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Mara: Eine Erzählung
Das 1711 von Antonio Stradivari gebaute Instrument ist mehrmals um die Welt gereist. Es hat für Könige und Bürger gespielt, in Kathedralen und Schlössern. Virtuosen und Banker haben sich seiner angenommen und seinen Wert gesteigert. In der Nacht vom 10. auf den 11. Juli 1963 wäre es in Südamerika, im Mündungsgebiet des Rio de la Plata, fast ums Leben gekommen. Es hat dreihundert Jahre auf dem Buckel - und klingt wie am ersten Tag.
200 pages, Paperback
First published January 1, 2003
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Displaying 1 - 7 of 7 reviews
August 1, 2023
I kept it a (relative) secret for a while since I didn't know if it was gonna be all I wanted it to be (or if I'd just stop pretty soon again), but I started taking cello lessons this January.
The cello - or, more accurately, the violoncello - has always been my absolute favorite instrument for various reasons. And now I get to actually play one. I've even performed in front of an audience already. :)
When I was a kid, there were no rental instruments here and we couldn't afford one of my own so there were no music lessons. To this day, the elitist behavior and over-priced offers for music lessons irk me to no end as it makes music poorer (who knows what kid from a poor background would turn out to be an absolute Wunderkind that stuns the world into silence with their mastery of this or that instrument?)!
Anyway, I have always researched stuff I was interested in but only allowed myself a deep look at the cello, its history, how it was and is built etc. after I started taking lessons (otherwise, the craving could have gotten too bad to bear). Thus, I already knew about a number of things before I started this book.
Like the fact that Stradivari is one of THE luthiers, still a mystery and icon today. Moreover, I tried to keep track of at least a few notable cellos.
One revered such cello was built and sold for the first time in 1711. Yep, 312 years ago. The Mara. Named after the first owner, the one it was built for. It's one of the so-called "Golden Trio" as it is one of three cellos Stradivari built during the height of his career. This book kinda tries to tell its story - from the cello's own perspective. *lol*
We therefore get to accompany the cello through over three hundred years of political and cultural change, meet its owners and those who keep selling it, and learn of what happened to the cello during all this time. Sometimes vodka bottles get thrown, sometimes it's afraid of human jealousy - and one time it almost drowned. I think that is the one incident the Mara is best known for: almost being lost in the Rio de la Plata on its way to a concert in Buenos Aires.
Sadly, we didn't get (m)any references to historical events such as the world wars and where the cello was exactly then. Moreover, we also didn't learn anything about HOW the Mara was restored after the incident on that stupid river. I guess somethings couldn't be researched because the music scene (especially the classical one) always liked appearing mysterious and has been anxious not to give away too much for fear of being overtaken. *sighs*
What I did appreciate very much about this book, apart from the quirky perspective it was written in, was the meticulous research that must have gone into especially the earlier years of the cello's life.
Nevertheless, not only did the author sometimes (probably accidentally) switch to the perspective of a cellist without warning or necessity, he also seemed militantly insisting on appearing artistic or at the very least he wanted to show that German really is the language of the longest possible relative clauses. It made for an almost funny change in reading pace and overall reading experience, but it was often also convoluted. It's definitely not for everyone.
For those that have read the book and / or are wondering what happened after Schiff had to end his career: the Mara was being sold (and yes, of course through Hill again). A Taiwanese businessman wanted to buy it, almost bought it as he had done with Montagnana's "Sleeping Beauty", only to lock it away in some vault. Luckily, Schiff's former student heard of it and he and some colleagues made calls all night until they found a patron (German, I think, though names are never given in these circles) so it would stay in Europe. The same former student, Christian Poltéra, now plays the Mara.
Highly interesting (hi)story, quirky concept, not the perfect implementation. But definitely entertaining.
The cello - or, more accurately, the violoncello - has always been my absolute favorite instrument for various reasons. And now I get to actually play one. I've even performed in front of an audience already. :)
When I was a kid, there were no rental instruments here and we couldn't afford one of my own so there were no music lessons. To this day, the elitist behavior and over-priced offers for music lessons irk me to no end as it makes music poorer (who knows what kid from a poor background would turn out to be an absolute Wunderkind that stuns the world into silence with their mastery of this or that instrument?)!
Anyway, I have always researched stuff I was interested in but only allowed myself a deep look at the cello, its history, how it was and is built etc. after I started taking lessons (otherwise, the craving could have gotten too bad to bear). Thus, I already knew about a number of things before I started this book.
Like the fact that Stradivari is one of THE luthiers, still a mystery and icon today. Moreover, I tried to keep track of at least a few notable cellos.
One revered such cello was built and sold for the first time in 1711. Yep, 312 years ago. The Mara. Named after the first owner, the one it was built for. It's one of the so-called "Golden Trio" as it is one of three cellos Stradivari built during the height of his career. This book kinda tries to tell its story - from the cello's own perspective. *lol*
We therefore get to accompany the cello through over three hundred years of political and cultural change, meet its owners and those who keep selling it, and learn of what happened to the cello during all this time. Sometimes vodka bottles get thrown, sometimes it's afraid of human jealousy - and one time it almost drowned. I think that is the one incident the Mara is best known for: almost being lost in the Rio de la Plata on its way to a concert in Buenos Aires.
Sadly, we didn't get (m)any references to historical events such as the world wars and where the cello was exactly then. Moreover, we also didn't learn anything about HOW the Mara was restored after the incident on that stupid river. I guess somethings couldn't be researched because the music scene (especially the classical one) always liked appearing mysterious and has been anxious not to give away too much for fear of being overtaken. *sighs*
What I did appreciate very much about this book, apart from the quirky perspective it was written in, was the meticulous research that must have gone into especially the earlier years of the cello's life.
Nevertheless, not only did the author sometimes (probably accidentally) switch to the perspective of a cellist without warning or necessity, he also seemed militantly insisting on appearing artistic or at the very least he wanted to show that German really is the language of the longest possible relative clauses. It made for an almost funny change in reading pace and overall reading experience, but it was often also convoluted. It's definitely not for everyone.
For those that have read the book and / or are wondering what happened after Schiff had to end his career: the Mara was being sold (and yes, of course through Hill again). A Taiwanese businessman wanted to buy it, almost bought it as he had done with Montagnana's "Sleeping Beauty", only to lock it away in some vault. Luckily, Schiff's former student heard of it and he and some colleagues made calls all night until they found a patron (German, I think, though names are never given in these circles) so it would stay in Europe. The same former student, Christian Poltéra, now plays the Mara.
Highly interesting (hi)story, quirky concept, not the perfect implementation. But definitely entertaining.
November 20, 2024
3,5 *
Ungewöhnliche Perspektive, die ein oder andere witzige Anekdote über die Schrullen von Musikern, aber das war es (leider) auch.
Ungewöhnliche Perspektive, die ein oder andere witzige Anekdote über die Schrullen von Musikern, aber das war es (leider) auch.
March 24, 2016
L'autore mi ha attratto col tema: la vita di un violoncello Stradivari vista dai suoi "occhi" e raccontata con la sua "voce". Purtroppo le aspettative sono state deluse, dopo una prima parte di cronaca tutto sommato piacevole, scade in una ormai logora analisi della psiche dei musicisti.
Un'occasione persa per descrivere le meraviglie dell'esecuzione strumentale immedesimandosi in chi, o meglio cosa, le vive in prima battuta. (Pun intended (: )
Un'occasione persa per descrivere le meraviglie dell'esecuzione strumentale immedesimandosi in chi, o meglio cosa, le vive in prima battuta. (Pun intended (: )
November 19, 2022
Als Idee nett, in der Umsetzung etwa so geschwätzig, eitel und belanglos wie eine ca. 200 Jahre alte cat-lady mit violett gefärbtem Haar.
October 20, 2024
Als Idee nett, in der Umsetzung etwa so geschwätzig, eitel und belanglos wie eine ca. 200 Jahre alte cat-lady mit violett gefärbtem Haar.
November 13, 2013
In schöner Sprache erzählt das Stradivari Cello Mara seine Geschichte.
January 22, 2014
Recomendable sin duda. Uno de los mejores libros que he leído :)
Quien narra la historia es el propio Mara, un Stradivarius de 1711!! Hasta me hizo llorar... <3
Quien narra la historia es el propio Mara, un Stradivarius de 1711!! Hasta me hizo llorar... <3
Displaying 1 - 7 of 7 reviews