" When he played that violin for us, I thought about his stories and the history he talked of, about paintings I had seen and books I had read. His violin made a smoky, mysterious sound. I heard it in the explosions of chestnuts cooking on a brazier at the edge of a river, and horses clopping across cobblestones in Siena and Florence, and also the rustle of leaves that fell on Garibaldi's troops as they marched. The violin sang 'Roma o morte,' and it wailed for the mountains of dead in an American Civil War across the sea, and for Paris glittering with the Second Empire. It rose and fell with voices reading Victor Hugo aloud by whale oil, and it sang about dynamite, about Ottomans and Englishmen falling under their horses in the Crimea, and the feet of crowds shuffling through international expositions. Above all, Stoyan's violin sang about places - places its maker had been, places the teacher of its maker had been, places its current owner would someday see, and the many, many places where he would someday perform on it. "

― Elizabeth Kostova , The Shadow Land