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Rose Tremain deserves a Hallelujah chorus dedicated just to her: a decade after the appearance of
Restoration--and with a range of stunning novels and short story collections before and after it--now comes her glorious and enthralling
Music and Silence.
This treasure house of delights, as haunting as it is pleasurable, teems with characters, real and imagined; with intrigues, searches, betrayals, in vivid scene after scene which loop in and out, back and forth, like overlapping and repeated chords.
King Christian IV of Denmark is, in the year of 1630, living in a limbo of fear and rage for his life, his country's ruin, and his wife's not-so-secret adultery. He consoles himself with the weaving of impossible dreams and with music--played by his Royal Orchestra in the freezing cellar at Rosenborg while he listens in his cosy Vinterstue above. Music, he hopes, will create the sublime order he craves. Kirsten, his devious wife, is a continual maker of Beautiful Plans to outwit, avenge, feed her greed. And she detests music.
The awkward duty of assuaging the King's miseries falls to his English lutenist, Peter Claire, his "Angel", whilst Emilia Tilsen must bend to Kirsten's every whim. Yet what Peter and Emilia seek is each other, largely in silence both necessary and cruelly imposed. Other stories, each of them full of fabulous and often joyful and witty invention, intertwine through the Royal Court's machinations: the King's mother who hoards her gold in secret; his boyhood friend, Bror, a tormenting memory; the villagers who suffer and wait in the frozen Numedal; Emilia's mute young brother Marcus. And in Ireland, Johnnie O'Fingal, once a kind father and husband, is driven mad by hearing music of utter divinity in his dreams, but which neither he nor Peter Claire can make earthbound. His devoted but spirited wife has distracted herself with Claire, but now finds herself rejected. Palpable with desire and longing, this extraordinary narrative builds its grand themes in storytelling that is both profound and wonderfully satisfying. --Ruth Petrie
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Amazon.com
Rose Tremain deserves a hallelujah chorus dedicated to her alone. A decade after the appearance of
Restoration, with its superb evocation of the British baroque, comes her glorious and enthralling
Music and Silence. Like the earlier novel, this one is a treasure house of delights--as haunting as it is pleasurable and teeming with real and imagined characters, intrigues, searches, and betrayals. The vivid scenes loop in and out, back and forth, like overlapping and repeated chords in a single, delicious composition.
The year is 1629, and King Christian IV of Denmark is living in a limbo of fear for his life and rage over his country's ruin, not to mention his wife's not-so-secret adultery. He consoles himself with impossible dreams and with music, the latter performed by his royal orchestra in a freezing cellar while he listens in his cozy chamber directly above. Music, he hopes, will create the sublime order he craves. The queen, meanwhile, detests nothing more. The duty of assuaging the king's miseries falls to his absurdly handsome English lutenist, Peter Claire, who resigns himself to his (so to speak) underground success:
They begin. It seems to Peter Claire as if they are playing only for themselves, as if this is a rehearsal for some future performance in a grand, lighted room. He has to keep reminding himself that the music is being carried, as breath is carried through the body of a wind instrument, through the twisted pipes, and emerging clear and sharp in the Vinterstue, where King Christian is eating his breakfast.... He strives, as always, for perfection and, because he is playing and listening with such fierce concentration, doesn't notice the cold in the cellar as he thought he would, and his fingers feel nimble and supple.
Other stories, each of them full of fabulous invention, intertwine with these musical machinations. There is the tale of the king's mother, who hoards her gold in secret; the tormenting memory of his boyhood friend, Bror; and the romance between Peter Claire and the queen's downtrodden maid, Emilia. And while the author paid meticulous mind to her period settings, her take on desire and longing has a very modern intensity to it, as if an ancient score were being performed on a contemporary (and surpassingly elegant) instrument.
--Ruth Petrie
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