An Ode to Venice: Piazza San Marco

In my An Ode to Venice series, I’ll be posting pictures and information about my favorite places in Venice, including those that figure into The Violinist of Venice.

For my third An Ode to Venice post – which I know has been a long time coming! – I’ll be talking about what is arguably the center of Venice, Piazza San Marco, or St. Mark’s Square.


One of Venice’s most recognizable and famous landmarks, Piazza San Marco was called at one time “the most elegant drawing room in Europe”. In many ways the center of public life in Venice, this largest public square in the city was where people congregated to meet one another, to do business, and for civic and religious holidays, among other things. The picture above was taken from the balcony of the Basilica di San Marco, which dominates the square, along with its campanile or bell tower.

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Just to the right of the Basilica one can see a corner of the massive Doge’s Palace, the home of Venice’s elected duke as well as the seat of Venice’s government: the palace, which faces the lagoon, also houses the chambers where meetings of the Grand Council, the Senate, and the mysterious Council of Ten took place in Venice’s heyday as an oligarchic republic.

During the seasonal flooding – caused by tides – that Venetians call acqua alta (literally “high water”), the square can be under several feet of water – including the floor of the Basilica and other nearby buildings. The acqua alta typically occurs most often in the winter, though it can happen at other times of the year as well based on the weather. The first time I went to Venice (in mid-May), there had been a big thunderstorm with heavy rain the day before, and the square had flooded. By the time I got there, there were still some big puddles, but nothing extreme.

Today the Piazza San Marco is perhaps Venice’s most densely populated tourist site. Just as it was once where native Venetians would congregate, today it is something of “home base” for tourists, as it contains many of the city’s biggest attractions. There are vendors selling souvenirs every few feet, and cafes rings the piazza’s edges, including the famous Caffe Florian, one of the world’s oldest caffes. In its day it was a hangout for the likes of Giacomo Casanova, Lord Byron, and Charles Dickens. The coffee and food is ridiculously expensive, but it’s worth the experience, in my opinion.

How this location figures into The Violinist of Venice: Piazza San Marco is where Adriana and Vivaldi go for Carnevale entertainments in chapter 25, and indeed the square was host to numerous festivities during Venice’s annual Carnevale, when the populace went about in masks for months at a time, parties happened in every house and on every corner, and all sorts of scandalous and debauched behavior occurred. Later in the novel Adriana returns there with her friends for Carnevale again, at a very different time in her life.

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Story & Song: Part 3

Welcome to the third installment of my blog series that I’m calling Story & Song. Each post will feature two pieces of music: a modern/contemporary song from the playlist of The Violinist of Venice, and a piece of Vivaldi’s music that features in the novel. I’ll describe how both pieces fit into the story with a minimum of spoilers!

It’s time for Story & Song: Part 3! Today I’m featuring a song I love by a lesser-known band called Crimson Chrysalis.

Crimson Chrysalis – “Moth Around a Flame”

I stumbled across South African symphonic rock band Crimson Chrysalis a few years ago, and I am sure glad I did. Their sound is truly something different and unique, and this song, from their first album Crimson Passion Cry, is, as you’ll hear, just lovely.

This song goes with a scene in chapter 17 of The Violinist of Venice, when Adriana attends a party and meets the man who will become her suitor, Tommaso Foscari. This song, to me, fit perfectly with their first dance together because, despite the fact that Adriana has already embarked upon her affair with Antonio Vivaldi by this time, she still finds herself drawn to Tommaso: to his charm, his good looks, his kindness, his interest in her. She knows that she could love him, and her relationship with Tommaso is one that evolves and changes a great deal over the course of the novel.


Concerto for Violin in A Minor, Op. 3, No. 6

This concerto appears in the novel several times, but it first appears in chapter 15, which is a chapter that I am rather fond of. In this chapter, Vivaldi first gives Adriana this concerto to play, and the differences in her approach to the first movement versus the second causes him to teach her something very important about music.

I actually started to learn the first movement of this concerto when I took violin lessons as research for the novel. I was not particularly good at it, but I jumped at the opportunity to attempt this when my teacher suggested it, since I had written the first draft of this scene/chapter not long before.

This chapter also holds a special place in my heart, because it was the first portion of the novel I shared with anyone beyond one of my close friends, who is also my critique partner. I had been invited to read at the Fall Coffeehouse Open Mic event at my alma mater, Canisius College, which was being hosted by a friend of mine still in school there. I hadn’t thought of reading anything from Violinist until my critique partner asked me, “Why not?” And once the idea was out there, it was like a challenge, and I found I couldn’t back down from it. So, despite being rather nervous, I read this chapter aloud for the event, and it went over well!

Story & Song: Part 2

Welcome to the second installment of my blog series that I’m calling Story & Song. Each post will feature two pieces of music: a modern/contemporary song from the playlist of The Violinist of Venice, and a piece of Vivaldi’s music that features in the novel. I’ll describe how both pieces fit into the story with a minimum of spoilers!

Welcome to Part 2 of Story & Song! Today’s post features an artist who will surely be appearing in this series a few more times – my favorite band of all time, Nightwish.


Nightwish – “She Is My Sin”

This song first appeared on the Finnish heavy metal band’s 2000 album, Wishmaster. It has since been given new life as the band has performed it live on their recent tours with new lead singer Floor Jansen, and it was included on their 2013 live album/DVD Showtime, Storytime, a recording of their performance at Wacken Open Air that year (which is where the above video comes from). The band played it when I saw them live in Buffalo in April, and I was rocking out and dancing like crazy through the whole thing (causing Marco Hietala, the bass player, to keep looking over at me approvingly – I was right down in front!).

This is a song for the first love scene in The Violinist of Venice, and in listening to the song I’m sure you can see why – it’s a sexy, groovy song, and the lyrics speak of temptation and forbidden desire – perfect for my two main characters, who are embarking on a very forbidden relationship indeed.


Concerto for 2 Violins in A Minor, Op. 3, No. 8, II. Larghetto e spirituoso

The second movement is what is most important to the story out of this concerto, though the entire thing does figure into the novel in a later chapter. Start the above video at 3:24 to hear the second movement.

This movement appears in the novel in chapter 5, when Adriana arrives for a lesson with Vivaldi and he asks her to play it with him, as it is something he has been working on. The two play the movement together and, as I think you’ll hear, Adriana is struck by its emotional beauty. It’s an important scene because it’s the moment when the attraction between these two main characters manifests itself for the first time, and the reader gets to see how they react to it.

Story & Song: Part 1

Welcome to the first installment of my new blog post that I’m calling Story & Song. Each post will feature two pieces of music: a modern/contemporary song from the playlist of The Violinist of Venice, and a piece of Vivaldi’s music that features in the novel. I’ll describe how both pieces fit into the story with a minimum of spoilers!

As I’m sure I’ve said before, writing and music are inextricably linked for me. The Violinist of Venice is an obvious and literal example of this: the book deals mostly with music and its effect on a life, and includes musicians as its main characters. But even when I’m writing a story that doesn’t have any music at all (which doesn’t happen that often, to be honest) music is an integral part of my process. I have to listen to music when I write; it seems to unlock something in my brain. More than that, I am constantly building playlists for each novel that I work on, finding the perfect song for each scene and to describe what is happening in the lives of the characters. Sometimes listening to these songs gives me more insight into a situation or a character than I would have had otherwise. These playlists – while certainly fun to make – are helpful in another way too: I’ll load them onto my iPod and listen to the playlist of a work-in-progress while at work, or while exercising. This helps keep my head in the game, so to speak, and keeps my project on my mind and keeps me thinking and daydreaming about it when I can’t actually be working on it.

So I’m hoping that this Story & Song series can help give some insight into my creative process and inspiration for The Violinist of Venice, as well as introducing you to some of the beautiful and powerful music written by Antonio Vivaldi that appears in the novel.


Lacuna Coil – “Spellbound”

This song was the lead single off of Italian heavy metal band Lacuna Coil’s 2009 album, Shallow Life. You can read a little more about this album and its impact on The Violinist of Venice in this previous post. This album came out not long after I’d started writing the first draft of the novel, and “Spellbound” perfectly captured for me the attraction, interest, and tension that manifests between Adriana, my heroine, and Vivaldi in the first few chapters. The lyrics talk about – as you might expect – being spellbound, being unable to get someone out of your mind even when you’re not quite sure why. I tended to go for this song when writing/revising/reading through chapters four and five (chapter five is actually titled “Spellbound”, in a shout-out to this song).


Concerto for 4 Violins in B Minor, Op. 3, No. 10, I. Allegro

This is the most important piece of music – to me, anyway – that is described in the novel, specifically the first movement of the concerto. I first heard it not long after writing the first chapter of the book, and I fell absolutely in love with it right away. As such it made its way into the novel right away: this is what Vivaldi plays for Adriana (parts of it, anyway) at their first lesson in chapter two, when she asks to hear him play. He plays it again for her later on in the novel, and has a whole orchestra play it for her at an even later point.

To me, this piece of music is so lively, so passionate; but the fact that it’s in B minor gives it something of a hungry, desperate edge. It was perfect for the novel as a whole, as well as simply being a beautiful and powerful piece of music, one that I can (and have) listen to countless times and never grow tired of.