Customer Reviews

The Violin Maker: Finding a Centuries-Old Tradition in a Brooklyn Workshop

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Sam Zygmontowicz is one of the great contemporary violinmakers, and John Marchese has more than done him justice in describing the process of his making a violin (for the Emerson String Quartet's first violinist, Gene Drucker). In the process, Marchese takes us not only into Zyg's studio, but also to Cremona, the birthplace of the violin in its modern form (in the 1560s) and the home of the three greatest families of violinmakers--Amati, Stradivari, and Guarneri. In addition, Marchese reports on his meetings with Drucker, who commissioned the violin, and on Drucker's reaction to his new instrument--which complements the Strad on which he had been playing but cannot, in his opinion, fully replace it.

The author gets to the heart of violin making by studying the work of a modern master. The trip to Cremona is a nice feature of the book, along with the interview with the customer for whom the featured violin is being crafted. I'd love to see a documentary film that parallels this book, with Marchese directing. The references for further reading will help a reader who's inspired by Marchese's book to pursue the study of violin fact and violin mythology.

My son, now 17 has been playing his Great-Great Grandfather's violin for 8 years. Though I love how he plays, he feels he needs a replacement. I didn't know much about violins, so... my first step was to read about it. I picked up John Marchese's book for many reasons, one of which was to get a feel for what we should be looking for with the replacement. I was thrilled at how the book was written, the information it contained and the "easy read" of it. It gives great credit to Sam Zygmuntowicz along with all of those who work to create the magical boxes. I enjoyed it and it definitely had influence on how we will proceed with my son's next violin. Thank You.

It's very hard to write a book about someone else carving a violin and make it interesting reading for the general public, but John Marchese has done it. His book pulls the reader in by weaving three stories together in a compellingly artful way: the story of his own unfolding understanding of violins and violinists; a restrained description of the making of a violin; an exploration of a violinist and his desire for ideal tone. This is the tale of a master carver, Sam Zygmuntowicz, and a concert violinist, Eugene Drucker (of the Emerson String Quartet), in their collaborative efforts to create a perfect violin. Marchese's style of writing is fun to read, and propels the reader from chapter to chapter effortlessly and satisfyingly--he manages to balance the three stories evenly. (Is it my imagination, or is this unusually narrow book itself based on the proportions of a violin? Just one more thing to add to the physical enjoyment of reading the book!) Rather than focusing too much on technical details of violin making (he kindly refers interested readers to several books that cover this territory), he merely opens a window into the quirky world of a single violin maker's studio, describing the most interesting aspects of the work (the selection of wood, the `secrets' of varnishing) with verve and wit. Likewise, in describing the professional violinist's relationship with sound and with instruments, he has deftly painted a portrait of a single artist, but one whose search for the `right' instrument surely represents the experiences of other instrumentalists. This book is a perfect companion to Toby Faber's "Stradivari's Genius." Without much mental strain, readers will come away from this book with a pretty clear understanding of the complexities of making and playing what he calls at one point "the magical box."

I am happy to reccomend this fine book which answers many questions about the art and craft of string instrument making. The violin in question is for Eugene Drucker and we learn of his his needs as a great violinist.He compares it to his old Italian Masterpiece. Why does he wants this instrument? We see the needs of each of the parties involved. I also have applauded Mr. Drucker's first novel - "The Savior" in another Amazon review.My only other comment is that this same book is published in paperback under a slightly different title- The Violin Maker: A Search for the Secrets of Craftsmanship, Sound, and Stradivari (P.S.) by John Marchese - I almost bought it to read more. (Enjoy either edition.)

Very well written- get's the heart of what it takes to be one of the best at your craft. I especially like the fact Sam (like all artists and craftsmen) needs to be inspired to "create." It's nice to know those special people are not much different than you and I. We all have self-doubts, we all need to be reassured...yet well need to press forth and create.

This is a very entertaining book which provides a peek into the passion of those who play, make, and sell violins. In addition, it provides both facts and folklore about the history and the culture surrounding classic violins made in the 1600s and 1700s by Stradivari and others, especially why or why not the performance might be equaled by a violin made in current times. The author tracks for a year or so the work of Sam Zygmontowicz, a master violin maker working in a Brooklyn workshop on a violin commissioned by Eugene Drucker, first violinist of the Emerson String Quartet. Along the way, he interacts with Drucker and with a business man who specializes in classic violins and even visits regions in Italy where the classics were made. The author's description of an organized identification test where violins, classic and modern, are played out of sight and with no description (other than the sound)is especially enlightening. The author takes us easily through these diverse scenes including the quirky parameters, such as wood and finish, which help determine a violin's value.

This is a gift for our grandson who is an accomplished violinist and at one point in his life (11 yrs. old) attempted to construct a violin. We know that he will enjoy reading this book.