Stradivari's Genius

February 14, 2005
One of modern technology's greatest embarrassments is its inability to produce violins with the awesome musical qualities of those made almost 400 years ago by Stradivarius. This engaging appreciation celebrates the maestro's legacy by following the adventures of six of his instruments. Faber, the former managing director of British publishing house Faber and Faber, begins with a short account of Stradivari's life (1644–1737) and methods in the Italian city of Cremona, where violin-making techniques achieved their zenith. As the Cremonese violins passed through the hands of musicians, the instruments' rich tone and penetrating sonic power stimulated a new style of virtuoso violin-playing that held Europe's concert halls enthralled. And as time passed and the violins' value soared, they spawned whole new industries in collecting, appraising, curating and faking them. Faber's stylish account savors Stradivari's marvelous acoustics and the individual personalities of his instruments while exploring the science behind them (X-rays, chemical tests and tree-ring analysis have all been deployed to unlock their secrets) and regaling readers with colorful tales of the musicians who built their careers around them. The result is an illuminating look at an enduring cultural monument. Photos. Agent, Carlisle & Company
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Starred review from March 15, 2005
Faber, a first-time author and scion of the publishing house Faber and Faber, has written a captivating account of the often tangled histories of six celebrated Stradivarius instruments. These complex lineages are presented in roughly chronological order, beginning with the Amati dynasty -the first violin makers of Cremona, Italy, who predate Stradivari by a century -and ending with an up-to-date account of each instrument's present whereabouts. Along the way, Faber treats readers to detailed descriptions of Antonio Stradivari's workshop and methods and the unsuccessful attempts of subsequent luthiers to replicate the enduring quality of a Strad. The jury is still out on what Stradivari's "secrets" were (a thin layer of ash between wood and varnish, or wood soaked in briny water?). Especially impressive is Faber's depth of research, e.g., his meticulous price conversions -not an easy task given the span of centuries and nationalities but crucial in order to appreciate fully the relative worth of Stradivari's instruments over time. Highly recommended for both public and academic libraries. -Larry Lipkis, Moravian Coll., Bethlehem, PA

Copyright 2005 Library Journal, LLC Used with permission.

March 15, 2005
Antonio Stradivari (1644-1737), Cremona's greatest luthier, pioneered the modern shape of the violin. Working from designs begun by Nicolo Amati 100 years earlier, Stradivari built sonically superb, exquisitely crafted instruments meant to last. Faber begins with a brief history of Cremona's luthiers, the biography of Stradivari and his sons, who continued his atelier, and a discussion of Stradivari's innovations. Faber then traces the journeys of five violins and one cello through the hands of famous players from Paganini and Joachim to Marie Hall and Yo Yo Ma, and also of famous dealers, such as W. E. Hill of London and Vuillaume of Paris, who often repaired and, more notoriously, copied many instruments, and continuing until their whereabouts today are accounted for. Perforce, Faber concisely covers three centuries of the performance and ownership of what are considered the finest-sounding stringed instruments ever made. Sadly, private collections and museums own many instruments and keep them unheard. Those whose stories Faber tells so are but five of more than 1,000 instruments from Stradivari's workshop.(Reprinted with permission of Booklist, copyright 2005, American Library Association.)