Vivaldi's Virgins: A Novel

The reason that I purchased this book was because I am a long-time fan of baroque music (especially of the early 18th century period), and I had never read any fiction about the subject. It turned out to be a good decision because I enjoyed visualizing the very human side of some of my favorite composers (Vivaldi, Handel, Scarlatti) and also came to understand a bit about the social structure of that era in Venice. The main character, who was the book's narrator, was an engaging person. The story moved swiftly to a manageable and feasible conclusion. And because my undergrad degree is in history I truly appreciated the thorough research the author did into the several subjects of this book.

I really had to give this book - Vivaldi's Virgins - a higher praise than usual. The manuscript was deftly written, the letters and voice of the abandoned girl true to her age and temperament, her musical and emotional growth documented in a most credible way. The novel felt so poetic, yet restrained at the same time. I thoroughly enjoyed the story, feeling very connected as it developed. Language, tension, and a sense of time flowed beautifully as the child sought to discover her origins, and master her own body, mind and spirit through the telling of a time of prejudice against Jews, by Christians. Though the treatment of the Jews of Venice was considerably better than elsewhere, it is obvious that prisons come in many types and styles.

A revealing description of Venice at that time, not so much the buildings as the people living along the canals - the upper class, the lower class and everything in between. Daily life of the virgins residing in the convent, from birth to the "age of freedom" - whenever that happens to be. Who are they, why they are there, do they want to be, and if not, how to leave. Oh yes, of course, Vivaldi! What part does he play in their lives and happiness? If you are a fan of his, you will hear his music in your head as you read.

First I have to say that I could not put this book down.
I love historical novels, especially those that try to weave their story around actual events and people. Ms. quick does that with what appears to be excellent research and sources. Her bibliography is astounding.
The story is woven around a founding s quest to find her parents, or at least her mother. Even though their life is better than that of most other founding from that era, these girls are still girls and they want what everyone else wants, a home, family and to be loved.
Anna Marie de Violina's story is a mystery that she is determined to solve and that determination gets her in lots of trouble, even to the point of losing her beloved music...
Well worth the read. I also now want to learn more about Vivaldi and the city of Venice.

Consider this a 3.5-star rating. This is one of those books that I wish I could rate higher. The writing is evocative, graceful, and precise--in particular it captured what the ability to create music means to a true artist.What's more, the characters are well defined. Ultimately, though, it was a bit of a "so what?"--an enjoyable way to pass the commute and a painless way to learn more about Vivaldi, Venice, and the time period, but not a book that will stick with me long afterward. (And the title is somewhat misleading--I have a feeling it was the publisher's, not the writer's, choice.)

Since I am a fan of classical music, I was drawn to this book about Vivaldi. I knew very little about him and his music except for the famous "Four Seasons." This novel also introduced me to a great violinist of that time, Anna Maria.Vivaldi dedicated sonatas and concertos to her. And I didn't know Handel and Scarlatti were contemporaries of Vivaldi.

It came as a surprise that Vivaldi was a priest. He was called the Red Priest because of his hair color. The novel is mostly about Anna Maria at the time Vivaldi was her teacher at a foundling home. Of course, the author took liberties as a novelist because not much is documented on Anna Maria. But the novelist's story is a wonderful read. I highly recommend this book to people who like period books whether or not they are interested in classical music.

Very interesting. Initially, I read the book because I was curious about Vivaldi's life and then was surprised to learn how the girls became orphans and how little control they had over their own lives. Also did not realize 1) Vivaldi had been a priest, and 2) how that vocation came about. I had an eerie feeling reading the book that it could be a harbinger of what's to come as we move toward Oligarchy and another Gilded Age.

This work of historic fiction takes some liberty with what is not known about Vivaldi and the young women he taught to play violin and his music. It's a fascinating story that starts slow but builds in intensity and complexity of story. The look into Venice centuries ago is fascinating and the detail is amazing. I felt like I was there suffering with the main character through much of it. I highly recommend this as a great read.

Vivaldi's Virgins, a novel by Barbara Quick, is based on current research into Vivaldi's role as a music teacher and composer for the girls orchestra and choir associated with an orphanage in Venice. For a link to the author go to:
[...]

The Ospedale della Pieta, or Hospital of Mercy, was one of four hospitals in Venice that provided care for the indigent, elderly, ill and orphaned. The Pieta was founded in 1346 as a way to provide for the multitude of unwanted infants who were discarded in the canals and streets of the city. Venice was a city with an active 'sex industry', and the resultant babies were often born with syphilis which caused deformities. Ringworm and smallpox were other common diseases that left children deformed.

The Pieta was founded in a tiny house starting with ten children. It grew to accommodate 800 orphans. By the 18th c. babies could be left int a small opening in the wall of the Pieta. The orphans were branded and documented. If they came with tokens for identification, so parents could later claim them, they were noted and preserved. The children were taught trades and crafts. Some children were sent out for adoption. Well off parents also left girls for 'safe keeping' until they reached marriageable age.

Those girls identified with musical skill became musicians and singers for the church choir and orchestra. People would flock to hear the music, especially during Lent when the opera houses were closed.

The girls performed from a gallery, hidden behind openwork metal screens. Although many were not lovely, the music they created transported their audience, who imagined the girls to be beautiful angels. Once grown, the girls taught for two years to repay their keep while growing up. Then some entered the convent. Some were married off. And some remained at the Pieta for life, often playing into their 70s.

Vivaldi was one of a series of musicians employed by the Pieta to teach the students and to write music for performance. Vivaldi was called The Red Priest because of his fiery red hair. He seems to have had little calling for the priesthood, expending his energies in teaching music and writing, including over 500 concertos, many for specific girl musicians. Vivaldi was associated with the Pieta, which was not far from his birth place in Venice, from 1703 until his death in 1741.

The Pieta created mega stars of their time. “Anyone hearing her is transported to Paradise” was written about one of the star violinists, Anna Maria della Violin. Anna Maria was born in 1696 and died at the Pieta in 1697. Vivaldi bought her violin, costing three month's salary, and wrote 37 concertos specifically for Anna Maria. Research by Mickey White shows that Anna Maria played many instruments over her 86 years at the Pieta, including oboe, violin, tiorba, harpsichord, viola d amore, cello and mandolin.

Anna Maria was described as beautiful, with blonde hair, rosy cheeks, fiery eyes and noble features. Barbara Quick's book makes this fiery girl come to life. She does a wonderful job of recreating Venice in 1709 to 1711, incorporating many 'facts' into her narrative in a seamless way. Like the real girls of the Pieta, Anna and her friends rebel, sneak out of the Pieta, and get into trouble. Quick's Anna is flesh and blood.

“Everything was so overheated for me then,” Anna writes looking back to her pre-pubescent years. “I saw signs and portends in the simplest events of every day life, imagining that they all referred to me. I felt barbs where none was meant, and I heard criticism ten times louder than any praise. I felt a sense of closeness to my friends so intense that I couldn't imagine that life would ever have the temerity to part me from them. I understood nothing then.”

I loved the scene where the girls have performed for the King of Denmark and he invites four to attend a ball with him. The girls are dressed in finery and Carnival masks. At the ball Anna sees Scarlatti and Handel, the mega stars of their day. The two musicians face off in a musical duel. Scarlatti is declared King of the harpsichord, and Handel as King of the organ. The women in the audience go wild. Think “Frankie.” Think Elvis. Think Beatlemania. I had never considered Baroque musicians had inspired the same kind of mania as we have in our modern world.

I was shocked to learn that after his death Vivaldi faded into the background for several hundred years. He was considered 'flashy'. His experimentation was unappreciated. His music is very hard to play, not just because of the quickness required but also because his music requires playing with two voices, chords, retuning the strings, and playing simultaneously two notes on two strings.

“Time has a very poor memory. We each of us do what we can to be remembered—but most of us are forgotten.”

Thankfully, researchers like Micky White and writers like Barbara Quick have resurrected the forgotten girl musicians of the Pieta.

For a very nice documentary about the Pieta see [...]

I was drawn to this book for several reasons. I've been entranced by Vivaldi's music for over fifty years. I've known about his connection as teacher to the young girls of the Pieta but not in great detail. A strong female protagonist adds even more to this mix. The author's fictional treatment of this material is excellent in bringing the people and locale
alive. I find it hard to believe a reader would not be drawn right into the emotional lives of these characters.