Read Online An Unfinished Score by Elise Blackwell - Free Book Online

was lucky to get in on a Klimke early. Got one just before they went through the roof.”
    Suzanne signs the story of Marcus Klimke, tells Adele how he models his violas not on Stradivarius dimensions but on Amati: just a bit smaller yet wider across the base. A darker, deeper sound. “Perfect for playing Harold in Italy .”
    “Will I ever go to Italy?” asks Adele, who has been reading about the Venetian canals.
    Suzanne answers in both sign and speech. “I think you’ll go everywhere you want to go, but be careful because everyone says Venice smells bad.”
    “Done!” Doug rosins the bow, holding it by the ebony frog. “And now you must play, even though I don’t have a Klimke on hand for you. Let’s see.…” He peruses the instruments lying on his work table, hanging from the walls and ceiling, in cases on the floor. “Just a minute.”
    Suzanne hears his steps climb the other side of the wall and then move overhead, in the apartment above his shop. He returns in a few minutes, handing a viola to Suzanne as casually as he would pass an umbrella. The instrument’s most unusual feature is its scroll, which is carved to resemble a young woman with large, almond-shaped eyes and a slim waist. But she sees the viola is also notable for the quality of its finish and color—a strangely bright amber.
    “A Stainer replica?” she whispers, her pulse quickening.
    “The real thing. Your hand already knows it. So play us something pretty and don’t tell anyone I let you touch it.”
    “Whose is it?”
    Doug grins. “Lola Viola’s.”
    It was only a week or so ago that Suzanne heard Lola Viola interviewed on the radio, saying, “I traded my real name for real fame” and talking about her new record and her million Twitter followers.
    Doug’s eyes tilt, just barely, toward Adele. He tips his chin at her, looks down, his smile winning against the gravity always dragging at his face. “It’s tuned and everything.”
    Suzanne holds the viola to her chin, the bow to the strings, and opens Mieczyslaw Weinberg’s Second Sonata for Solo Violin. A test for Doug, who listens with head cocked. When she finishes she tells him what a beautiful thing he has let her play.
    “You know the story, right?” he asks. “About Jascha Heifetz? Someone walked up to him and said, ‘What a beautiful violin you have.’ He held it to his ear and said, ‘I don’t hear anything.’”
    “Sometimes it is the player, but the instrument sure helps. I’d never let anyone but you near my viola with a mallet, that’s for certain.” Suzanne tucks her hair behind her ear, bow still in hand. “But you’re stalling. Tell me about the composer.”
    “Let’s see. A deep sadness tempered by innate buoyancy, though some of the sadness was coming from you, I think. So hard to subtract out the performer.” He pauses to make eye contact before continuing. “A man—definitely a man, which makes it easier of course. A man with a deep desire for repair. A taste for the programmatic, possibly because of his time but also maybe because he likes stories or comes from a storytelling culture. Or he uses stories to make sense of his life. A Jew? Definitely listened to Shostakovich, maybe even in person.”
    “Bingo,” Suzanne says. “Family members killed in pogroms and then most of the rest in the Holocaust. Emigrated to Russia, proved remarkably resilient, found some happiness in life and marriage, and mostly avoided trouble for a while.”
    “And Shostakovich?”
    “Loved Shostakovich, who later tried to get him out of jail, but what saved Weinberg was Stalin’s death. He was out in a month. You already knew that stuff, right? You recognized the piece?”
    Doug is already reaching for the Stainer. “Nope. You know me, I don’t know my music history hardly at all. I’m just a technician.”
    “No just about that, but, Doug, you’re all theory these days anyway. Seriously, did you really glean all that from the music