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The Violin Maker: Finding a Centuries-Old Tradition in a Brooklyn Workshop
How does a simple piece of wood become a violin, the king of instruments? Watch and find out as Eugene Drucker, a member of the world–renowned Emerson String Quartet, commissions Sam Zygmuntowicz, a Brooklyn craftsman, to make him a new violin. As he tells this extraordinary story, journalist John Marchese shares the rich lore of this beloved instrument and illuminates an art that has barely changed since the Renaissance. Marchese takes readers from start to finish as Zygmuntowicz builds the violin, from the first selection of the wood, to the cutting of the back and belly, through the carving of the scroll and the fingerboard, to the placement of the sound peg. Though much of the story takes place in the craftsman's museum–like Brooklyn workshop, there are side trips across the river to the rehearsal rooms of Carnegie Hall and Lincoln center, and across the world. Stops on the itinerary include Cremona, Italy, the magical city where Antonio Stradivari (and a few of his contemporaries) achieved a level of violin–making perfection that has endured for centuries, as well as points in France and Germany integral to the history of the violin. A stunning work of narrative nonfiction that's also a finely crafted, loving homage to the instrument that most closely approximates the human voice.
240 pages, Hardcover
First published January 1, 2007
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Displaying 1 - 30 of 70 reviews
December 30, 2017
wonderful! this reads like a novel while also going into great detail about violin making and the legends/history of Stradivari. Slightly unsure if non-violinists would enjoy it quite as much, as my violinist mother lent it to me, but I think many would at least enjoy it!
March 15, 2009
I don't happen to be any sort of music expert. I listen to classical music when I work. I took piano lessons for 13 years and still have trouble sight-reading. I played the trumpet for almost as long and was just kind of okay. I took blues guitar lessons and promptly forgot everything I ever learned. But I love music nonetheless, and especially the violin. And, I love stories of quiet, passionate people making beautiful things. This is both a history of violin-making (Stradivari) and a chronicling of a new violin being made by one of America's foremost artisans for one of America's greatest violinists. It's fascinating, inspiring, obsessed, funny, detailed, kind...all the things a good history should be. I went the library afterward and checked out too many CDs and wasn't sorry. I pretended I could hear the nuance, the years of practice, the love and history in the instruments. Really, it just helped me pay more attention, be more aware of the great gift that music is--and the great gift it is that we have people willing to spend their lifetimes perfecting both making and playing instruments.
May 2, 2016
Since Stradivarius and Guarneri died in the early 18th Century, the world has been frustrated: "I wish Strad had left us a little book or something." He didn't, and John Marchese (whose avocation is jazz trumpet), does what dozens have done before him: try to find the secret. He describes with amusement some quack violin builders' (luthiers) claims to have learned the mystery of Strad, or to have uncovered a long buried notebook. But no such thing exists, and no one knows why, not too long after the instrument was invented, three or four craftsman in Cremona, Italy in the late 17th-early 18th Century produced the best violins (cellos too) ever made.
Of course, violin making didn't end in 1750. But this book isn't just about research and the obligatory trip to the Po Valley. Rather, the author follows the making of a modern violin based on older models for Gene Drucker, a member of the (former) Emerson Quartet. This is a new approach, and Brooklyn's Sam Zygmuntowicz is the top of that trade.
It's an interesting gambit, but ultimately unsuccessful. Readers will learn more about string instrument construction. Yet, for one thing, Sam and others admit most of a luthier's work is ordinary carpentry: "All we really do is make boxes. The thing is, they're magical boxes." And that's the second problem: sound isn't just indescribable, it's personal.
The finest Strads and Guarneis are worth up to about $5 million. Sam charges under $100,000 for an instrument that attempts to combine the best features of those 250 year-old boxes. And modern violins aren't so prone to abrupt changes in tone corresponding to heat and humidity--picture, for example, successive concerts in Helsinki and Houston. Tremendous advantages, in theory.
The other three members of the Emerson Quartet like Sam's creations better than their prior instrument (though none previously were playing a Strad). They also liked the new one created for Drucker. No professional musician could tell the difference between Drucker's Strad and his new instrument in concert or recording--Drucker used both when the Quartet overdubbed itself to record Mendelssohn's Octet.
But what matters is what a violinist "hears beneath his ear." Sound is so personal that the writing is incidental to the idiosyncratic decisions of the player. There's a little, but not much, of a book in that.
Of course, violin making didn't end in 1750. But this book isn't just about research and the obligatory trip to the Po Valley. Rather, the author follows the making of a modern violin based on older models for Gene Drucker, a member of the (former) Emerson Quartet. This is a new approach, and Brooklyn's Sam Zygmuntowicz is the top of that trade.
It's an interesting gambit, but ultimately unsuccessful. Readers will learn more about string instrument construction. Yet, for one thing, Sam and others admit most of a luthier's work is ordinary carpentry: "All we really do is make boxes. The thing is, they're magical boxes." And that's the second problem: sound isn't just indescribable, it's personal.
The finest Strads and Guarneis are worth up to about $5 million. Sam charges under $100,000 for an instrument that attempts to combine the best features of those 250 year-old boxes. And modern violins aren't so prone to abrupt changes in tone corresponding to heat and humidity--picture, for example, successive concerts in Helsinki and Houston. Tremendous advantages, in theory.
The other three members of the Emerson Quartet like Sam's creations better than their prior instrument (though none previously were playing a Strad). They also liked the new one created for Drucker. No professional musician could tell the difference between Drucker's Strad and his new instrument in concert or recording--Drucker used both when the Quartet overdubbed itself to record Mendelssohn's Octet.
But what matters is what a violinist "hears beneath his ear." Sound is so personal that the writing is incidental to the idiosyncratic decisions of the player. There's a little, but not much, of a book in that.
January 14, 2022
I really loved this book! I don’t know why it took me so long to finish. I think i really wanted to savor the masterful way the author draws you into the mysterious world of violins. I highly recommend this book to anyone that has a vague interest in violin making.
February 24, 2017
This is a difficult book to rate. I enjoyed it very much because
-I love violins,
-I love the Emerson Quartet,
-I know of no other book quite like this, and
-I like when knowledgable people who can perform Bach capably refer to their $25,000 instruments as "fiddles"
For all these reasons, I'm tempted to give the book four or five stars, but it just doesn't seem like that kind of book. I think the story is made better by the fact that the author is a trumpet player with very little prior knowledge of stringed instruments. He reveals details as he learns them, giving the reader a solid overview of what goes into making the instruments, but falling far short of any actual instruction. Because he doesn't get bogged down in those details, he keeps things moving and creates a fairly compelling narrative. However, there were no moments when a reader is likely to pause and clasp the book to his/her chest in wonder, or to interrupt the spouse to read a particularly moving passage. In the end, it comes off as more of a satisfying long-form article than what I would rate as a 5-star work of nonfiction.
Also, the book itself was an odd size. Tall and slender like those soft cover city guides I used to get before the days of Google, TripAdvisor, Yelp and the like. But this one was hardcover, and It felt like it needed more space for the binding.
-I love violins,
-I love the Emerson Quartet,
-I know of no other book quite like this, and
-I like when knowledgable people who can perform Bach capably refer to their $25,000 instruments as "fiddles"
For all these reasons, I'm tempted to give the book four or five stars, but it just doesn't seem like that kind of book. I think the story is made better by the fact that the author is a trumpet player with very little prior knowledge of stringed instruments. He reveals details as he learns them, giving the reader a solid overview of what goes into making the instruments, but falling far short of any actual instruction. Because he doesn't get bogged down in those details, he keeps things moving and creates a fairly compelling narrative. However, there were no moments when a reader is likely to pause and clasp the book to his/her chest in wonder, or to interrupt the spouse to read a particularly moving passage. In the end, it comes off as more of a satisfying long-form article than what I would rate as a 5-star work of nonfiction.
Also, the book itself was an odd size. Tall and slender like those soft cover city guides I used to get before the days of Google, TripAdvisor, Yelp and the like. But this one was hardcover, and It felt like it needed more space for the binding.
November 14, 2014
I'd recently read Clapton's Guitar (Allen St. John, Free Press) and I later read a mention of John Marchese's The Violin Maker in an online discussion of luthierie. The notion of Old World/New World kinship intrigued me, so I bought the book, poured some wine and settled in with my hopes high. Reading The Violin Maker was as pleasant a journey as I've made through a book. To my mind there is enough technical enlightenment (materials and techniques), enough history (a visit to Cremona, Italy, the home of Stradavari, Amati and Guarneri) and enough character study (the luthier and his clients) here and all are in a satisfying balance. The Violin Maker is written for an interested general audience that has a modicum of knowledge about musical instruments although people with deeper knowledge are quite likely to enjoy it as we'll. Marchese's descriptions are complete, clear and presented without the author intruding on his story. Curiously, I have a feeling that I've come to know the violin maker's work without getting to know the man but the feeling is not discomfiting. Upon closing the cover at the end I felt as if I'd finished a conversation with an intelligent and respected friend and I came away satisfied. Recommended!
December 28, 2011
Loved the book from the start! It was engaging and easy to read. It grabbed me and I would have finished it in one day (if I didn't had to sleep and/or work ;) ). John Marchese combines historical facts about violin making and violin makers with his own observations and feelings about his journey into the violin building world and tales about/from Sam Zygmuntowicz (a renowned Brooklyn violin-maker) and Gene Drucker (violinist of the Emerson Quartet who plays a Stradivarius and who commissioned Sam to build him a Zygmuntowicz violin). This might sound like a lot of different objectives but for me it worked well in this book and made it a fast past, interesting read!
Some photographs would be a great addition to this book. It was fortunate I recently took a good look at this photo documentation of building a cello, which made the parts about the building process come alive for me.
Some photographs would be a great addition to this book. It was fortunate I recently took a good look at this photo documentation of building a cello, which made the parts about the building process come alive for me.
August 19, 2014
A short, level-headed introduction to the world of violin-making. If you're already familiar with the matter, you might not get much out of this book, as the technical information is quite basic, and anecdotes and trivia that can be found on various online forums are much more amusing. However, I appreciate the author's effort to dispel some prevailing myths, mystifications, and outright lies, and it's certainly worth a read if you haven't come across the subject in the past.
October 26, 2016
Following the process of making a fine violin was fascinating, and this craftsman is superb. The identity of two of his customers/clients attests to that fact: Joshua Bell and Yo-Yo Ma. Read this and get as close to Stradivarius as possible.
April 5, 2014
Beautiful story and well done!
December 3, 2018
Like any craft, the people who make violins by hand for maestro performers are obsessed with the work they do, not necessarily for the sake of the performers for whom they make the instruments, but because of their desire to create, re-create, puzzle out, and discover for themselves.
John Marchese is a professional musician and writer who took it upon himself to take a close look at the world of those who make the finest violins and how they do it, the history of violin making through the preoccupation of violinists and makers with Stradivarius.
It's engaging to learn things you didn't know; deeper understanding most often leads to deeper understanding. And the art of making a 'perfect' violin is hugely affected by the personalities, training, and history of the makers themselves.
John Marchese is a professional musician and writer who took it upon himself to take a close look at the world of those who make the finest violins and how they do it, the history of violin making through the preoccupation of violinists and makers with Stradivarius.
It's engaging to learn things you didn't know; deeper understanding most often leads to deeper understanding. And the art of making a 'perfect' violin is hugely affected by the personalities, training, and history of the makers themselves.
December 13, 2020
This non-fiction that, at time, encroaches on memoir (not typically my favorite), was a really beautiful attempt to capture the magic of these amazing instruments.
I couldn't help but think of the wand selection process in the Harry Potter books when the author described the way a luthier considers the musician who is commissioning a fiddle.
Speaking of "fiddle", at one point I wondered if the author had changed his mind and decided to swap to using "fiddle" predominately, but then "violin" made a late recovery.
All in all, I enjoyed the glimpse, but was surprised at how quickly the book moved (one curse of ebooks), particularly when it so often leaned memoir. I still enjoyed it. I wished I was there and the author did a great job taking me there.
I couldn't help but think of the wand selection process in the Harry Potter books when the author described the way a luthier considers the musician who is commissioning a fiddle.
Speaking of "fiddle", at one point I wondered if the author had changed his mind and decided to swap to using "fiddle" predominately, but then "violin" made a late recovery.
All in all, I enjoyed the glimpse, but was surprised at how quickly the book moved (one curse of ebooks), particularly when it so often leaned memoir. I still enjoyed it. I wished I was there and the author did a great job taking me there.
December 24, 2019
In-depth inside view of the craft
How is a $25,000 violin made? Painstakingly and with great knowledge, respect for tradition, craftsmanship and a few secrets. Tiny details can make a resounding difference to the ear as there are many things to fret about in making a sound instrument. The first person connection to the artist by the author, and an easy friendly writing style, put this book high on my list as an entertaining and enjoyable source of learning and understanding. I’d recommend it to any musician or wannabe like me who enjoys learning new things by an author of note. Score this one a winner
How is a $25,000 violin made? Painstakingly and with great knowledge, respect for tradition, craftsmanship and a few secrets. Tiny details can make a resounding difference to the ear as there are many things to fret about in making a sound instrument. The first person connection to the artist by the author, and an easy friendly writing style, put this book high on my list as an entertaining and enjoyable source of learning and understanding. I’d recommend it to any musician or wannabe like me who enjoys learning new things by an author of note. Score this one a winner
July 12, 2022
[Beament wrote, "They do not make any different sound, and no audience can tell what instrument is being played. But if a palyer thinks he plays better on such an instrument, he will."]
[Wright Mills wrote in his study of work in the book White Collar, "The craftsmans's way of livelihood determineds and infuses his entire mode of living... There is no split of work and play."]
[He was coming to believe that the best innovation in his trade might simply be a fuller and more clear-sighted understanding of the tradision he'd inherited."]
[Wright Mills wrote in his study of work in the book White Collar, "The craftsmans's way of livelihood determineds and infuses his entire mode of living... There is no split of work and play."]
[He was coming to believe that the best innovation in his trade might simply be a fuller and more clear-sighted understanding of the tradision he'd inherited."]
June 11, 2021
As a classical cellist, I knew I would probably love this book when I picked it up
But I didn't know that I would read it in a single afternoon because it simply can't be put down, or that it would make me want to quit my job and study violin-making. It's excellently written, and the insights into a great artist's mind was fascinating to me. The behind-the-scenes look at the classical music world and the Emerson String Quartet was eye-opening. Seriously, read this book.
But I didn't know that I would read it in a single afternoon because it simply can't be put down, or that it would make me want to quit my job and study violin-making. It's excellently written, and the insights into a great artist's mind was fascinating to me. The behind-the-scenes look at the classical music world and the Emerson String Quartet was eye-opening. Seriously, read this book.
October 31, 2023
An interesting introduction to the world of violin making for superb musicians, focusing on the great contemporary violin maker Sam Zygmuntowicz.
Sam has made instruments for performers Cho-Liang Lin, Joshua Bell, Maxim Vengerov, Yo-Yo Ma, Leila Josefowicz, and members of the Emerson String Quartet. A 1994 violin that he made for Isaac Stern set a record for the highest auction price paid for a musical instrument by a living maker.
Sam has made instruments for performers Cho-Liang Lin, Joshua Bell, Maxim Vengerov, Yo-Yo Ma, Leila Josefowicz, and members of the Emerson String Quartet. A 1994 violin that he made for Isaac Stern set a record for the highest auction price paid for a musical instrument by a living maker.
March 10, 2024
It’s not a terrible book, but neither is it objectively good. The author writes as if it’s a very long magazine article, with a personal vacation to Cremona thrown in for fun. It does shed light on the interesting hyper-specific world of violin making, but there isn’t much beyond the factual content to make it a compelling read. Nice if you’re a violinist, or if violins are just interesting to you.
November 30, 2016
This book made me nostalgic for this book that I read when I was young called the Violin Hunter. I thought it was great to follow the violin making process and get a violin history lesson at the same time! Now I want to get recordings of the Emerson Quartet to hear the violin that was center stage in the story.
June 13, 2017
It's a bit obsessive but in a way that I love. This book profiles a highly respected modern violin maker ( in my neighborhood no less). It simultaneously described the obsessiveness of the author and his subject that I found very engaging. I'm not at all interested in Stradivarius violins but the writing was engaging and I do enjoy peering into another's mind.
November 25, 2020
This book is about a violin maker in Brooklyn who’s quickly risen to prominence in the violin world as making violins that musicians are switching to even over Stradivarius violins. I enjoyed it a lot because I never knew about the art of making violins. The author also looks at the history of Stradivari and visits his hometown. Finally it gives more insight into the classical musical world which is really interesting.
November 13, 2021
What a trip this was. Follow a modern-day violin maker as he builds a violin for a top-notch violinist. Sounds boring? It was not: you learn about those 17th century violin makers in Cremona, Italy, whose instruments are unsurpassed and it's not clear why (the wood?, the varnish?...); the writing is very good, humourous, journalistic-style.
January 31, 2023
Definitely enjoyed the read and the subject matter. I loved learning so much about violins. I have always wanted to uncover more about the instruments’ mystique and this was a great place to start. I wanted it to be longer! Some parts it felt like the author was just putting words on the page for the sake of writing something. Not bad though.
September 30, 2018
I had no idea I would love learning about violin making. I had no idea how intricate it was, and how far it delved into history. I loved everything about this book. I want to make a violin. What in the world.
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December 15, 2019Excellent book for a musically challenged reader
I enjoyed classical music but having no music background at all, I wasn't sure that would hinder me. As it turned out, there is few technical jargon. The book turns out to be a very enjoyable reading.
I enjoyed classical music but having no music background at all, I wasn't sure that would hinder me. As it turned out, there is few technical jargon. The book turns out to be a very enjoyable reading.
January 18, 2020
Fascinating look into the history of making a violin. It’s interesting the phrase ‘we don’t know’ keeps repeating showing no one truly knows what makes a good violin. The art of the craftsman is lost, except for creating a violin.
January 16, 2023
Engaging and charming
This book had a charming narrative of a glimpse in the ife of a craft and art seldom pursued in this day and age, I found it charming but honestly I'm not sure how I feel about the book or if I would actually recommend it.
This book had a charming narrative of a glimpse in the ife of a craft and art seldom pursued in this day and age, I found it charming but honestly I'm not sure how I feel about the book or if I would actually recommend it.
July 27, 2017
Enjoyable read
Not that I play violin or even new about this deep topic. I have a music background and this was an enjoyable read.
Not that I play violin or even new about this deep topic. I have a music background and this was an enjoyable read.
March 23, 2018
Written by someone who isn’t a violin player, this book is full of wonder at the craft of making violins, written in a way that anyone interested in music can understand. I loved it.
July 29, 2018
Fascinating read whether you're a musician or not. As I read this book I was googling queries for more information. A book that kept me engaged. Wonderful
May 5, 2019
Well written but I just wasn’t that into it. Not sure if it’s cause I’m not interested in the subject or just something about me
Displaying 1 - 30 of 70 reviews