The recordings by the Emerson Quartet on Deutsche Grammophon are extensive, and all are worth listening to. Those I used most were Mendelssohn: The Complete String Quartets Mendelssohn: The Complete String Quartets (2005), which includes a doc.u.mentary video on the recording of the Octet; (2005), which includes a doc.u.mentary video on the recording of the Octet; Bach: The Art of the Fugue Bach: The Art of the Fugue (2003); (2003); Beethoven: The Late Quartets. Beethoven: The Late Quartets.

Glossary THE MAIN PARTS OF A VIOLIN:.

Back. The underside of the The underside of the sound box sound box, usually made of maple, sometimes one piece, but most often two pieces joined lengthways. The back is slightly arched, and the pattern of the wood is a main visual feature of the fiddle.

Ba.s.s-bar. A carefully carved rod of spruce that is glued to the inside of the violin A carefully carved rod of spruce that is glued to the inside of the violin top top, on the ba.s.s side of the bridge bridge.

Belly. (also Front or Top) The upper side of the (also Front or Top) The upper side of the sound box sound box. It is almost always made of spruce in one, or two, joined pieces, arched and carefully graduated in thickness. Two f-holes f-holes are cut into it. are cut into it.

Block. Carved pieces of softwood-often spruce or willow-glued inside the Carved pieces of softwood-often spruce or willow-glued inside the sound box sound box to support the to support the ribs ribs and hold them in place. and hold them in place.

Bridge. An elaborately carved, thin piece of wood with two feet that rest on the belly and four small slots on top that hold the strings, whose tension keeps the bridge in place. An elaborately carved, thin piece of wood with two feet that rest on the belly and four small slots on top that hold the strings, whose tension keeps the bridge in place.

F-holes. Two holes cut into the violin belly on either side of the bridge in the shape of cursive Fs. They allow air carrying the violin's sound to escape from the Two holes cut into the violin belly on either side of the bridge in the shape of cursive Fs. They allow air carrying the violin's sound to escape from the sound box sound box.

Fingerboard. A long piece of ebony that is attached to the A long piece of ebony that is attached to the neck neck, running most of the length of the strings. It supplies a surface against which the violinist's fingers can press the strings to change pitch.

Neck. A carved piece, usually maple, attached at its bottom to the violin sound box sound box and at its top holding the and at its top holding the pegbox pegbox for string tuning and the decorative for string tuning and the decorative scroll scroll.

Pegbox. A small carved wooden box at the top of the neck, into which are inserted four pegs that hold one end of the strings and allow for tuning the instrument. A small carved wooden box at the top of the neck, into which are inserted four pegs that hold one end of the strings and allow for tuning the instrument.

Purfling. A narrow inlaid band of three wood strips-the outer two dark and the inner light-that runs just inside the border edge of the belly and back. It is decorative but also serves to protect the edges and control cracks. A narrow inlaid band of three wood strips-the outer two dark and the inner light-that runs just inside the border edge of the belly and back. It is decorative but also serves to protect the edges and control cracks.

Ribs. Usually six strips of thin maple that form the curving sides of the Usually six strips of thin maple that form the curving sides of the sound box sound box, connecting the belly and back.

Scroll. The ornamental carved piece at the top of the neck, traditionally done in a nautilus-like spiral. The ornamental carved piece at the top of the neck, traditionally done in a nautilus-like spiral.

Sound box. The resonant chamber formed by the belly, back, and ribs. The resonant chamber formed by the belly, back, and ribs.

Sound post. A rod of wood, usually spruce, that is wedged into the A rod of wood, usually spruce, that is wedged into the sound box sound box, under one foot of the bridge. Its function is to transfer vibration from the belly to the back, and its minute movement-called an adjustment-can significantly change the sound of the fiddle and its feel to the violinist.

About the Author.

A musician and award-winning journalist, J JOHN M MARCHESE is the author of is the author of Renovations: A Father and Son Rebuild a House and Rediscover Each Other Renovations: A Father and Son Rebuild a House and Rediscover Each Other. He lives in New York City and in New York's Catskill Mountain region.

Visit www.AuthorTracker.com for exclusive information on your favorite HarperCollins author.

Praise for for The Violin Maker "An impa.s.sioned account...shows what magic is secretly being practiced behind many nondescript doors."

-New York Times "Marchese is engaging and funny, and he uses his substantial skill to tell a story worthy of his subjects. They, in turn, are generous collaborators, allowing us a close look at the pa.s.sion that drives their lives. As a reader, I'm satisfied. I've moved through a world of acoustic geeks and pa.s.sionate artists, and I emerge feeling smarter and pleased to have been treated to a story so well told."

-Newsweek "A deeply descriptive and appreciative look at a slow, exacting craft. Marchese is a skilled writer."

-USA Today "This story of a gifted craftsman and a demanding client strikes a high note, with rich overtones on the themes of art, creation, and the power of music.

-Entertainment Weekly "A beguiling journalistic meditation on the links-and tensions-between art, craft, and connoisseurship."

-Publishers Weekly "You don't have to be a fiddler or a musician to enjoy this small gem of a book. If you have even a modic.u.m of interest in extraordinary human abilities, you are in for a fine, informative read."

-Santa Fe New Mexican "In an increasingly plastic and automated world, The Violin Maker The Violin Maker shows that function and beauty must still flow from the hands of a man. Well researched.... The lasting feeling left by shows that function and beauty must still flow from the hands of a man. Well researched.... The lasting feeling left by The Violin Maker The Violin Maker is an appreciation for the ability and dedication of a man working with his hands." is an appreciation for the ability and dedication of a man working with his hands."

-Hartford Courant "An edifying adventure from hewn log to work of art. Readers will be as eager as the author and the luthier to know if it satisfied the violinist. On-pitch reporting doc.u.ments an inspiring craft."

-Kirkus Reviews "Honest, witty, and dramatic. Marchese writes with genuine fascination. The results are provocative yet highly sympathetic. A thoroughly gripping read."

-Strad "Informative. Insights [into] why cla.s.sical music's most a.n.a.lyzed instrument retains so many mysteries."

-San Diego Union-Tribune "Entertaining.... [Marchese] shows a talent for engaging turns of phrase, and his accessible style and dry humor commingle well."

-Library Journal "In exploring the relationships to one another of Antonio Stradivari of Cremona, Sam Zygmuntowicz of Brooklyn, Eugene Drucker of Manhattan, and a violin made of spruce and maple, Marchese corrals the acoustics and technology of violin building, the love of violin making, and the history of seventeenth-century Italian violins into one book. Like The Piano Shop on the Left Bank The Piano Shop on the Left Bank, this exploration of the lore of musical instrument manufacture is easy, entertaining, and uniquely informative reading."

-Booklist "A fascinating and engaging story about musicianship as well as the art of the violin maker. This book is a treat."

-Decatur Daily "In our flimflam, fast-food world of convenience, it's exhilarating to learn that the old-timey craft of violin making still exists in Brooklyn. John Marchese, one of our best literary journalists, explores the life of colorful Sam Zygmuntowicz, a retro perfectionist with the delicate artistic fingers of Antonio Stradivari. The Violin Maker The Violin Maker is a magical, profound, and elegant look at the continued need for high quality in our throwaway society." is a magical, profound, and elegant look at the continued need for high quality in our throwaway society."

-Dr. Douglas Brinkley, professor of history at Rice University and author of The Great Deluge The Great Deluge "n.o.bly upholding and carrying forth the tradition of John McPhee and Tracy Kidder, John Marchese chronicles the extreme craftsmanship and sharp-edged personality of a world-cla.s.s craftsman. Between the lines, he wittily deconstructs the capacious lore of violin making, from Stradivari to the twenty-first century. Readable and engaging from the downbeat to the coda."

-Ben YaG.o.da, author of About Town: About Town: The New Yorker The New Yorker and the World It Made and the World It Made and and When You Catch an Adjective, Kill It: When You Catch an Adjective, Kill It: The Parts of Speech, for Better and/or Worse

Also by John Marchese

RENOVATIONS: A FATHER AND SON.

REBUILD A HOUSE AND.

REDISCOVER EACH OTHER.

1 Guadagnini was a late contemporary of Stradivari who was long (and wrongly) thought to have been an apprentice of the master. He died in 1786, one of the last of the great violin makers of the period. Guadagnini was a late contemporary of Stradivari who was long (and wrongly) thought to have been an apprentice of the master. He died in 1786, one of the last of the great violin makers of the period.

2 Lupot worked in Paris in the nineteenth century and was strongly influenced by the rediscovery of Stradivari's work after nearly a century of obscurity. Lupot worked in Paris in the nineteenth century and was strongly influenced by the rediscovery of Stradivari's work after nearly a century of obscurity.

3 In the Guarneri family of violin makers, Giuseppe, the father of the man who became known as "del Gesu," signed his fiddles in tribute to In the Guarneri family of violin makers, Giuseppe, the father of the man who became known as "del Gesu," signed his fiddles in tribute to his his father, "son of Andrea." father, "son of Andrea."

4 Francais was from a family of French violin makers and dealers. He emigrated and set up shop in New York. His partner was Sam Zygmuntowicz's mentor, the restoration expert Rene Morel. Francais was from a family of French violin makers and dealers. He emigrated and set up shop in New York. His partner was Sam Zygmuntowicz's mentor, the restoration expert Rene Morel.

5 Around that same time Galileo ordered through a priest a Cremonese violin for his nephew. There is a funny series of letters from the cleric to the scientist explaining with mounting apologies why it is taking so long to get the fiddle and how come the price keeps going up. The more things change... Around that same time Galileo ordered through a priest a Cremonese violin for his nephew. There is a funny series of letters from the cleric to the scientist explaining with mounting apologies why it is taking so long to get the fiddle and how come the price keeps going up. The more things change...

6. Schneider's violin was returned months later by some rock musicians who'd taken the same taxi later that day. When asked how he felt being reunited with his fiddle, the violinist didn't bother trying to use words; he picked up the del Gesu and played Bach. Schneider's violin was returned months later by some rock musicians who'd taken the same taxi later that day. When asked how he felt being reunited with his fiddle, the violinist didn't bother trying to use words; he picked up the del Gesu and played Bach.