England, 1923. A gentleman critic named Leslie Shepherd tells the macabre story of a gifted young composer, Charles Jessold. On the eve of his revolutionary new opera’s premiere, Jessold murders his wife and her lover, and then commits suicide in a scenario that strangely echoes the plot of his opera—which Shepherd has helped to write. The opera will never be performed.
Shepherd first shares his police testimony, then recalls his relationship with Jessold in his role as critic, biographer, and friend. And with each retelling of the story, significant new details cast light on the identity of the real victim in Jessold’s tragedy.
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As she prepares dinner for her husband and their extended family, Suzanne hears on the radio that a jetliner has crashed and her lover is dead. Alex Elling was a renowned orchestra conductor. Suzanne is a concert violist, long unsatisfied with her marriage to a composer whose music turns emotion into thought. Now, more alone than she’s ever been, she must grieve secretly. But as complex as that effort is, it pales with the arrival of Alex’s widow, who blackmails her into completing the score for Alex’s unfinished viola concerto. As Suzanne struggles to keep her double life a secret from her husband,
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One of the Washington Post’s Best Books of 2008.
The Cellist of Sarajevo is a gripping portrait of a city under siege, the small acts of humanity that come to renew it, and from the ashes, the rising, redemptive grace notes of one musician.
After witnessing a shelling that takes the lives of twenty-two civilians outside his window, a man decides he will play at the site of the attack for twenty-two days in tribute, to mark their deaths in a city bombarded relentlessly by surprise attacks and sniper fire. Elsewhere in the city,
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Now a major motion picture—”An intimate portrait of mental illness, of atrocious social neglect, and the struggle to resurrect a fallen prodigy.” –Mark Bowden, author of Black Hawk Down)
When Steve Lopez saw Nathaniel Ayers playing his heart out on a two-string violin on Los Angeles’ skid row, he found it impossible to walk away. More than thirty years earlier, Ayers had been a promising classical bass student at Juilliard—ambitious, charming, and also one of the few African-Americans—until he gradually lost his ability to function, overcome by schizophrenia.
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With the same trademark compassion and erudition he brought to The Man Who Mistook His Wife for a Hat, Oliver Sacks explores the place music occupies in the brain and how it affects the human condition. In Musicophilia, he shows us a variety of what he calls “musical misalignments.” Among them: a man struck by lightning who suddenly desires to become a pianist at the age of forty-two; an entire group of children with Williams syndrome, who are hypermusical from birth; people with “amusia,” to whom a symphony sounds like the clattering of pots and pans;
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