“This is a whopper of a book. It reads very well and, even when analytical, has a conversational tone to it. The whole thing puts a smile on my face.”
—Fredric Fehleisen, Music History Faculty, The Juilliard School
“It is a moving reading experience, with its deeply-felt, almost philosophical narrative.”
—Raymond Erickson, Professor of Music, Queens College and the Graduate Center, CUNY; founding Director, Aaron Copland School of Music
“Evan Johnson’s delightful volume on relating to one another through chamber music was like . . . savoring a glass of fine single malt scotch whisky.”
—Janet White, former Chair, Associated Chamber Music Players
“It’s a wonderful book . . . . Your humane and gentle literary approach is very much of a piece with the kinds of musical and social practices that you are encouraging. I know of nothing else that combines such an expansive range (rehearsal practice, performance practice, temperament, analysis, style history . . . ) with such a refreshingly non-doctrinaire and welcoming tone.”
—Derek Katz, Associate Professor, Department of Music, UCSB
“It is a marvelous book . . . . You write so well, and your comments are to the point, and full of character. You have profound insights into this music . . . . It is a primer of quartet playing from which amateurs and professionals alike can benefit. . . . the layout is absolutely brilliant, and the ceiling decorations . . . establish a visual link to the Enlightenment world that you are exploring. I am going to keep your book right next to Charles Rosen’s The Classical Style on my shelf.”
—David Lawton, Emeritus Professor of Music and Artistic Director of Stony Brook Opera, SUNY Stony Brook
“This is a beautifully presented book both in style and content. The author . . . manages to convey his in-depth knowledge of the intricacies of chamber music playing from the perspective of both the player and the listener. . . . This is all done with a certain wit that seems to stem from the author’s own experiences. . . . well worth exploring this section thoroughly, as the insights that it gives to the structure and form of the chosen examples are written in a way that is both informative and digestible. . . . would make a wonderful gift for any enthusiastic participant of string chamber music at both the amateur and professional levels.”
—Mathew Lee, The Strad
“I love it! Your view is clear, your voice is strong and delightfully clever . . . . Your considerations for so many aspects draw me right in. You have captured so many experiences correctly.”
—Zon Eastes, former Director of Outreach and Advancement, Vermont Arts Council; founder and music director of the Juno Orchestra
“. . . your extraordinary book. It is beautifully written and compelling as a narrative. . . . I’ve never read anything the least like it.”
—Rosemarie Bodenheimer, Professor Emerita, Department of English, Boston College
“Although you say this about Haydn and Mozart . . . ‘intimately perceptive’ also describes your book. . . . a rich resource—relaxing, intriguing to read and return to many times. . . . practical and thought-provoking.”
—Lydia Mayer, Fellow of the American Congress of Obstetricians and Gynecologists
“This is the most fantastic book! And beautifully produced. I especially love the section on ‘silence’ that applies to poetry as well, of course.”
—Francine Ringold, former Poet Laureate of Oklahoma and Editor-in-Chief of Nimrod International Journal of Poetry and Fiction
“Such a pleasure to read . . . endlessly fascinating!”
—Kathy Andrew, Vermont Symphony Orchestra: Assistant Concertmaster, Opera North: Concertmaster, Burlington Chamber Orchestra: Co-Concertmaster
“You have a wonderful way with words. I have only looked at the section on appoggiaturas so far, but am totally charmed.”
—Martha Hsu, retired librarian, Cornell University Library
“What a true gift this is to our musical community. I treasure it greatly! Your section on silence is beautiful.”
—Dale Stuckenbruck, musical sawist; violin soloist, concertmaster, and chamber musician; Adjunct Professor of Violin, LIU Post
“An incredible gem. . . . a different way of approaching music . . . I have never encountered anything written like this.”
—Dillon Naylor, co-owner of Old Tioga Farm
“This book should be in every music school’s library.”
—John H.M. Austin, Professor Emeritus of Radiology, Columbia University Medical Center
“The opening is the most eloquent statement of the need for amateur chamber music that I’ve ever encountered.”
—Brian Clague, Music Director, Fensgate Chamber Players
“The paper is of such fine quality, it is a pleasure to touch. The designs on the pages are so well chosen and placed, and the typeface is so easy to read.”
—Anna Teigen, co-director of the Suzuki Program, Rockland Conservatory of Music
“Marvelous! Beautifully structured. It is a work of art! Useful to any artist (in any discipline) who works in ensemble with other artists!”
—Laurie McCants, playwright and co-founder of the Bloomsburg Theatre Ensemble
“It is certainly one of the most beautiful books in my library.”
—Damian Dlugolecki, string maker and designer