"The commissioner was in Catania, named him save Montalbano, and when he wanted to understand one thing, he understood it." This 'understanding' by Montalbano, being fundamentally an environmental dive, one smelling, a weeping to the eye, is distant from 'explaining' deductive of the scientific setting hounds. But not collima even with the sympathetic 'understand' of the most philanthropic detectives: indeed for the commissioner of Vigata - famous for the laconic sarcasm - identify the spring that triggers the murder is "the worst part of the police reconstruction.
"I consider it the worst part because I have to abandon the concrete facts and forward me into a man's mind, in what he thinks. A novelist would have the way away, but I am simply a reader than those who believe good books". And of understanding for those who kill does not speak either.
"The voice of the violin" is the story of a young murdered woman, of a great artist who lives as a hermit and on the other hand. Above all, it is a history of exchanges: and Montalbano - of whose private events remained in suspense nor "The Thief of Merendine" we follow the unfolding - will have to decide whether to exchange its existence for a new one.