The Instrumentalist by Harriet Constable review: Music and misogyny in 18th century Venice

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The Instrumentalist by Harriet Constable review: Music and misogyny in 18th century Venice
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A richly eloquent debut novel tells the story of a real-life musical heroine

What happens when a student surpasses their teacher? How about when that student is an orphaned girl, and the teacher is one of 18with richly wrought fictional details, to investigate admiration and resentment, ego and legacy. And while the book is steeped in time and place, it nonetheless sheds light on gender dynamics that will be all too familiar to readers today.

A strong sense of social justice, righting an historical wrong, pulses through the novel – and while fiction with an agenda doesn’t always make for the most interesting prose, Constable’s is as eloquent as Anna Maria’s violin: “ call to her, spell out a melody, demand her to tug them from the air to a manuscript.”

All Constable’s protagonist wants is to be remembered – but for every historical Anna Maria we resuscitate, a corresponding Vivaldi must topple. While the novelConstable’s portrayal of Vivaldi’s insidious appropriation of his students’ work is as disturbing as it is familiar – any woman who has ever found the men around her intimidated by her brilliance, or keen to take credit for it, will relate to Anna Maria’s story.

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