was really necessary or even really came through clearly. I guess we did follow some particular instruments through time, but how else could you tell the story of how these instruments were created, used, sold, bought, etc. Still, I obviously enjoyed the book as I knocked it out in only two days. Worth the small effort if you're even sort of interested in this aspect of history. I know I was more impressed with the little display cabinet of Strads at the Galleria dell'Accademia than I was by Michaelangelo's David. (His hands are way out of proportion to the rest of his body. It's not clear that anyone who thinks this is a great example of a human has ever seen a human. Maybe I obsess too much on the obvious flaw. Or if David had gone the way of Venus de Milo we'd never know.)
Anyways, enough said - I found this to be a nice level of detail to get a feel for the subculture without spending a week slogging through 400 pages of discussions on every performer and every concert hall of Western Europe over the last 350 years.
Regardless, the world we live in is one in which people will pay way more than top dollar to own a Strad. I was once a trumpet player, and the top line trumpet you could get was called a Stadivarius. I still own one somewhere in a closet. It's got a certain cachet, that Strad brand.
There's also some interesting depth on how violins were made then, though not so much on how they're made now. We never really get to REASONS that old violins are so well regarded, but it's just accepted fact that they are. Again, it's a matter of taste and opinion - not one of fact. A little bit of biography of Antonio Stradivari is in here too, but there's not a lot of documentary evidence, so doing much more would be pretty much impossible.
I guess the only criticism I'd level at the book and not the broader stupid obsessed world of old Italian violins is that I didn't feel like the artifice of "following" a few instruments was really necessary or even really came through clearly. I guess we did follow some particular instruments through time, but how else could you tell the story of how these instruments were created, used, sold, bought, etc. Still, I obviously enjoyed the book as I knocked it out in only two days. Worth the small effort if you're even sort of interested in this aspect of history. I know I was more impressed with the little display cabinet of Strads at the Galleria dell'Accademia than I was by Michaelangelo's David. (His hands are way out of proportion to the rest of his body. It's not clear that anyone who thinks this is a great example of a human has ever seen a human. Maybe I obsess too much on the obvious flaw. Or if David had gone the way of Venus de Milo we'd never know.)
Anyways, enough said - I found this to be a nice level of detail to get a feel for the subculture without spending a week slogging through 400 pages of discussions on every performer and every concert hall of Western Europe over the last 350 years.
April 4, 2024
This book describes the continued fascination with the craftsmanship and instruments of Cremona's most famous luthier. Any serious violinist will find plenty to learn and admire here.
The book's best message, though, is that there is no secret to why Stradavare was so successful. He excelled because he was passionate about building instruments, and he was always s"arching for ways to make better ones. The luthiers of today can strive to copy Stradavare faithfully, or follow his example of experimentation.
I will never own a Stradavare. My instruments were built by American and Hungarian makers who started out doing other things (cutting hair and taking photographs, respectively). The instruments are unique in tone and temperament, and I will spend the rest of my life with them developing intimate connections with them. There is the technicality of instrument building and playing, and then there is the art or spirit of those pursuits, for which we have no adequate words.
The book's best message, though, is that there is no secret to why Stradavare was so successful. He excelled because he was passionate about building instruments, and he was always s"arching for ways to make better ones. The luthiers of today can strive to copy Stradavare faithfully, or follow his example of experimentation.
I will never own a Stradavare. My instruments were built by American and Hungarian makers who started out doing other things (cutting hair and taking photographs, respectively). The instruments are unique in tone and temperament, and I will spend the rest of my life with them developing intimate connections with them. There is the technicality of instrument building and playing, and then there is the art or spirit of those pursuits, for which we have no adequate words.
September 16, 2025
'ANTONIO STRADIVARI MADE more than 1.000 violins during his long working life in Cremona, and around 600 are known to survive today. Each of them (especially those from his 'golden period' early in the eighteenth century) has a near-magical reputation. There have been other great makers of violins, but the 'Strad' is supreme. Stradivari, said Paganini, 'used only wood from trees on which nightingales sang'. That flight of fancy typifies the reverence which these instruments still inspire, and that reverence pervades Toby Faber's knowledgeable study of the Strads, sharpened by scholarship and a keen eye for an anecdote. It is not a book for anyone deaf to the appeal of the violin. More fortunate readers will find in it much to enjoy.'
The above is from a review in The Literary Review but being behind a paywall there is no point providing a link. I think is says everything beautifully about this fascinating book.
The above is from a review in The Literary Review but being behind a paywall there is no point providing a link. I think is says everything beautifully about this fascinating book.
May 19, 2017
I don't think I would have picked out this book for myself. I was given a copy as a gift-wrapped surprise when I bought several other books at the local independent bookstore, Zandbroz Variety in Fargo. When I opened the wrapping, I found an advanced copy of this book but it was missing the illustrations. I saw one of our local college libraries had a copy of the book, so I checked it out from there. I am not a musician, nor have I played or listened to much violin music, and am not that fascinated by their prices. Still, I hoped that the author might spark my interest in the topic. I found his section on the violin maker, Stradivari, somewhat interesting, but then got bored as he described these five violins, their owners and who played them over time, and their costs. I really hoped that he could make me excited about this new topic for me, but he didn't.
December 22, 2023
I will be the first person to say that I don't know anything about violins except that the name of Stradivari is associated with the best violins of all time. Thus I was fascinated with Toby Faber's book on the history of the violin, the life of Stradivari and five of his violins. I was amazed at the skill that Stradivari put into making his violin and how he experimented with different sizes and woods and more over his long life. Additionally, it was interesting to learn how certain famous violins got their names. Some of the maestros that played the violin over the past few centuries had incredibly interesting lives. This book swept me up into a world that I knew little about and I honestly couldn't put it down. I don't think that I will attend a concert and listen to the music in the same way again. If you enjoy music, then you might want to explore this book and have your eyes opened to the incredible skill involved in making - and playing - violins.
August 2, 2017
It was interesting at times and very dry at other times. If you play a violin, viola or cello, you will probably like it more than if you don't. If you are a historian, you will probably like it more than if you aren't. It's not the best thing I have ever written, but I enjoyed it. It ended on a kind of downer note, that Strads are possibly wearing out and may eventually all get "used up," so we need a new Master maker somewhere in the world. Bummer! Anyway, string players and European/Italian historians will like it and it will give them a jumping point to discovering more about the topics discussed in the book.
February 11, 2022
A curious book about the culture of violin making, dealing, collecting over 400 years. Faber says at the end that he doesn’t know how to play one or recognize repertoire! Fancy writing a history like this without that experience/knowledge/desire! In the end Stradivari is not so much a genius as an entrepreneur, and the book’s fascination is with exchange and value - in Europe and eventually the US. No mention of outside that region despite their massive violin economies. Very British approach. But lots to read about and chew over.
May 11, 2017
I love the violin and cello and was always interested in what separated the good from the great ones. This book tracked 5 violins and 1 cello all from one creator. He gives and interesting biography of Stradivari, and of how much of a craftsman he truly is. As I read I began to hear the different tones of each of the instruments.
July 10, 2017
Overall, I enjoyed the history that the book gave of violin making, but I thought the writing was a bit poor. It was incredibly dense in some places, and incredibly heterosexual in others. I definitely could have gone without the line "their eyes met over the music stand." Also, I'm not entirely sure why this guy wanted to write this book when he gave up violin in middle school... lol....
November 7, 2017
I’m always down for a book about the crazy history of music. This one hits the mark. It comes with all the drama and ridiculous stories one would expect from luthiers, violinists, and collectors over the many years of the violin’s history. A great read that will make you both laugh and wonder at the genius of Stradivari.
March 6, 2019
Interesting, accessible, nicely written, thought-provoking. Probably of no particular interest to the well-informed violin enthusiast, but for the general music-loving reader it's a good introduction to the history of the violin. Why is the name 'Stradivarius' so resonant? The final speculation on the future for violins, and Strads in particular, is thought-provoking. Enjoyable and recommendable.
July 17, 2019
The book is an attempt to answer the question: Why are Stradivari's creations near perfection? Why, using the same methods and materials today, can we not re-produce a Stradivari violin or cello? The book contains no easy answers, but instead offers a fascinating look into the man and his times and his craftsmanship. If you love classical music, I highly recommend this book.
May 18, 2018
Stradivari’s Genius follows 5 Strads through history. This nonfiction work tells about the history of Cremona’s luthiers and famous violins and cellos that have survived. Recommended.
July 30, 2020
If you enjoy classical music and especially the strings, this is a great intro. Not too technical.
August 30, 2020
Loved it, learned quite a bit, but at the same time it's not so deep and it's not a master writer. I'd give it 3 and a half stars if Goodreads had that option.
February 19, 2023
Thoroughly enjoyed this Stradivarius rabbit hole!
October 5, 2023
Offered an introductory backdrop of the "players" entwined with Stradivarius and his instruments.
June 5, 2009
Having recently acquired my Great Grandpa's violin, I found this book very interesting. We took Gramps' violin to a little violin shop in St. Louis where Mr. Bearden told us who made it, when, and where. Amazing. But before he definitively told us the maker, he first said, "It's either an Amati or a Stainer." Knowing nothing about violins, I shrugged and said, "Is that good?" After reading this book, I have to seriously question if he was just toying with me or if he really thought it could be from one of those famous makers. Now I know that there was a time where Amati and Stainer violins were thought to be superior to Stradivarius violins. These makers would date the violin to the 18th century Italy. In the end, I learned that Gramps' violin is early 20th century, made in Germany. Still worth enough to insure, but definitely not the sought after Amati or Stainer, let alone a Stradivarius.
Back to the book. If I were to take a college course on Antonio Stradivari, this would be the textbook. Seriously. It reads like a textbook, filled with names, dates, and places. The author follows 5 violins and a cello, all made by Stradivari, from their creation, to the present time where possible. Very interesting and filled with facts, but, like a textbook, slow reading. I'm glad I finished and I learned a lot, however, I am very grateful there will be no final exam.
At the beginning of the book was this quote: "I have a violin that was born in 1713. It was alive long before me, and I hope it lives long after me. I don't consider it as my violin. Rather, I am perhaps its violinist; I am passing through its life." --Ivry Gitlis, The Art of Violin, 2000
Love that!
Back to the book. If I were to take a college course on Antonio Stradivari, this would be the textbook. Seriously. It reads like a textbook, filled with names, dates, and places. The author follows 5 violins and a cello, all made by Stradivari, from their creation, to the present time where possible. Very interesting and filled with facts, but, like a textbook, slow reading. I'm glad I finished and I learned a lot, however, I am very grateful there will be no final exam.
At the beginning of the book was this quote: "I have a violin that was born in 1713. It was alive long before me, and I hope it lives long after me. I don't consider it as my violin. Rather, I am perhaps its violinist; I am passing through its life." --Ivry Gitlis, The Art of Violin, 2000
Love that!
Displaying 1 - 30 of 65 reviews