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The Piano Shop on the Left Bank: Discovering a Forgotten Passion in a Paris Atelier (英語) ペーパーバック – 2002/3/12

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内容紹介

Walking his two young children to school every morning, Thad Carhart passes an unassuming little storefront in his Paris neighborhood. Intrigued by its simple sign—Desforges Pianos—he enters, only to have his way barred by the shop’s imperious owner. Unable to stifle his curiosity, he finally lands the proper introduction, and a world previously hidden is brought into view. Luc, the atelier’s master, proves an indispensable guide to the history and art of the piano. Intertwined with the story of a musical friendship are reflections on how pianos work, their glorious history, and stories of the people who care for them, from amateur pianists to the craftsmen who make the mechanism sing. The Piano Shop on the Left Bank is at once a beguiling portrait of a Paris not found on any map and a tender account of the awakening of a lost childhood passion.

Praise for The Piano Shop on the Left Bank:


“[Carhart’s] writing is fluid and lovely enough to lure the rustiest plunker back to the piano bench and the most jaded traveler back to Paris.”
San Francisco Chronicle

“Captivating . . . [Carhart] joins the tiny company of foreigners who have written of the French as verbs. . . . What he tries to capture is not the sight of them, but what they see.”
The New York Times

“Thoroughly engaging . . . In part it is a book about that most unpredictable and pleasurable of human experiences, serendipity. . . . The book is also about something more difficult to pin down, friendship and community.”
The Washington Post

“Carhart writes with a sensuousness enhanced by patience and grounded by the humble acquisition of new insight into music, his childhood, and his relationship to the city of Paris.”
The New Yorker

NAMED ONE OF THE BEST BOOKS OF THE YEAR BY THE WASHINGTON POST BOOK WORLD

抜粋

Chapter 1
Luc

Along a narrow street in the paris neighborhood where i live sits a little store front with a simple sign stenciled on the window: “Desforges Pianos: outillage, fournitures.” On a small, red felt-covered shelf in the window are displayed the tools and instruments of piano repair: tightening wrenches, tuning pins, piano wire, several swatches of felt, and various small pieces of hardware from the innards of a piano. Behind the shelf the interior of the shop is hidden by a curtain of heavy white gauze. The entire façade has a sleepy, nineteenth-century charm about it, the window frame and the narrow door painted a dark green.

Not so many years ago, when our children were in kindergarten, this shop lay along their route to school, and I passed it on foot several times on the days when it was my turn to take them to school and to pick them up. On the way to their classes in the morning there was never time to stop. The way back was another matter. After exchanging a few words with other parents, I would often take an extra ten minutes to retrace my steps, savoring the sense of promise and early morning calm that at this hour envelops Paris.

The quiet street was still out of the way and narrow enough to be paved with the cobblestones that on larger avenues in the city have been covered with asphalt. In the early morning a fresh stream of water invariably ran high in the gutters, the daily tide set forth by the street sweepers who, rain or shine, open special valves set into the curb and then channel the flow of jetsam with rolled-up scraps of carpet as they swish it along with green plastic brooms. The smell from la boulangerie du coin, the local bakery, always greeted me as I turned the corner, the essence of freshly baked bread never failing to fill me with desire and expectation. I would buy a baguette for lunch and, if I could spare ten minutes before getting to work, treat myself to a second cup of coffee at the café across the street from the piano shop.

In these moments, stopping in front of the strange little storefront, I would consider the assortment of objects haphazardly displayed there. Something seemed out of place about this specialty store in our quiet quartier, far from the conservatories or concert halls and their related music stores that sprinkle a select few neighborhoods. Was it possible that an entire business was maintained selling piano parts and repair tools? Often a small truck was pulled up at the curb with pianos being loaded or unloaded and trundled into the shop on a handcart. Did pianos need to be brought to the shop to be repaired? Elsewhere I had always known repairs to be done on site; the bother and expense of moving pianos was prohibitive, to say nothing of the problem of storing them.

Once I saw it as a riddle, it filled the few minutes left to me on those quiet mornings when I would walk past the shop, alone and wondering. After all, this was but one more highly specialized store in a city known for its specialties and refinements. Surely there were enough pianos in Paris to sustain a trade in their parts. But still my doubt edged into curiosity; I saw myself opening the door to the shop and finding something new and unexpected each time, like a band of smugglers or an eccentric music school. And then I decided to find out for myself.

I had avoided going into the shop for many weeks for the simple reason that I did not have a piano. What pretext could I have in a piano furnisher’s when I didn’t even own the instrument they repaired? Should I tell them of my lifelong love of pianos, of how I hoped to play again after many vagabond years when owning a piano was as impractical as keeping a large dog or a collection of orchids? That’s where I saw my opening: more settled now, I had been toying with the idea of buying a piano. What better source for suggestions as to where I might find a good used instrument than this dusty little neighborhood parts store? It was at least a plausible reason for knocking.

And so I found myself in front of Desforges one sunny morning in late April, after dropping off the children down the street. I knocked and waited; finally I tried the old wooden handle and found that the latch was not secured. As I pushed the door inward it shook a small bell secured to the top of the jamb; a delicate chime rang out unevenly, breaking the silence as I swung the door closed behind me. Before me lay a long, narrow room, a counter running its length on one side, and along the facing wall a row of shelves laden with bolts of crimson and bone-white felt. Between the counter and the shelves a cramped aisle led back through the windowless dark to a small glass door; through it a suffused light shone dimly into the front of the shop. As the bell stopped ringing and I blinked to adjust my eyes, the door at the back opened narrowly and a man appeared, taking care to move sideways around the partly opened door so that the view to the back room was blocked. “Entrez! Entrez, Monsieur!” He greeted me loudly, as if he had been expecting my visit; he looked me up and down as he made his way slowly to the front of his shop. He was a squarely built older man, probably in his sixties, with a broad forehead and a massive jaw that was fixed in a wide grin; the eyes, however, did not correspond to the mouth. His regard was intense, curious, and wholly without emotion. I realized that the smile was no more than his face in repose, a somewhat disquieting rictus that spoke of neither joy nor social convention. Over his white shirt and tie he was wearing a long-sleeved black smock that hung loosely to his knees and gave him a formal yet almost jaunty appearance, like an undertaker on vacation. This was clearly the chef d’atelier, wearing a more sober version of the deep-blue cotton smocks that are the staple of craftsmen and manual laborers throughout the country.

We shook hands, the obligatory prelude to any dealings with another human being in France, and he asked how he could be of help. I explained that I was looking to buy a used piano and wondered if he ever came across such things. A slight wrinkling of his brow suggested that my question surprised him; the smile never varied, but I thought I detected a glint in his eyes. No, he was sorry, it was not as common as one might think; of course, once in a great while there was something, and if I wanted to check back no one could say that with a stroke of luck a client might not have a used piano for sale. Both disappointed and puzzled, I couldn’t think of how to keep the conversation going. I thanked him for his consideration and turned to leave, casting a last glance at the ceiling-high shelves behind the counter stuffed with wooden dowels, wrenches, and coils of wire. As I pulled the door behind me he turned and headed toward the back room once again.

I returned two, perhaps three times in the next month and always the reaction was the same: a look of perplexity that I might consider his business a source of used pianos, followed by murmured assurances that if ever anything were to present itself he would be delighted to let me know. I was familiar enough with the banality of formal closure in French rhetoric to recognize this for what it was: the brush-off. Still I persisted, stopping by every few weeks out of sheer doggedness and curiosity. I was just about to give up hope when a development changed the equation, however slightly. On this occasion, as before, my entry set off the little bell and the door at the back of the shop opened a few moments later. But instead of the black-smocked patron there appeared a younger man—in his late thirties, I guessed—wearing jeans and a sweat-soaked T-shirt. His face was open and smiling, and ringed by a slightly scruffy beard that gave him the look of a French architect. More surprising than the new face was the fact that he left open the door to the back room; as he walked toward me I peered over his shoulder for a glimpse of what had so long intrigued me.

The room beyond was quite long and wider than the shop, and it was swimming in light pouring down from a glass roof. It had the peculiar but magical air of being larger on the inside than the outside. This was one of the classic nineteenth-century workshops that are still to be found throughout Paris behind even the most bourgeois façades of carved stone. Very often the backs of buildings were extended to cover part of the inner courtyard and the space roofed over with panels of glass, like a giant greenhouse. I took this in at a glance and then, in the few seconds left to me as he made his way along the counter, I realized that the entire atelier was covered with pianos and their parts. Uprights, spinets, grands of all sizes: a mass of cabinetry in various tones presented itself in a confusion of lacquered black, mahogany, and rich blond marquetry.

The man gestured with his two dirty hands to excuse himself and then, as is the French custom when hands are wet or grimy, he offered his right forearm for me to shake. I grasped his arm awkwardly as he moved it up and down in a parody of a shake. I explained that I had stopped in before and was looking for a good used piano. His face broke out in a smile of what seemed like recognition. “So you’re the American whose children go to the school around the corner.”

I accepted this description equably and asked how he had known. It didn’t surprise me that in the close-knit neighborhood he was aware of a foreigner who daily walked down his street even though we had never met.

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  • ペーパーバック: 304ページ
  • 出版社: Random House Trade Paperbacks; Reprint版 (2002/3/12)
  • 言語: 英語
  • ISBN-10: 0375758623
  • ISBN-13: 978-0375758621
  • 発売日: 2002/3/12
  • 商品パッケージの寸法: 13.2 x 1.5 x 20.3 cm
  • おすすめ度: 5つ星のうち 5.0 3件のカスタマーレビュー
  • Amazon 売れ筋ランキング: 洋書 - 79,040位 (洋書の売れ筋ランキングを見る)
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アメリカ人は前庭の広い家、フランス人は中庭のある家、こんな風に例えた人がいます。アメリカ人は取っつきやすく、前庭という部分では幾らでも人と付き合えるが、ドアから中すなわち本当の自分はなかなか見せてくれない。一方フランス人は取っつきは悪いが、いったんドアから中に入ると素晴らしい中庭がある。
著者はアメリカ人らしくないアメリカ人。彼が極めてフランス人的なピアノ修理の店を訪れるところから話は始まる。この朝の情景は実に良く描けていて、歩道脇を流れる水の音が聞こえてくるほどだ。
ここに登場するフランス人は皆一様に静かな雰囲気を湛えている。そこから外れそうな人でもなぜか雰囲気は静かなままだ。このあたりの描写をとらえられれば、この本はあなたのものになります。
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この本は、2002年の夏にイギリスを2週間旅行している時に読み始めました。ロンドン、ケンブリッジ、エジンバラ、リバプールと旅しながら、時々インターネット・カフェに入って、日本の知人とメールをやりとりしながらの一人旅でした。旅の日程も中ほどに差し掛かったころ、日本からのメールで教えられたのがこの本でした。エジンバラの書店で買い求め、すぐに読み始めました。歩き疲れてお茶をしている時や、寝る前の時間、またリバプールでビートルズゆかりの地を巡りながら暇な時間に読んでいました。私はクラシックが好きで、ピアノを習ったこともわずかながらあるので、とても興味深く読めました。印象的だったのは、ピアノを調律したり、修理したりするときにしか見ることの出来ない「落書き」のことでした。中には100年以上前に製作された逸品の裏側に、様々な人々が書き込みをしている場合もあるようです。また、最後に、実在するモデルを探そうなんてことはしないで欲しいと、断り書きがしてあるのも、ほのぼのとしていました。でも、きっとこの本を読んだ多くの人が工房を訪れたことでしょう。
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5つ星のうち 5.0 Thad Carhart understands what it is to love a piano. 2017/4/15
投稿者 truman bratton - (Amazon.com)
形式: ペーパーバック Amazonで購入
For anyone who has ever been attached to a piano--that lumbering piece of furniture that becomes whatever you make of it--this is a must-read. I was influenced in my love of pianos by my mother, who talked for years about saving up for a Wurlitzer spinet, and she did it! It was her pride and joy. It was my babysitter during summers alone at home when there really wasn't anything else to do.

Because my mother's mother was a strict music teacher, and because my mother was a very shy child, her mother would not teacher her to play because she couldn't be brave enough to count out loud. Her mother being over-strict, mine refused to push me. And of course, I wish she would have. But the piano was my playmate, and I slowly worked my way through a few inappropriately difficult pieces over the summers. I have never become an accomplished player, but I do love playing "at" piano on this one that is more than I ever deserved.

Carhart's story resonates with those of us who's hearts have bonded with a piano. Pianos are ridiculously complex and delicate or sturdy, whichever way they are personally inclined. They can be had for almost no money when somebody needs to get rid of a piano. I paid $300 for the piano in 1969, and probably $3000 in moving and tuning over the years. My 1920s Blasius & Sons upright grand, which I've had for 48 years, has been moved, stored, and moved at least 10 times. It is a trouper, and it can still be tuned to concert pitch.

It is about to become the property of the local ragtime festival, and I can't wait to hear its destiny fulfilled by being played by worthy musicians. I will be standing around awaiting their praise as if it were an only child. I will strive to be rational. This piano is also a favorite of our 11-yr-old grandson, who is against the notion of moving it on. I have campaigned the notion of "stewardship," saying that this piano is bigger than the two of us and that it has a destiny to fulfill. Together, we recorded our names and dates inside the lid yesterday, inspired by Carhart's story. Thank you, Thad! I am buying several copies to share with friends.
2 人中、2人の方が、「このレビューが参考になった」と投票しています。
5つ星のうち 5.0 A Love Story 2015/3/1
投稿者 Viajero de La Jolla - (Amazon.com)
形式: ペーパーバック Amazonで購入
“Good Americans, when they die, go to Paris.”

For many a Francophile American (this reviewer included), the above often-quoted but just-as-often-misattributed saying never fails to provoke an irrepressible smile. I have never met Thad Carhart, but if I did, I would bet him that he was smiling the whole time he wrote this book.

In contrast to David McCullough’s opus "The Greater Journey: Americans in Paris," Carhart’s approach is deeply personal. He focuses on a small part of the French way of life, as if peeking through the door left ajar at the atelier. This focus, along with Carhart’s conversational style, pulls the reader into a magical world through Carhart’s eyes. And that is what makes this book special among a dolly-full of breathlessly adoring but otherwise unremarkable books about the history, places, and residents of Paris.

Carhart keeps up the intellectuality of the topic, but never condescends to the reader nor does he show off. However, his respectful humility at times becomes slightly repetitive and slows down the tempo of his prose. Carhart also seems to put himself down too harshly when recalling his childhood experience. Yet these small blemishes are all too understandable: how many of us have secretly deemed ourselves “unworthy” of the sudden attention of a high school crush, or have mumbled nonsense when star-struck? Carhart’s book, at its core, proves lost love can be found again, even if it takes walking into a dusty-looking piano shop on the left bank.
5つ星のうち 5.0 Made me appreciate pianos and pianists 2014/5/4
投稿者 NewportNic - (Amazon.com)
形式: Kindle版 Amazonで購入
This book explained to me WHY people are so serious about their pianos, even if they don't play well. I don't play, and have no musical abilities, but my mother was a good pianist and my husband tries. The author is a very good writer and shows much curiosity and sensibility about pianos. Mother left me her 7ft Steinway when she died, and I was not thrilled, feeling I would rather have money. She left everything else to my sister. I was very angry. After reading this book, it made me understand how she felt about her piano, and what a precious item it was to her, and what a nice thing it is to have at home with my husband playing. It really made me appreciate the gift and pianos overall. I loved this book so much that I have passed it on as a gift to my husband and my serious piano-playing friends.
2 人中、2人の方が、「このレビューが参考になった」と投票しています。
5つ星のうち 4.0 Quiet and engaging 2015/6/6
投稿者 Scott G. P. Morrison - (Amazon.com)
形式: Kindle版 Amazonで購入
The Piano Shop is a quiet,but engaging story of Thad's reintroduction to playing the piano. He develops through his friendship with the local piano shop owner, Luc, friends in his Paris neighborhood, and an insatiable curiosity about pianos in general. What I learned was how individual each piano is and how that impacts the music.
2 人中、2人の方が、「このレビューが参考になった」と投票しています。
5つ星のうち 4.0 a loving portrait of Paris culture and music 2013/11/10
投稿者 R. Torres - (Amazon.com)
形式: Kindle版 Amazonで購入
I no longer play the piano. Childhood lessons of rote scales and boring piano primer songs were abandoned at an early age. This book makes me wish that I kept with it and makes me feel guilty about the Wurlitzer upright.collecting dust in the family home.

I have traded it in for my own obsession, however, and this book gives a great portrait of rediscovering the appreciation for older instruments and machines. I may not be a musician( but that is of little matter. This book isn't about just the piano, but rather for loving things and creativity for your own sake.

a really nice read and I would recommend it for those whose creativity and passion need a gentle prodding.
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