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La sonate de Bridgetower
N’en déplaise à l’ingrate postérité, la célèbre Sonate à Kreutzer n’a pas été composée pour le violoniste Rodolphe Kreutzer, qui d’ailleurs ne l’a jamais interprétée, mais pour un jeune musicien tombé dans l’oubli. Comment celui-ci est devenu l’ami auquel Beethoven a dédié l’un de ses morceaux les plus virtuoses, voilà l’histoire qui est ici racontée.
Au début de l’année 1789 débarquent à Paris le violoniste prodige George Bridgetower, neuf ans, et son père, un Noir de la Barbade qui se fait passer pour un prince d’Abyssinie. Arrivant d’Autriche, où George a suivi l’enseignement de Haydn, ils sont venus chercher l’or et la gloire que devrait leur assurer le talent du garçon…
De Paris à Londres, puis Vienne, ce récit d’apprentissage aussi vivant qu’érudit confronte aux bouleversements politiques et sociaux – notamment la mise en cause de l’esclavage aux colonies et l’évolution de la condition des Noirs en Europe – les transformations majeures que vit le monde des idées, de la musique et des sciences, pour éclairer les paradoxes et les accomplissements du Siècle des lumières.
Au début de l’année 1789 débarquent à Paris le violoniste prodige George Bridgetower, neuf ans, et son père, un Noir de la Barbade qui se fait passer pour un prince d’Abyssinie. Arrivant d’Autriche, où George a suivi l’enseignement de Haydn, ils sont venus chercher l’or et la gloire que devrait leur assurer le talent du garçon…
De Paris à Londres, puis Vienne, ce récit d’apprentissage aussi vivant qu’érudit confronte aux bouleversements politiques et sociaux – notamment la mise en cause de l’esclavage aux colonies et l’évolution de la condition des Noirs en Europe – les transformations majeures que vit le monde des idées, de la musique et des sciences, pour éclairer les paradoxes et les accomplissements du Siècle des lumières.
336 pages, Hardcover
Published January 1, 2017
9 people are currently reading
210 people want to read
About the author
Emmanuel Dongala
14 books60 followersEmmanuel Dongala born July 14, 1941 is a Congolese Chemist ,short story writer, novelist and playwright, schooled in Brazzaville , and studied in the United States where he earned a BA in Chemistry from Oberlin College and an MA from Rutgers University . He then left the United States for France , where he was awarded a PhD in Organic Chemistry. Upon his return to the Congo he worked as a teacher and dean until 1998, when he was forced to leave because of the civil war. Helped by his friend, the writer Philip Roth, Dongala now lives in the United States , where he teaches at Bard College and holds the Richard B. Fisher Chair in Natural Sciences.
Dongala, who writes in French and whose books have been translated into a dozen languages, has published four novels, a collection of short stories and a play. His collection of short stories, Jazz et Vin de Palme ( Jazz and Palm Wine) , published while the Congo was a Marxist-Leninist state, was banned because it satirised those in power. The ban was only lifted in 1990 after the collapse of the Soviet Union and subsequent collapse of the Congolese one-party state.
Dongala is the founder and former president of the National Association of Congolese Writers and the Congolese chapter of PEN. He also founded and led the theatre company, Le Théâtre de l'Eclair. His essays and articles have appeared in numerous major newspapers and magazines, including Le Monde, The New York Times, and Transition.
Dongala's novel Le Feu des Origines ( The Fires of Origins) , received the Grand Prix d'Afrique Noire and the Grand Prix de la Fondation de France. La Marseillaise described it as "a stunning novel…the art of Emmanuel Dongala is extreme…this novel, which plunges into the heart of reality, becomes legend." His novel, Johnny Mad Dog, was selected by the Los Angeles Times as one of its books of the year - a film adaptation was released in 2008. Questioned on his reasons for writing, Dongala answers “Why do people make love?”
A great African novel: inspired yet sober, wide-ranging yet written concisely, purely, without a superfluous word. . .a human history of an entire continent." - La Suisse on The Fire of Origins
In 1999 Emmanuel Dongala was awarded a Guggenheim Fellowship and in 2003, he was the winner of the prestigious Fonlon-Nichols Prize 2003 for literary excellence. His works have been translated into a dozen different languages.
Dongala, who writes in French and whose books have been translated into a dozen languages, has published four novels, a collection of short stories and a play. His collection of short stories, Jazz et Vin de Palme ( Jazz and Palm Wine) , published while the Congo was a Marxist-Leninist state, was banned because it satirised those in power. The ban was only lifted in 1990 after the collapse of the Soviet Union and subsequent collapse of the Congolese one-party state.
Dongala is the founder and former president of the National Association of Congolese Writers and the Congolese chapter of PEN. He also founded and led the theatre company, Le Théâtre de l'Eclair. His essays and articles have appeared in numerous major newspapers and magazines, including Le Monde, The New York Times, and Transition.
Dongala's novel Le Feu des Origines ( The Fires of Origins) , received the Grand Prix d'Afrique Noire and the Grand Prix de la Fondation de France. La Marseillaise described it as "a stunning novel…the art of Emmanuel Dongala is extreme…this novel, which plunges into the heart of reality, becomes legend." His novel, Johnny Mad Dog, was selected by the Los Angeles Times as one of its books of the year - a film adaptation was released in 2008. Questioned on his reasons for writing, Dongala answers “Why do people make love?”
A great African novel: inspired yet sober, wide-ranging yet written concisely, purely, without a superfluous word. . .a human history of an entire continent." - La Suisse on The Fire of Origins
In 1999 Emmanuel Dongala was awarded a Guggenheim Fellowship and in 2003, he was the winner of the prestigious Fonlon-Nichols Prize 2003 for literary excellence. His works have been translated into a dozen different languages.
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Displaying 1 - 21 of 21 reviews
February 13, 2017
MERCI.
1) MERCI Emmanuel Dongala d'avoir écrit cet incroyable ouvrage qui traite à la fois de l'histoire de la musique (évidemment ??), des mœurs et de l'Histoire de l'Europe, mais également des pensées révolutionnaires du Siècle des Lumières et des bouleversements politiques et sociaux du XVIIIè.
2) MERCI George Bridgetower d'avoir eu cette vie de violoniste virtuose que j'ai pris un incroyable plaisir à lire et qui m'impressionne au plus haut point.
3) MERCI à toutes ces femmes de la Révolution Française telles que Olympe de Gouges ou encore Théroigne de Méricourt qui ont défendu jusque sous la guillotine les droits des femmes et ont participé activement à l'abolition de l'esclavage (qui d'ailleurs fut signé pour la première fois en 1794, avant l'arrivée de Bonaparte au pouvoir) mais dont on n'entend pas parler juste parce que ce sont des femmes.
1) MERCI Emmanuel Dongala d'avoir écrit cet incroyable ouvrage qui traite à la fois de l'histoire de la musique (évidemment ??), des mœurs et de l'Histoire de l'Europe, mais également des pensées révolutionnaires du Siècle des Lumières et des bouleversements politiques et sociaux du XVIIIè.
2) MERCI George Bridgetower d'avoir eu cette vie de violoniste virtuose que j'ai pris un incroyable plaisir à lire et qui m'impressionne au plus haut point.
3) MERCI à toutes ces femmes de la Révolution Française telles que Olympe de Gouges ou encore Théroigne de Méricourt qui ont défendu jusque sous la guillotine les droits des femmes et ont participé activement à l'abolition de l'esclavage (qui d'ailleurs fut signé pour la première fois en 1794, avant l'arrivée de Bonaparte au pouvoir) mais dont on n'entend pas parler juste parce que ce sont des femmes.
This entire review has been hidden because of spoilers.
April 3, 2019
Soit je suis passée complètement à côté, soit je n’ai pas lu le même livre que les autres lecteurs.
J’aime bcp les romans historiques et là, je dois avouer être particulièrement déçue.
Pour commencer, le livre est « vendu » par l’éditeur comme là présentation de l’amitié entre Beethoven et le hero, justifiant le titre du livre et de la fameuse sonate. Beethoven n’apparaît que dans les 70 dernières pages du livre !
Mais s’il n’y avait que ça... je n’ai jamais vraiment réussi à m’attacher au hero, qui semble vraiment être un observateur extérieur de ce qui se passe, sans jamais être attachant. Tout ce qui relève de l’intime est tu, empêchant justement de se sentir proche de lui. D’où lui venait l’inspiration ? Comment appréhendait-il une partition? On n’en sait rien et c’est dommage car cela aurait permis de mettre du cœur dans ce récit à travers une époque bien riche en évènements.
J’aime bcp les romans historiques et là, je dois avouer être particulièrement déçue.
Pour commencer, le livre est « vendu » par l’éditeur comme là présentation de l’amitié entre Beethoven et le hero, justifiant le titre du livre et de la fameuse sonate. Beethoven n’apparaît que dans les 70 dernières pages du livre !
Mais s’il n’y avait que ça... je n’ai jamais vraiment réussi à m’attacher au hero, qui semble vraiment être un observateur extérieur de ce qui se passe, sans jamais être attachant. Tout ce qui relève de l’intime est tu, empêchant justement de se sentir proche de lui. D’où lui venait l’inspiration ? Comment appréhendait-il une partition? On n’en sait rien et c’est dommage car cela aurait permis de mettre du cœur dans ce récit à travers une époque bien riche en évènements.
February 5, 2017
La sonate à Bridgetower est un voyage à travers l'Europe, dans les pas du jeune George Bridgetower, prodige du violon, et de son père, un homme noir très ambitieux. Ce dernier est bien décidé à faire fortune grâce au talent de son fils, d'abord dans un Paris où gronde les prémices de la Révolution, puis à Londres et à Vienne. C'est aussi un voyage à travers l'Histoire, où l'on croise le chemin de grandes figures plus ou moins célèbres de la politique, de la science, de la lutte contre les droits de l'homme, de la femme et de l'esclave. Enfin, c'est un voyage en musique, qui donne envie d'écouter du violon tout au long du roman...
March 29, 2023
Un livre très bien écrit ! Il est vraiment intéressant tout en nous apprenant des choses si vous vous intéressez à la musique classique ou à l’histoire tout simplement c’est un must read !
March 17, 2017
À travers le portrait de George Augustus Polgreen Bridgetower, jeune violoniste métis, Emmanuel Dongala explore tout à la fois une époque, celle de la fin du XVIIIe siècle, nous entraîne vers les grandes révolutions – politiques et scientifiques – à venir et revient sur une page méconnue d’histoire de la musique. Autant dire que cette Sonate à Bridgetower est un roman d’une densité rare et d’une folle érudition tout en conservant les caractéristiques d’une belle aventure. Bref, c’est un vrai coup de cœur !
Avant d’en venir au récit proprement dit, saluons une autre performance de l’auteur qui s’est totalement investi dans son sujet. Après avoir appris incidemment en écoutant la radio que la célèbres Sonate à Kreutzer de Beethoven n’avait pas été écrite pour ce soliste mais pour un jeune mulâtre, l’écrivain congolais s’est mis à rechercher toutes les informations disponibles sur ce jeune homme mystérieux. Il a notamment déniché une partition annotée par Beethoven, dédicaçant son œuvre au «mulâtre Brischdauer». Il a ensuite décidé de mettre ses pas dans ceux de George «pour palper la réalité des choses». Mieux encore, il a pris des cours de musique classique afin de vraiment se mettre dans la peau de son personnage. Une expression qui prend ici tout son sens.
Le roman s’ouvre sur le premier concert parisien du jeune prodige. L’élite musicale et intellectuelle ne tarit pas d’éloges sur la dextérité de George. Du coup son père n’a plus guère de difficultés pour négocier des contrats et s’intégrer à cette aristocratie qui trouve fort exotique ces noirs, métisses, mulâtres, quarterons et autres octavons. Il faut dire que Frederick de Augustus Bridgetower s’arroge le titre de «Prince d’Abyssinie». En réalité, il est né à la Barbade d’un père affranchi. « La bienveillance du planteur lui avait permis d’apprendre non seulement à lire et à écrire en même temps que le fils de celui-ci, du même âge que lui, mais aussi d’assister aux leçons de français et d’allemand qu’il recevait. » Confié à un capitaine d’un cargo, il se retrouva à Londres où après de multiples péripéties, il réussit petit à petit à grimper les échelons de la société.
Alors même qu’il entrevoit la fin de ses soucis financiers, la grande Histoire va le rattraper. Nous sommes en 1789 et l’agitation devient de plus en plus palpable. Dans les cafés du Palais-Royal et dans les salons, les esprits s’échauffent. Camille Desmoulins croise Pierre de Beaumarchais, le général Lafayette fait découvrir Paris à Thomas Jefferson, on fredonne « il pleut, il pleut, bergère » de Fabre d’Églantine, on découvre Les liaisons dangereuses de Choderlos de Laclos ou Paul et Virginie de Bernardin de Saint-Pierre. L’ébauche d’une Déclaration des Droits de l’homme s’accompagne des revendications d’Olympe de Gouges et de Théroigne de Méricourt pour les femmes. L’abolition de l’esclavage enflamme les débats… et le peuple commence à empaler les têtes des aristocrates sur les piques.
Pour les Brigetower, il est temps de fuir, direction Londres.
Bien que connaissant la ville, Frederick est loin d’être introduit à la Cour, ni même dans les cercles de musique. Mais à force de persévérance et de rencontres plus ou moins fortuites, George deviendra le protégé du Prince de Galles. Une relation qui ne va pas plaire à son père jusque-là seul directeur des opérations et grand bénéficiaire du produit des concerts. Le conflit sous-jacent va finir par éclater et provoquer la colère royale. « Frederick de Augustus quitta Londres le 5 janvier 1791. Personne ne sut où il était parti. Il disparut de la vie de George et on ne le revit plus. George Augustus Polgreen Bridegetower se retrouva alors sous la tutelle exclusive du prince de Galles. Il avait onze ans. »
Le garçon reprend alors contact avec sa mère qui se meurt et obtient l’autorisation d’aller la retrouver en Allemagne où il renouera aussi des liens avec son frère Friedrich, également bon musicien. Pour que ce dernier puisse jouer à la Staatskapelle, il va lui proposer de l’accompagner lors d’un concert où, outre les œuvres des musiciens locaux, on jouerait la symphonie d’un compositeur encore jamais joué, un certain Ludwig van Beethoven.
Le récital fera coup double, assurant l’avenir de Friedrich et propulsant George vers Vienne où il se liera d’amitié avec le musicien dont il découvrait le travail.
Je vous laisse découvrir de quelle manière est née la «Sonata mulattica» en lisant ce formidable roman. Un joyau qu’il serait dommage de laisser passer. http://urlz.fr/4YUp
Avant d’en venir au récit proprement dit, saluons une autre performance de l’auteur qui s’est totalement investi dans son sujet. Après avoir appris incidemment en écoutant la radio que la célèbres Sonate à Kreutzer de Beethoven n’avait pas été écrite pour ce soliste mais pour un jeune mulâtre, l’écrivain congolais s’est mis à rechercher toutes les informations disponibles sur ce jeune homme mystérieux. Il a notamment déniché une partition annotée par Beethoven, dédicaçant son œuvre au «mulâtre Brischdauer». Il a ensuite décidé de mettre ses pas dans ceux de George «pour palper la réalité des choses». Mieux encore, il a pris des cours de musique classique afin de vraiment se mettre dans la peau de son personnage. Une expression qui prend ici tout son sens.
Le roman s’ouvre sur le premier concert parisien du jeune prodige. L’élite musicale et intellectuelle ne tarit pas d’éloges sur la dextérité de George. Du coup son père n’a plus guère de difficultés pour négocier des contrats et s’intégrer à cette aristocratie qui trouve fort exotique ces noirs, métisses, mulâtres, quarterons et autres octavons. Il faut dire que Frederick de Augustus Bridgetower s’arroge le titre de «Prince d’Abyssinie». En réalité, il est né à la Barbade d’un père affranchi. « La bienveillance du planteur lui avait permis d’apprendre non seulement à lire et à écrire en même temps que le fils de celui-ci, du même âge que lui, mais aussi d’assister aux leçons de français et d’allemand qu’il recevait. » Confié à un capitaine d’un cargo, il se retrouva à Londres où après de multiples péripéties, il réussit petit à petit à grimper les échelons de la société.
Alors même qu’il entrevoit la fin de ses soucis financiers, la grande Histoire va le rattraper. Nous sommes en 1789 et l’agitation devient de plus en plus palpable. Dans les cafés du Palais-Royal et dans les salons, les esprits s’échauffent. Camille Desmoulins croise Pierre de Beaumarchais, le général Lafayette fait découvrir Paris à Thomas Jefferson, on fredonne « il pleut, il pleut, bergère » de Fabre d’Églantine, on découvre Les liaisons dangereuses de Choderlos de Laclos ou Paul et Virginie de Bernardin de Saint-Pierre. L’ébauche d’une Déclaration des Droits de l’homme s’accompagne des revendications d’Olympe de Gouges et de Théroigne de Méricourt pour les femmes. L’abolition de l’esclavage enflamme les débats… et le peuple commence à empaler les têtes des aristocrates sur les piques.
Pour les Brigetower, il est temps de fuir, direction Londres.
Bien que connaissant la ville, Frederick est loin d’être introduit à la Cour, ni même dans les cercles de musique. Mais à force de persévérance et de rencontres plus ou moins fortuites, George deviendra le protégé du Prince de Galles. Une relation qui ne va pas plaire à son père jusque-là seul directeur des opérations et grand bénéficiaire du produit des concerts. Le conflit sous-jacent va finir par éclater et provoquer la colère royale. « Frederick de Augustus quitta Londres le 5 janvier 1791. Personne ne sut où il était parti. Il disparut de la vie de George et on ne le revit plus. George Augustus Polgreen Bridegetower se retrouva alors sous la tutelle exclusive du prince de Galles. Il avait onze ans. »
Le garçon reprend alors contact avec sa mère qui se meurt et obtient l’autorisation d’aller la retrouver en Allemagne où il renouera aussi des liens avec son frère Friedrich, également bon musicien. Pour que ce dernier puisse jouer à la Staatskapelle, il va lui proposer de l’accompagner lors d’un concert où, outre les œuvres des musiciens locaux, on jouerait la symphonie d’un compositeur encore jamais joué, un certain Ludwig van Beethoven.
Le récital fera coup double, assurant l’avenir de Friedrich et propulsant George vers Vienne où il se liera d’amitié avec le musicien dont il découvrait le travail.
Je vous laisse découvrir de quelle manière est née la «Sonata mulattica» en lisant ce formidable roman. Un joyau qu’il serait dommage de laisser passer. http://urlz.fr/4YUp
July 3, 2021
I became engrossed in the award-winning masterpiece, The Bridgetower Sonata. I felt my emotions stirred by the author, Emmanuel Dongala, and translator, Marjolijn de Jager because of the sensitive wording and flowing language. I felt captured by the storytelling with so many ups and downs and turns in plot; and by the fascinating characters: a young violin prodigy, George Bridgetower; and his Black father from Barbados who called himself the "African Prince;" and Beethoven, George's mentor. Having myself experienced Vienna, Paris, and London, it was a delight to be transported there during the late 18th century, at the cusp of the French Revolution.
The movement for freedom and equality squared off against the wealthy elites who profited from the slave trade. The passages on the many layers of race and class hierarchies - as they played out in the British Colonies and in the royal courts and the capitals of Europe - revealed roots of racism, which continue to soil our ideals centuries later.
The description of the performance of Beethoven's sonata, (originally titled "Sonata Mulattica" because he'd composed it for George, he later called it the Kreutzer Sonata), was so compelling - a dueling "joust" between Beethoven on piano and the young prodigy Bridgetower on violin. I found on youtube.com the Sonata played in 34 minutes by brilliant musicians: Asian pianist Zhu Wang and Black violinist Randall Goosby. Now called Beethoven Violin Sonata no 9 Op 47 - the 'Bridgetower' Sonata is an exciting piece of music well worth listening to! I highly recommend this book.
The movement for freedom and equality squared off against the wealthy elites who profited from the slave trade. The passages on the many layers of race and class hierarchies - as they played out in the British Colonies and in the royal courts and the capitals of Europe - revealed roots of racism, which continue to soil our ideals centuries later.
The description of the performance of Beethoven's sonata, (originally titled "Sonata Mulattica" because he'd composed it for George, he later called it the Kreutzer Sonata), was so compelling - a dueling "joust" between Beethoven on piano and the young prodigy Bridgetower on violin. I found on youtube.com the Sonata played in 34 minutes by brilliant musicians: Asian pianist Zhu Wang and Black violinist Randall Goosby. Now called Beethoven Violin Sonata no 9 Op 47 - the 'Bridgetower' Sonata is an exciting piece of music well worth listening to! I highly recommend this book.
June 27, 2021
George Bridgetower was an 18th Century violin virtuoso and the son of a Black man from the Caribbean. He was a child prodigy who entertained Parisienne high society on the eve of the French Revolution. He then fled to London where he was a court favorite of the Prince of Wales.
When he moved to Vienna, he became the friend and collaborator of Ludwig Van Beethoven. The two composed the "Sonata Mulattica" together, but Beethoven later changed the name to the "Kreutzer Sonata" when the two had a falling out.
Emmanuel Dongala's new historical novel brings life to this forgotten story. He makes the most of what is known about Bridgetower's life, telling a fascinating story of race, class, creativity, and friendship in 18th Century Europe.
When he moved to Vienna, he became the friend and collaborator of Ludwig Van Beethoven. The two composed the "Sonata Mulattica" together, but Beethoven later changed the name to the "Kreutzer Sonata" when the two had a falling out.
Emmanuel Dongala's new historical novel brings life to this forgotten story. He makes the most of what is known about Bridgetower's life, telling a fascinating story of race, class, creativity, and friendship in 18th Century Europe.
December 13, 2021
NB: I read the English translation.
This book was highly confusing to me. I think it's my own fault for reading the English-language description and taking the words "vividly imagined" to mean that the main character of this book was fictional, aka imagined, but that's what I thought for most of the book. Which meant that my experience reading it was mostly "WOW this author is having his OC [original character] meet a lot of famous historical [strike]people[/strike] men." It was not until page 366 of 387 that I realized that the protagonist might have actually existed, which did put a different spin on that part of the writing for me (both going forward but also retroactively). Very cool that a lot of the events in the book are actually based on historical documents like concert programs and accounts in various people's writing that survived the Revolution in France and so on.
My confusion about how historical this historical fiction was aside, I still found this book kind of a mixed bag for me.
- good: I really loved learning about George Bridgetower and was frankly angry that I didn't know how many Black people existed in Europe, going about their lives, writing The Three Musketeers, composing, playing music...why does pre-college history coverage of the French Revolution not include any of that? jk I know why. but still mad.
- meh: damn this book failed the Bechdel test HARD. to the point were I was like "at least there were some named women in the book who weren't just love objects and didn't just talk about men? even if they didn't get to talk to each other."
- eh: (Once I realized that actual history and not just a historical fanfic was happening) The information about the historical figures and their backgrounds was more engaging to me than any of the times the author tried to give us insight into what various people were thinking
- dov'è la plot? I guess it's hard to have a plot in historical fiction because you're dependent on real events and can't tighten things up to make the story have a better arc, but...hm. might not be the genre for me, though, rather than a problem on the author's part
- definitely some questionable writing about music that may have been the translator, or the author, or both. which, okay, the author isn't a musician...but if you're writing about a musical prodigy. you should. uh. maybe have musicians reading it? unless he did and they commented and he decided the points weren't worth changing, which is his prerogative as an author, but boy did it make me infuriated in places. who rosins strings. WHO ROSINS STRINGS????? is this some obscure historical practice for playing with gut strings that has since fallen out of favor? fallen so out of favor that searching for it online yields no results? I must know. this has been haunting me since I finished this book a month ago.
Overall, for me, I'd say 2.5 rounds up to 3 stars. The historical detail was interesting, but at times I honestly wondered if I'd have been better off just reading a history textbook, where at least I could know everything I was reading really happened. Except that probably this would not be included in a musical history textbook becaaaaaause white supremacy woooo :(
This book was highly confusing to me. I think it's my own fault for reading the English-language description and taking the words "vividly imagined" to mean that the main character of this book was fictional, aka imagined, but that's what I thought for most of the book. Which meant that my experience reading it was mostly "WOW this author is having his OC [original character] meet a lot of famous historical [strike]people[/strike] men." It was not until page 366 of 387 that I realized that the protagonist might have actually existed, which did put a different spin on that part of the writing for me (both going forward but also retroactively). Very cool that a lot of the events in the book are actually based on historical documents like concert programs and accounts in various people's writing that survived the Revolution in France and so on.
My confusion about how historical this historical fiction was aside, I still found this book kind of a mixed bag for me.
- good: I really loved learning about George Bridgetower and was frankly angry that I didn't know how many Black people existed in Europe, going about their lives, writing The Three Musketeers, composing, playing music...why does pre-college history coverage of the French Revolution not include any of that? jk I know why. but still mad.
- meh: damn this book failed the Bechdel test HARD. to the point were I was like "at least there were some named women in the book who weren't just love objects and didn't just talk about men? even if they didn't get to talk to each other."
- eh: (Once I realized that actual history and not just a historical fanfic was happening) The information about the historical figures and their backgrounds was more engaging to me than any of the times the author tried to give us insight into what various people were thinking
- dov'è la plot? I guess it's hard to have a plot in historical fiction because you're dependent on real events and can't tighten things up to make the story have a better arc, but...hm. might not be the genre for me, though, rather than a problem on the author's part
- definitely some questionable writing about music that may have been the translator, or the author, or both. which, okay, the author isn't a musician...but if you're writing about a musical prodigy. you should. uh. maybe have musicians reading it? unless he did and they commented and he decided the points weren't worth changing, which is his prerogative as an author, but boy did it make me infuriated in places. who rosins strings. WHO ROSINS STRINGS????? is this some obscure historical practice for playing with gut strings that has since fallen out of favor? fallen so out of favor that searching for it online yields no results? I must know. this has been haunting me since I finished this book a month ago.
Overall, for me, I'd say 2.5 rounds up to 3 stars. The historical detail was interesting, but at times I honestly wondered if I'd have been better off just reading a history textbook, where at least I could know everything I was reading really happened. Except that probably this would not be included in a musical history textbook becaaaaaause white supremacy woooo :(
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January 6, 2022A novel about a Black musical prodigy in the late eighteenth century and the early nineteenth. This novel is at its best when presenting the POV of a Black man navigating the ignorant, prejudiced, and dangerous shoals of white European culture during the late Enlightenment, when Revolution was in the air. The novel is really more about George Bridgetower's father than it is about him, especially early on, when GB was a child prodigy.
One of the best parts about this book was the light cast on creative and innovative people of color at the time. White historians peer past Dumas, for instance, as well as others, but Dongala brings them forward, demonstrating their place and their contributions to the creative life of the time. Also, the novel provides some insight into some of the ways a Black individual had to deal with maneuvering in white culture.
Some, as I said.
I wish my French was good enough to read this in the original, as I don't know whether to attribute my problems with the book to the translation or not. I really wanted to like it more than I actually did--my reading went in fits and starts, despite the author's truly impressive research.
Maybe because of the research? It seemed that the author was determined that every smidge of research was going to go into this work, so we get long catalogues of what everyone is wearing, and exactly what the streets of Paris looked like, and the layout of the Opera, and long lists of arcane pieces of music shoehorned in apparently to get them in there willynilly.
The narrative voice seemed to be all over the place, sometimes up close and personal with respect to Bridgetower's father, other times vanishing to be replaced by those neutral catalogues of facts. I did not think that a novel set against the simmering Paris on the verge, and into, the French Revolution could be quite so stiff, but there it was. I also found the narrative voice's explorations of the inner thoughts of certain famous figures to be somewhat problematical.
The clunky sentences and awkwardness, the errors (like not capitalizing German nouns when quoting German), etc, might be due to the translator, but at any rate, though the subject is intriguing and the setting a complex one, I wished that the book did them better justice.
Copy provided by Netgalley
One of the best parts about this book was the light cast on creative and innovative people of color at the time. White historians peer past Dumas, for instance, as well as others, but Dongala brings them forward, demonstrating their place and their contributions to the creative life of the time. Also, the novel provides some insight into some of the ways a Black individual had to deal with maneuvering in white culture.
Some, as I said.
I wish my French was good enough to read this in the original, as I don't know whether to attribute my problems with the book to the translation or not. I really wanted to like it more than I actually did--my reading went in fits and starts, despite the author's truly impressive research.
Maybe because of the research? It seemed that the author was determined that every smidge of research was going to go into this work, so we get long catalogues of what everyone is wearing, and exactly what the streets of Paris looked like, and the layout of the Opera, and long lists of arcane pieces of music shoehorned in apparently to get them in there willynilly.
The narrative voice seemed to be all over the place, sometimes up close and personal with respect to Bridgetower's father, other times vanishing to be replaced by those neutral catalogues of facts. I did not think that a novel set against the simmering Paris on the verge, and into, the French Revolution could be quite so stiff, but there it was. I also found the narrative voice's explorations of the inner thoughts of certain famous figures to be somewhat problematical.
The clunky sentences and awkwardness, the errors (like not capitalizing German nouns when quoting German), etc, might be due to the translator, but at any rate, though the subject is intriguing and the setting a complex one, I wished that the book did them better justice.
Copy provided by Netgalley
August 13, 2017
Histoire passionnante, même avant de découvrir qu'elle était vraie. J'ignore la part de la fiction dedans, mais c'est admirablement raconté.
May 3, 2022
I enjoyed it but found it heavy in details about Bridgetower's daily life.
August 19, 2020
Sonata per un mulattico lunatico.
This is the dedication that Ludwig van Beethoven affectionately gave to his Violin Sonata No. 9, a piece deemed not only too hard to play, but also “outrageously unintelligible” and an affront to music, by contemporary virtuosic violinists. Due to a falling out, Beethoven ultimately rededicated the piece, leaving its original dedicatee largely lost to history.
The Bridgetower Sonata uses what is little known about George Augustus Polgreen Bridgetower to reconstruct a vivid imagining of his life leading up to his extraordinary friendship, and subsequent loss thereof, with Beethoven. Beginning with a slow, almost dry, descriptive chronology of George’s childhood and escalating to a swift telling of his early adult friendship with Beethoven, the novel provides an animated exploration not only of late 18th century race relations in Europe but also of the striking divisions in class that are coming to a head vis-à-vis the French Revolution. In a telling encounter with none other than Chevalier de Saint-Georges, perhaps more commonly remembered to the contemporary public as “Black Mozart,” George’s father John Bridgetower of West Indian origin, grapples with explaining that he is, in fact, George’s biological father. As described by the omniscient narrator’s divination into John’s thoughts, Europeans understood mulattos to be the by-product of a White father and mother of African origin. George’s dark skinned father and eastern European mother in itself challenged the chronicled systems of race in Europe at that time.
While perhaps the reconstructed meetings with iconic historical figures such as Thomas Jefferson, Angelo Soliman, Marquis de Lafayette, Théroigne de Mericourt, and Olympes de Gouges may be pure fantasy, they do help to further ground the story in its historical time period, providing essential context on how science, government, and civil code shaped the genre of music that is now loosely categorized as “Classical.” The cumulative result is the construction of a lively society of elitist figureheads bumping elbows, emphasizing the possibly factual notion that revolutionary-era people, at least in the upper classes, were largely “renaissance men” (and women)-- highly cultured and thoroughly educated to a degree beyond our current imaginings.
As a violinist myself, I was enraptured by the descriptions of musical patronage and the coming together of notable musicians such as Mozart, Beethoven, Kreutzer, Haydn, and more. The rich narrative made me crave recordings of their compositions and has found me listening to an abundance of classical music in its wake.
As a whole, The Bridgetower Sonata is a delightful narrative helping to bring a forgotten story of a talented mulatto musician to light. While it explored interesting aspects of race in a historical context, it largely remained preserved in that historical bubble with little reflection on the current state of society and race relations. Similarly, the divide described between the old-school proponents of baroque music versus the latter-day proponents of classical period music easily draws parallels to current evolutions in popular music, but Dongala prefers to let history lay, allowing readers to draw their own conclusions. The book is by no means life-changing, but it's a thoroughly entertaining read, particularly for admirers of classical music and revolutionary history.
This is the dedication that Ludwig van Beethoven affectionately gave to his Violin Sonata No. 9, a piece deemed not only too hard to play, but also “outrageously unintelligible” and an affront to music, by contemporary virtuosic violinists. Due to a falling out, Beethoven ultimately rededicated the piece, leaving its original dedicatee largely lost to history.
The Bridgetower Sonata uses what is little known about George Augustus Polgreen Bridgetower to reconstruct a vivid imagining of his life leading up to his extraordinary friendship, and subsequent loss thereof, with Beethoven. Beginning with a slow, almost dry, descriptive chronology of George’s childhood and escalating to a swift telling of his early adult friendship with Beethoven, the novel provides an animated exploration not only of late 18th century race relations in Europe but also of the striking divisions in class that are coming to a head vis-à-vis the French Revolution. In a telling encounter with none other than Chevalier de Saint-Georges, perhaps more commonly remembered to the contemporary public as “Black Mozart,” George’s father John Bridgetower of West Indian origin, grapples with explaining that he is, in fact, George’s biological father. As described by the omniscient narrator’s divination into John’s thoughts, Europeans understood mulattos to be the by-product of a White father and mother of African origin. George’s dark skinned father and eastern European mother in itself challenged the chronicled systems of race in Europe at that time.
While perhaps the reconstructed meetings with iconic historical figures such as Thomas Jefferson, Angelo Soliman, Marquis de Lafayette, Théroigne de Mericourt, and Olympes de Gouges may be pure fantasy, they do help to further ground the story in its historical time period, providing essential context on how science, government, and civil code shaped the genre of music that is now loosely categorized as “Classical.” The cumulative result is the construction of a lively society of elitist figureheads bumping elbows, emphasizing the possibly factual notion that revolutionary-era people, at least in the upper classes, were largely “renaissance men” (and women)-- highly cultured and thoroughly educated to a degree beyond our current imaginings.
As a violinist myself, I was enraptured by the descriptions of musical patronage and the coming together of notable musicians such as Mozart, Beethoven, Kreutzer, Haydn, and more. The rich narrative made me crave recordings of their compositions and has found me listening to an abundance of classical music in its wake.
As a whole, The Bridgetower Sonata is a delightful narrative helping to bring a forgotten story of a talented mulatto musician to light. While it explored interesting aspects of race in a historical context, it largely remained preserved in that historical bubble with little reflection on the current state of society and race relations. Similarly, the divide described between the old-school proponents of baroque music versus the latter-day proponents of classical period music easily draws parallels to current evolutions in popular music, but Dongala prefers to let history lay, allowing readers to draw their own conclusions. The book is by no means life-changing, but it's a thoroughly entertaining read, particularly for admirers of classical music and revolutionary history.
December 18, 2018
Entre Révolution Française, vie londonienne, Premier Empire et vicissitudes de la vie autrichienne au début du 19ème siècle, on suit dans cette histoire le jeune George Bridgetower, violoniste talentueux. Truffé d'anecdotes et de personnages historiques, ce récit décrit la vie de cet enfant prodige du violon, éclipsé par l'Histoire du fait de sa couleur de peau mais qui a connu un certain succès à son époque et s'est inscrit dans quelques tournants historiques en côtoyant les plus grands musiciens de son temps : Haydn et Beethoven notamment.
La construction de ce roman historique est bien pensée en suivant la chronologie et en accompagnant la croissance et l'élévation de ce jeune talent à travers trois villes phares : Paris, Londres et Vienne. Autant j'ai apprécié suivre l'évolution du jeune homme ainsi que rencontrer tous ces illustres personnages (aussi bien artistes que souverains et puissants mécènes), autant j'ai fini par détester cordialement le père du jeune George, parasite sans scrupules, accro au jeu et dépensier sans bornes, se servant sans honte du talent de son fils pour sa propre gloire. Abject personnage qui m'a fait savourer la dernière partie du récit.
Intéressante fresque sur un personnage historique méconnu, j'ai aimé l'idée et le traitement que l'auteur en donne. Vraiment une très bonne lecture.
La construction de ce roman historique est bien pensée en suivant la chronologie et en accompagnant la croissance et l'élévation de ce jeune talent à travers trois villes phares : Paris, Londres et Vienne. Autant j'ai apprécié suivre l'évolution du jeune homme ainsi que rencontrer tous ces illustres personnages (aussi bien artistes que souverains et puissants mécènes), autant j'ai fini par détester cordialement le père du jeune George, parasite sans scrupules, accro au jeu et dépensier sans bornes, se servant sans honte du talent de son fils pour sa propre gloire. Abject personnage qui m'a fait savourer la dernière partie du récit.
Intéressante fresque sur un personnage historique méconnu, j'ai aimé l'idée et le traitement que l'auteur en donne. Vraiment une très bonne lecture.
August 25, 2021
I received a copy of this to give an honest review.
The premise of this book intrigued me, as it follows the life of George Augustus Bridgetower, a black violinist who was well renowned in his time of the late 18th century progressing into the 19th century. He meets and befriends all sorts of celebrated names--Beethoven taking precedence over all, although Mozart is an unknowing competitor--and there will be scads of celebrities for the reader to note. The descriptions of how different countries reacted toward people of colour, and the thin protection a rising star was afforded from prejudices were interesting.
Alas, this book focused quite a deal more on his father than what I anticipated, and the beginning portion of the book is a bit of a trek to get through, while the ending comes on abruptly. We have followed Bridgetower from the age of nine only up to his twenties, although he lives into his eighties. I would have enjoyed being able to dig more into Bridgetower's life, and getting deep into it. Who was he outside of music? What drove him on and kept him going? What hobbies did he have, apart from reading? I suppose the documents that could flesh that out are scant, but the book is a decently quick read that can help create a thirst to want to know more about this remarkable man.
The premise of this book intrigued me, as it follows the life of George Augustus Bridgetower, a black violinist who was well renowned in his time of the late 18th century progressing into the 19th century. He meets and befriends all sorts of celebrated names--Beethoven taking precedence over all, although Mozart is an unknowing competitor--and there will be scads of celebrities for the reader to note. The descriptions of how different countries reacted toward people of colour, and the thin protection a rising star was afforded from prejudices were interesting.
Alas, this book focused quite a deal more on his father than what I anticipated, and the beginning portion of the book is a bit of a trek to get through, while the ending comes on abruptly. We have followed Bridgetower from the age of nine only up to his twenties, although he lives into his eighties. I would have enjoyed being able to dig more into Bridgetower's life, and getting deep into it. Who was he outside of music? What drove him on and kept him going? What hobbies did he have, apart from reading? I suppose the documents that could flesh that out are scant, but the book is a decently quick read that can help create a thirst to want to know more about this remarkable man.
May 23, 2021
Belle promenade en cette fin de XVIIIème siècle, à une époque où la France abordait un virage majeur dans son histoire, où les prémisses de la lutte pour les droits des femmes et les premières réflexions sur la fin de l'esclavage naissaient, où la science progressait à grands pas et où la musique se modernisait.
J'ai apprécié que l'auteur n'ait pas eu la prétention de rentrer trop dans la tête du héros, et qu'il se soit centré plutôt sur l'époque et les faits.
Et, en terminant ce livre, je n'ai eu qu'une envie, passer un peu de temps avec Haydn, Haendel, Bach, Mozart et Beethoven.
J'ai apprécié que l'auteur n'ait pas eu la prétention de rentrer trop dans la tête du héros, et qu'il se soit centré plutôt sur l'époque et les faits.
Et, en terminant ce livre, je n'ai eu qu'une envie, passer un peu de temps avec Haydn, Haendel, Bach, Mozart et Beethoven.
January 18, 2023
How is it that I'd never heard of George Bridgetower?! His story is amazing, intersecting with so many musicians of note and spanning the globe! This particular retelling is "breathless" and overdramatized. Well, I guess the French author felt "inspired." But there's really no need for hyperbole: the truth is astounding enough!
May 25, 2017
A la fois instructif et divertissant, l'auteur fait vivre les grandes figures historiques et musicales, ainsi que la vie en Europe à la fin du 18ème siècle, par les yeux de George. Recommandé pour tous les amateurs de musique et/ou de romans historiques.
September 23, 2019
Un bon roman historique qui met en perspective la vie de ce musicien prodige avec la réalité sociale des époques traversées. Quelques longueurs toutefois et un peu de frustration sur la rencontre avec Beethoven qui est développée juste à la fin.
July 22, 2021
Interesting story of a father and son who traveled around 18th century Europe. The father arranged concerts where the son would play his violin. They met different composers and musicians along the way, but when they met the Prince of Wales, he took the son under his wing.
December 31, 2021
The book is incredibly well-researched -- almost too much so. It's stuffed with details to the point that the narrative almost gets lost. It'll be of interest to lovers of history and music, but I think it would have been better as a nonfiction book.
July 26, 2017
Reconfortante aventure musicale a travers l'europe des Lumieres
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