Scott Mariani - The Bach Manuscript

Published by Avon an imprint of HarperCollins Publishers

1 London Bridge Street,

London SE1 9GF

www.harpercollins.co.uk

First published in Great Britain by HarperCollins Publishers 2017

Copyright © Scott Mariani 2017

Cover photographs © Shutterstock

Cover design © Henry Steadman, 2017

Scott Mariani asserts the moral right to be identified as the author of this work.

A catalogue copy of this book is available from the British Library.

This novel is entirely a work of fiction. The names, characters and incidents portrayed in it are the work of the author’s imagination. Any resemblance to actual persons, living or dead, events or localities is entirely coincidental.

All rights reserved under International and Pan-American Copyright Conventions. By payment of the required fees, you have been granted the non-exclusive, non-transferable right to access and read the text of this e-book on screen. No part of this text may be reproduced, transmitted, down-loaded, decompiled, reverse engineered, or stored in or introduced into any information storage and retrieval system, in any form or by any means, whether electronic or mechanical, now known or hereinafter invented, without the express written permission of HarperCollins.

Source ISBN: 9780007486236

Ebook Edition © November 2017 ISBN: 9780007486427

Version: 2017-10-27

‘If you like your conspiracies twisty, your action bone-jarring, and your heroes impossibly dashing, then look no farther’

Mark Dawson, bestselling author of the John Milton series

‘Deadly conspiracies, bone-crunching action and a tormented hero with a heart … Scott Mariani packs a real punch’

Andy McDermott, bestselling author of The Revelation Code

‘Slick, serpentine, sharp, and very very entertaining. If you’ve got a pulse, you’ll love Scott Mariani; if you haven’t, then maybe you crossed Ben Hope’

Simon Toyne, bestselling author of the Sanctus series

‘Scott Mariani’s latest page-turning rollercoaster of a thriller takes the sort of conspiracy theory that made Dan Brown’s The Da Vinci Code an international hit, and gives it an injection of steroids … [Mariani] is a master of edge-of-the-seat suspense. A genuinely gripping thriller that holds the attention of its readers from the first page to the last’

Shots Magazine

‘You know you are rooting for the guy when he does something so cool you do a mental fist punch in the air and have to bite the inside of your mouth not to shout out “YES!” in case you get arrested on the train. Awesome thrilling stuff’

My Favourite Books

‘If you like Dan Brown you will like all of Scott Mariani’s work – but you will like it better. This guy knows exactly how to bait his hook, cast his line and reel you in, nice and slow. The heart-stopping pace and clever, cunning, joyfully serpentine tale will have you frantic to reach the end, but reluctant to finish such a blindingly good read’

The Bookbag

‘[ The Cassandra Sanction ] is a wonderful action-loaded thriller with a witty and lovely lead in Ben Hope … I am well and truly hooked!’

Northern Crime Reviews

‘Mariani is tipped for the top’

The Bookseller

‘Authentic settings, non-stop action, backstabbing villains and rough justice – this book delivers. It’s a romp of a read, each page like a tasty treat. Enjoy!’

Steve Berry, New York Times bestselling author

‘I love the adrenalin rush that you get when reading a Ben Hope story … The Martyr’s Curse is an action-packed read, relentless in its pace. Scott Mariani goes from strength to strength!’

Book Addict Shaun

‘Scott Mariani seems to be like a fine red wine that gets better with maturity!’

Bestselling Crime Thrillers.com

‘Mariani’s novels have consistently delivered on fast-paced action and The Armada Legacy is no different. Short chapters and never-ending twists mean that you can’t put the book down, and the high stakes of the plot make it as brilliant to read as all the previous novels in the series’

Female First

‘Scott Mariani is an awesome writer’

Chris Kuzneski, bestselling author of The Hunters

Contents

Cover

Title Page

Copyright

Praise

Prologue

Chapter 1

Chapter 2

Chapter 3

Chapter 4

Chapter 5

Chapter 6

Chapter 7

Chapter 8

Chapter 9

Chapter 10

Chapter 11

Chapter 12

Chapter 13

Chapter 14

Chapter 15

Chapter 16

Chapter 17

Chapter 18

Chapter 19

Chapter 20

Chapter 21

Chapter 22

Chapter 23

Chapter 24

Chapter 25

Chapter 26

Chapter 27

Chapter 28

Chapter 29

Chapter 30

Chapter 31

Chapter 32

Chapter 33

Chapter 34

Chapter 35

Chapter 36

Chapter 37

Chapter 38

Chapter 39

Chapter 40

Chapter 41

Chapter 42

Chapter 43

Chapter 44

Chapter 45

Chapter 46

Chapter 47

Chapter 48

Chapter 49

Chapter 50

Chapter 51

Chapter 52

Chapter 53

Chapter 54

Chapter 55

Chapter 56

Chapter 57

Chapter 58

Chapter 59

Chapter 60

Chapter 61

Read on for an exclusive extract of The Moscow Cipher

About the Author

By the same author

About the Publisher

All four family members were at home when they came.

Monsieur and Madame Silbermann, or Abel and Vidette, were in the salon, relaxing in a pair of matching Louis XV armchairs after a modest but excellent lunch prepared by Eliane, the family housekeeper. Vidette was immersed in one of the romantic novels into which she liked to escape. Abel, meanwhile, was frowning at an article in the collaborationist newspaper Le Temps , in which he was reading of much more serious matters. Things in France were growing worse. Just a little over two years since the crushing might of the German Wehrmacht had rolled virtually unopposed into the country, each day seemed to bring a fresh round of new horrors.

Seated at the piano, framed by the bright, warm afternoon light that flooded in through the French windows, their seventeen-year-old daughter Miriam was working through the most difficult arpeggiated right-hand passage of the musical manuscript in front of her, pausing now and then to peer at the handwritten notes, some of which were hard to read on the faded paper.

Though she played the piano with a fine touch, Miriam’s particular talent lay with the violin, at which she excelled. The real pianist of the family was her little brother. At age twelve, Gabriel Silbermann’s ability on the keys was already outstripping that of his teachers, even that of his father. Abel had been a respected professor of music at the Paris Conservatoire for over twenty years until the venerable institution’s director, Henri Rabaud, had helped the Nazi regime to ‘cleanse’ it of all Jewish employees under the Premier Statut des Juifs law, which had come into effect the previous year, 1941.

Since losing his post, Abel Silbermann had managed to get by teaching privately. Things were not what they had been, but he had always convinced himself that the family money, dwindling as it was, would get them through these difficult times. Abel was also the proud owner of a fine collection of historically important musical instruments, some of which he’d inherited from his father, others that he had picked up over the years at specialist auctions in France, Switzerland, and Germany – all before the war, of course. It had nearly broken Abel’s heart when, six months earlier, he’d been forced to sell the 1698 Stradivarius cello, one of the most prized items from his collection, to help make ends meet. He often worried that he might have to sell others.