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Fair Verona, where we lay our scene...

  • MASTER OF VERONA cover
    These are images of Verona and the surrounding areas, all having to do with the novel The Master of Verona.

July 2008

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Music

Sequel music

Having completed the sequel, I wish to mention music once again. While staples like Peter Gabriel and Tori Amos were often in evidence, this book was finished with the musical aid of two very special, but quite different, contemperaries.

The first is Erich Wolfgang Korngold, the composer of the soundtracks to Errol Flynn's CAPTAIN BLOOD, THE SEA HAWK, and THE ADVENTURES OF ROBIN HOOD. His work on those and other films were the model John Williams used for, well, everything he's done. The rousing opening score, the personal theme for the major characters, the variations on both for action and romantic scenes. I own three collections of Korngold's works, and put them on a constant loop, at random. I was always excited when the score for the great escape from THE SEA HAWK came up, because when those liberated sailors burst into song, well, there's nothing cornier - or better.

The other composer is Benny Goodman. Turning away from the various albums I own, I put on a loop of his radio broadcasts. It's amazing - Krupa on drums, the Trio, the Sextet, the full orchestra, varying singers each week, with even Benny himself joining in. While the staples like Is Everybody Happy, In The Mood, et al are there, it's delightful to hear his Jingle Bells, Bobwhite, It Comes Out Here, and a dozen other popular tunes of the late thirties, as interpreted by the Goodman crew.

Thanks to these two men, the sequel was finished to a rousing and jazzy fashion.

XV - Music for Writing

Ah, sweet, sweet music.

Some writers like to sit in bustling cafes, smoking their cigarillos and drinking coffee and Bailey’s. Some sit outdoors, with the sounds of nature. Some lock themselves away from the smallest pin-drop. Some don’t care what noise surrounds them. And some listen to music.

I am a combination of the last two. If I have been writing for hours, I couldn’t care less what sounds abound. But getting started, when I’m susceptible to the phone ringing or my wife listening to NPR and Air America, I like to put on my headphones and play music just loud enough to drown everything else out.

While I have listened to various and sundry tracks in the years that this book has gestated, there are certain albums that I have to credit with helping me along.

First and foremost, Sting’s Ten Summoner’s Tales. Again and again I would listen to this when nothing else seemed right, and in moments I was having another eight-thousand word day. There are only a handful of perfect albums out there, and they’re always a pleasure to find.

Another perfect album is Peter Gabriel’s Us. So is almost perfect, but Us has a complete balance of style and mood, along with a vibratory grounding that sends me right along.

Third in the list of perfect albums is Paul Simon’s Graceland. Sadly, both Us and Graceland had been my background for my first serious attempt at a novel, and for a long time I connected them with first-person narrative. Not so any more, thankfully, they’re back in rotation.

Then there’s Tori Amos. Dear God, I love her voice. And her piano playing. And her hair. And that she’s friends with Neil Gaiman. And that she understands the power of orange knickers. Anyway, Boys For Pele is incredible. I first heard in on a train on the way to Istanbul – I had bought the cassette in an open market that day because I’d been in Europe for months and had gotten sick of all my music. She will forever be exotic to me.

During my first year of writing I listened to Sinead O’Conner’s Universal Mother quite a bit. Not a perfect album, but it has many great moments.

Unfortunately by the time I was deeply into writing this book I had already overdosed on the amazing, vibrant, brilliant Afro Celt Sound System. These days I make sure to listen in moderation. Nonetheless, Release is the album I want playing when I die.

Out of the pop music world for a moment, John Williams soundtrack for Superman probably got more play than anything else. Then a couple years ago, I got the soundtrack to Master and Commander. Already one of my favorite films – like perfect albums, this one really is a perfect piece of film-making – the score is now one of my standbys.

Another favorite is the entire body of work by the Vince Guaraldi Trio, especially the Peanuts music. It’s summertime music for me, always excepting the Christmas album.

Benny Goodman played a large part in editing the book. The collection called All The Cats Join In is my favorite.

Last year I fell in love with the Black Eyed Peas, especially Monkey Business. Again, it’s probably because it was the only song that wasn’t by Coldplay being played in Italy the summer of 2005. Not that I don’t enjoy Coldplay, but they were on tour in Italy at the time and you couldn’t escape them.

Oddly enough, they were playing in Verona on my birthday. In the Arena Dante had used as the model for Hell. Jan and I looked at each other and said, “Well, if that’s not a sign…” and promptly looked for scalpers.

I have a similar love for Shakira. Long before her hips began lying to me we heard her as we strolled through Verona in 2002. Music is often connected to the places I heard it. When I’m trying to conjure the place, I listen to the music.

For the rest of my background, I listen to a lot of Dar Williams, Moxy Fruvous, Smokey Robinson and the Mircales, the Beatles, Evanescence, Cat Stevens, Martin Sexton, the Nields, Vienna Teng, and U2.

Certainly more than anyone needed to know, but I like to spread the credit around.

And the blame.

- DB

Chapter 3 - The Prince's Near Allies pt. 3

The Abbot of San Zeno was about to continue the argument, but the Capitano had evidently heard enough. Canting his head to one side, he addressed his fool. “This talk of poetry has put me in the mind to hear some. Come, rascal, entertain us briefly before we dine.”

Pietro had met the short clown the night before. Emanuele di Salamone dei Sifoni, better known as Manoello Giudeo, but best known as Manuel the Jew, cynic, bawd, and Master of Revels for my lord Cangrande’s court. He bowed, a comical sight in itself. From somewhere a rebec and bow appeared. A sprightly jig filled the hall. This was not a poem of lofty aims. The Jewish fool hopped in step, causing the bells on his sleeves to ring in time with the music. When he sang it was in the coarsest Veronese dialect:

Indeed a crown

Verona wears,

This trumpet blown

This deed declares!

Warhorse and charger,

Fighting man, banner,

Cuirass and sword,

All a-charging!

Hear the tramp, tramp,

Foot soldiers stamp.

Tramp tramp tramp tramp tramp!

Hear how they go!

As he bellowed, he mimicked the soldiers he sang of and the palisade echoed with roars of approval. He then threw his hips forward and his shoulders back imitating Cangrande’s own stride. The Capitano’s chest heaved and his eyes watered. Even the grizzled Bishop tapped his toe on the marble floor in time with the rhythm. The greyhound by the Capitano’s feet watched the Bishop's toe, ready to pounce.

The falcons caw caw

The hounds grr grr

The greyhounds grr rr rr

So they can have their sport!

Enjoying the song as much as anyone, Pietro looked about to share it with his new friend. Mariotto was standing close to the elder Montecchi. His body language indicated he was put out.

Here are great sports

For all and for few

And I’ve seen a joust

Played with firy swords!

Clapping hands encouraged Emanuele to move in wider and wider circles through the crowd as he rushed about imitating the butting of rams. Dante, politely sitting and gazing out the window, flinched as the jester dashed by.

Pietro slipped away from his father's side to join Mariotto. Sotto voce, he asked, “What's wrong?”

“I’m in trouble. I was supposed to greet the son of another visiting noble as well as you.” He shook his head. “Seems like a –”

Detecting a snobbery that, in truth, didn't surprise him, Pietro said, “Like a what?”

“See for yourself. He’s over there.” He pointed to the burly youth who had been interested in the war discussion. The fellow was obviously enjoying the improvised song, stomping his feet and clapping loudly.

For love is in the hall

Of the Lord of the stair

Where even without wings

I seemed to fly!

“He’s from Capua,” whispered Mariotto. “His father is thinking about relocating the family business here.”

“His family’s in business? I thought –”

“Yes, I know. They are noble. But it's a nobility that cost them.”

“Ah.” Mari didn’t have to say more. The greatest blight on the nobility was the sale of noble titles by kings, popes, and emperors. When a noble died without heir, the local ruler was able to take the defunct title and the land attached and sell it for a profit to any wealthy, ambitious member of the merchant class. They often lived as nobles before nobility was granted them. These gente nuova dressed in noble fashion, kept house, ate, read, traveled exactly as the nobility did. A disgrace to be sure, but a growing practice nonetheless.

There was another side, of course. Though the nobility was loath to admit it, the influx of new blood into their ranks often helped maintain their thinning numbers. Many who were noble today came from ignoble origins – such as the della Scalas. No one was crass enough to ever point that out, though.

“I’m to show him around the city,” said Mariotto.

“You ought to charge a fee.” The attempt at levity fell on young Montecchio’s ears with all the aplomb of a wounded duck. “What if I joined you?”

Mariotto looked up. “Would you? Would your father let you?”

“It might take some doing, but I think I can arrange it.” Pietro grimaced. “We might have to bring my little brother with us.”

Mariotto brightened. “My thanks, nevertheless…,”

The noise rose to a deafening pitch, drowning out Montecchio’s words. The Master of Revels was bringing his song to a crashing end.

And this is the lord

With great valor,

Whose grand honor

Is spread on earth and sea!

Cangrande didn't wait for the accompanying music to stop. He jumped to his feet and embraced the diminutive genius, kissing him on both cheeks. Then he turned to Dante, still unmoved by the revels around him. Eyes twinkling, the Capitano said, “I am astonished that this man who plays the fool has gained the favor of all, while you who are called wise can’t do the same.”

Dante Alaghieri looked up at the Lord of Verona, face devoid of expression. “You should not be astonished that fools find joy in other fools.”

At which Cangrande fell in beside the poet and laughed until he cried.

                               *                      *                      *                      *                      

The lone rider had tears streaming from his eyes when he was stopped by the guards at Verona’s Ponte Pietro, the gate leading east. “Where’s the fire, lad?” asked the captain of the guard.

“I know him,” said the seargent-at-arms. “Muzio. He’s a page to Lord Nogarola’s brother.”

Realizing this might be something serious, the captain of the guard’s tone grew more brusque. “What’s happened?”

The boy couldn’t speak. He reached for a wineskin at his hip but a soldier got to him first with a flask of spirits. The boy coughed, then croaked out his news. “Vicenza. It’s burning!”