COLIN BOOTH J.S. Bach’s Mentors Predecessors, Inspirers & Friends Date to be announced
Colin Booth, the internationally acclaimed harpsichordist, is also a renowned early keyboard builder, artist, and author of numerous scholarly texts, including the well-received book “Did Bach Really Mean That? – Deceptive notation in Baroque keyboard music”. In this gorgeous program Colin plays music composed by J.S. Bach and Bach’s close musical associates. He will perform on two instruments which he built. One is an exquisite two manual harpsichord built after a 1710 single manual instrument by J.C. Fleischer. The instrument has a crisp yet warm voice beautifully suited to northern European Baroque music. It’s also visually stunning, sporting a fine lid painting replica of J.H. Waterhouse’s ‘Echo and Narcissus’. The second instrument is an ottavino built after an anonymous Venetian original.
The program features works by German Baroque composers whose styles influenced Johann Sebastian Bach
Colin Booth has combined the careers of harpsichordist and harpsichord-maker for 40 years. As maker, he has more than 300 customers to his credit, including a large number of Early Music professionals.
As a player, Colin has performed as soloist and continuo harpsichordist in a number of countries, from Denmark to South Africa to the U.S. He taught and played annually for 25 years at the Dartington International Summer School, and has recorded 17 CDs of solo harpsichord music.
Colin’s extensive recordings include a recent 4-CD complete recording of J.S. Bach’s Well Tempered Clavier which has met with widespread critical acclaim. These recordings follow on from his earlier recording of Bach’s Goldberg Variations. Colin has also made notable recordings of early English composers, including of the great Elizabethan master William Byrd – ‘The Melodious Birde – Keyboard Music by William Byrde‘ is played on three different and appropriate instruments from his workshop. Other recordings of early English composers include Peter Philips – The English Exile; Purcell – The English Orpheus; and William Croft’s Keyboard Music. Recently, Colin has also issued a recording of Johann Mattheson’s “Die Wohlklingende Fingersprache‘ (The Melodious Talking Fingers) along with a new Edition of the scores for these works. Besides publishing numerous texts on early music topics, Colin has also authored an important book for players of Baroque keyboard music which has received much praise – Did Bach Really Mean That? – Deceptive Notation in Baroque Keyboard Music.
Richard Turbet for The Consort: “Great playing, gorgeous sound. Clarity and empathy are Booth’s forte….”
BBC Music Magazine: “…the performances [Colin Booth] gives are first-rate. His account of Bach’s WTC, for example, is notable for its scholarly grounding as well as its emotional force, while his instrument allows the part-writing to emerge with unusual clarity.“
Julie-Anne Sadie, Gramophone: “[Booth’s] interpretations are at once poetic, luxuriant and emotionally compelling.”
Gramophone: “The success of Booth’s performance …stems from tempi which take time to enjoy not just the harpsichord’s tone but the richness and lyricism that is there in the music.”