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THE VIOLIN

Name: THE VIOLIN
Author: David Schoenbaum
ISBN: 978-0-393-08440-5

A SOCIAL HISTORY OF THE WORLD'S MOST VERSATILE INSTRUMENT

by David Schoenbaum ‧ RELEASE DATE: Dec. 10, 2012

A long and richly textured love letter to an instrument, a tradition and an art.

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Schoenbaum (The United States and the State of Israel, 1993, etc.) writes fondly and expansively about the instrument he plays for pleasure.

Another subtitle for this massive exposition might well be: Everything You Ever Wanted to Know about the Violin—and More. In four sections, the author covers the creation and evolution of the instrument, its marketing and manufacture (from the 16th century), the biographies and skills of many notable players and, finally, how the violin has appeared in art, literature and films. The scope of Schoenbaum’s research is astonishing. He’s seemingly listened to every recording, read every biography and history of every major (and many minor) player and symphony orchestra and chamber group, read every novel with a significant violin presence and seen every TV show and film featuring a violin. He focuses principally on classical players; although he mentions Charlie Daniels, he does not write much about country music, jazz or other popular musical genres—though he does not neglect them entirely, either. He performs an important service to general readers by discussing makers other than Antonio Stradivari, and he enlivens his prose with occasional puns, colorful similes (“other quartets renewed themselves like deciduous trees”), sharp details (Dorothy DeLay had an “elegantly manicured right hand” and unexpected descriptions (he compares the salaries of members of the Cleveland Indians and the Cleveland Symphony). The literary summaries are somewhat excessive, and the many names and details may overwhelm some nonmusical readers.

A long and richly textured love letter to an instrument, a tradition and an art.

Pub Date: Dec. 10, 2012

ISBN: 978-0-393-08440-5

Page Count: 672

Publisher: Norton

Review Posted Online: Sept. 24, 2012

Kirkus Reviews Issue: Oct. 15, 2012

Categories:

GENERAL NONFICTION

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NUTCRACKER

by E.T.A. Hoffmann ‧ RELEASE DATE: Oct. 28, 1996

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This is not the Nutcracker sweet, as passed on by Tchaikovsky and Marius Petipa. No, this is the original Hoffmann tale of 1816, in which the froth of Christmas revelry occasionally parts to let the dark underside of childhood fantasies and fears peek through. The boundaries between dream and reality fade, just as Godfather Drosselmeier, the Nutcracker's creator, is seen as alternately sinister and jolly. And Italian artist Roberto Innocenti gives an errily realistic air to Marie's dreams, in richly detailed illustrations touched by a mysterious light. A beautiful version of this classic tale, which will captivate adults and children alike. (Nutcracker; $35.00; Oct. 28, 1996; 136 pp.; 0-15-100227-4)

Pub Date: Oct. 28, 1996

ISBN: 0-15-100227-4

Page Count: 136

Publisher: Harcourt

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: Aug. 15, 1996

Categories:

GENERAL NONFICTION

- BOOK REVIEW
THE NUTCRACKER AND THE MOUSE KING
by E.T.A. Hoffmann ; adapted by Natalie Andrewson ; illustrated by Natalie Andrewson

- BOOK REVIEW
THE NUTCRACKER
by E.T.A. Hoffmann & illustrated by Julie Paschkis

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TO THE ONE I LOVE THE BEST

EPISODES FROM THE LIFE OF LADY MENDL (ELSIE DE WOLFE)

by Ludwig Bemelmans ‧ RELEASE DATE: Feb. 23, 1955

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An extravaganza in Bemelmans' inimitable vein, but written almost dead pan, with sly, amusing, sometimes biting undertones, breaking through. For Bemelmans was "the man who came to cocktails". And his hostess was Lady Mendl (Elsie de Wolfe), arbiter of American decorating taste over a generation. Lady Mendl was an incredible person,- self-made in proper American tradition on the one hand, for she had been haunted by the poverty of her childhood, and the years of struggle up from its ugliness,- until she became synonymous with the exotic, exquisite, worshipper at beauty's whrine. Bemelmans draws a portrait in extremes, through apt descriptions, through hilarious anecdote, through surprisingly sympathetic and understanding bits of appreciation. The scene shifts from Hollywood to the home she loved the best in Versailles. One meets in passing a vast roster of famous figures of the international and artistic set. And always one feels Bemelmans, slightly offstage, observing, recording, commenting, illustrated.