Page 104 - The Strad (February 2020)
P. 104
BOOKS
penned by his maternal grandson, the Bow’). Reproduced here in full, around the violin – compels the
Philippe Dupuy. It does not attempt this small publication proves reader onwards. e basic premise
to cover the output of the great that Sartory had a profound is the developing relationship
archetier’s work, but instead seeks to understanding of the past makers between the son of a violin maker
paint a picture of Sartory the man, and their work. Dupuy takes us on (Paul), who has an instinctive eye
through letters, writings, postcards a journey through his grandfather’s for quality instruments, and a gifted
and diary notes. e image of Sartory career, with well-photographed student (May), on the lookout for
that develops is charming and pictures of his tools and templates, a violin upgrade.
sometimes surprising. and revealing postcards and letters What particularly impresses is the
Sartory came from a line of violin from some of the world’s most way Spatz enhances musical detail
and bow makers, having trained in prominent makers, dealers and and insight in tandem with the
Mirecourt with his father and under players. e book covers Sartory’s protagonists’ burgeoning feelings for
Léon Mougenot. In the opening gruelling work during World War I; each other. By the time May takes
section, Dupuy uses archival letters to the trips to America and Canada part in a masterclass, Paul begins to
illustrate Sartory’s strong work ethic, to tackle the many cases of fake recognise her not-altogether-easy
penchant for accuracy, and thirst to bows made in his name; his love of personality in her actual playing.
better himself. In 1889, aged just 18, shing; and his obvious aection At one point he notices her resistance
he arrived in Paris, working rst with for his family. to a particular piece of professorial
Charles Peccatte and then Alfred Lamy Sumptuously crafted on very ne advice and how her playing then
to develop his craft and observe their 120-gram Italian paper, the book is appears to go on ‘autopilot’, and how
business skills. We learn how, having a work of art in itself. Such quality he senses ‘the essential core of
established his rst atelier in 1891, makes handling this publication melancholy and rage which he’d
Sartory would take lunches in local a treat. A great team of makers, glimpsed in her playing [...]
restaurants, meeting businessmen researchers and photographers have withdrawing even further under
who showed an interest in him. One all helped to create this treasure of the surface of the music.’ Most of
such encounter led him to invest in a book, which I will be re-reading us know exactly how that feels, even
large stocks of pernambuco. It’s no several times. if we haven’t necessarily expressed it
surprise he was attracting attention: PHILIP BROWN so eloquently.
by 1894 Sartory was winning prizes. Spatz subtly inects his use of
rough the pages of this language throughout so as to suggest
delightful book there are numerous What Could Be Saved: an almost musical ebb and ow, and
discoveries, such as Sartory’s booklet Bookmatched Novellas and Stories tantalises sensually whenever Paul
Historique de L’archet (‘e History of Gregory Spatz comes into contact with May’s violin,
228PP ISBN 9781946482174 as when he notices how ‘wear from
TUPELO PRESS $17.95 her hours of practice dimpled the
ebony’. Readers can rest assured that
One might have thought the idea Spatz has clearly done his homework.
of building a compelling love story At one point he describes a Stradivari
around the highly specialised and copy Paul is inspecting – ‘German,
rareed world of violin making probably. Maybe Czech’ – as
virtually impossible, yet such is possessing a ‘crazed yellow-orange
Gregory Spatz’s exceptional skill varnish that instantly made him
with narrative ow and emotional want to set it back down on the
detailing that What Could Be Saved table.’ I imagine we’ve all been there
M. and Mme Sartory – the rst and longest in this at some point!
in New York in 1945
collection of four stories, all based JULIAN HAYLOCK
102 THE STRAD FEBRUARY 2020 www.thestrad.com
