Praise for Did Bach really mean that?
“The book is absolutely first class: Very learned yet
imaginative and totally approachable. So much to learn from
it, and so much to admire. Congratulations. I have already
recommended it to several keyboard players.”
Sir Roger Norrington
For pianists: “The author’s research is overwhelming. Provided
the reader is prepared to roll up his or her sleeves, this book gives the performer a wealth of information in a
practical and non-didactic way, which will benefit all
keyboard-players — pianists included.”
Stephen Kovacevich
For organists: “This book is a ‘must read’ for all musicians.
Booth writes with a rare combination of learning and
intuitiveness, practical insight and a clarity of reasoned
argument that can only inspire. His elegant prose and
apposite illustration make it a joy to read.”
David Titterington
For harpsichordists: “Colin Booth’s guide to deceptive notation will be
invaluable. The book’s countless musical examples,
drawn from an unexpectedly wide range of sources, are
examined step by step for any vital message they may hide
beneath their bland surface. This is a book that will tidily
fill an almost unnoticed gap between ordinary, moderately
informed teaching of Baroque music, and those studies aimed
at the already expert.”
Colin Tilney
“I thought that I might find it too academic for me but I am enjoying it
and am enthralled by all the fascinating examples. What a huge amount
of research he has put into it.”
K. Williams
“Colin Booth has come up with a magnificent text,
illuminated by a multitude of useful musical examples...
Booth’s book is ...massively useful, and what I like
about his writing is his all-embracing and non-dogmatic
approach to this subject and its individual aspects. Take
any point of contention with the piece you are studying,
look up the easily found relevant section in this book, and
your mind will be opened to the fluid nature of notation,
introduced to references and statements which provide clues
towards interpretation, and offered intelligent ways in
which such music can be performed in a way defensible
against criticisms of lack of authenticity.”
Dominy Clements, MusicWeb-International.com