From Publishers Weekly
Pulitzer Prize-winner Hersey's latest work (after Fling: and Other Stories) is a delightful tour de force--a picaresque novel tracing the peregrinations of a violin created in Cremona by Stradivari in 1699, dubbed the Antonietta in honor of the master luthier's second wife. Hersey divides the story into five "acts" that dramatize the violin's fortunes under various owners. He syncopates the narrative via four "intermezzi," which interject factual data linking the fictional portions, and ends with a bittersweet "finale." In each section the stylistic tone is appropriate to the music coaxed from the Strad by violinists of each century. First the prose cadences suggest the sensual passion of the middle-aged Stradivari, obsessed by the lusty Antonietta. Next, Mozart's frolicsome, irreverent, scatological voice is conveyed in letters that record his fascination with the instrument; the third selection captures the flamboyant personality and romantic music of Berlioz; the fourth is a fugue featuring the voices of Stravinsky, the writer C. F. Ramuz and violinist Federovsky. In the novel's last section, however, Hersey's own voice is most clearly heard, as he deplores the fate of culture in the modern world, where life "no longer imitates art, it imitates TV," and the Strad arouses in listeners cupidity and greed. (Here the musical references are to the "mathematical" compositions of Schoenberg, Hindemith, Alban Berg.) This novel satisfies on several levels; one need not know music to enjoy it, but the music lover will be doubly enchanted by a virtuoso performance. BOMC and QPB alternates.
Copyright 1991 Reed Business Information, Inc.
From Library Journal
In the year 1699, Antonio Stradivari amazes his sons by announcing his intention to build a violin entirely by himself, with no assistance from them, his ne'er-do-well apprentices. The instrument will be of a radical new design, inspired by the old man's infatuation with a beautiful widow named Antonia; he will call it Antonietta. After his death, Antonietta's supernatural tone bewitches a succession of notable composers--Mozart, Berlioz, and Stravinsky--each at a crucial turning point in his career. Hersey follows the instrument as it passes from owner to owner, adapting his narrative style to the time and place. Some of the historical coincidences seem a bit contrived--Stradivari whistles Vivaldi tunes at work, for example, years before they were published. However, good music novels are about as rare as Strads, and this one will charm general readers as well as musicologists. Recommended. Previewed in Prepub Alert, LJ 1/91; BOMC alternate.
- Edward B. St. John, Loyola Law Sch. Lib., Los Angele sCopyright 1991 Reed Business Information, Inc.