Being True to Works of Music explores the varieties of authenticity involved in our practice of performing works of Western classical music. Its key argument is that the familiar 'authenticity debate' about the performance of such works has tended to focus on a side issue. While much has been written about the desirability (or otherwise) of historical authenticity - roughly, performing works as they would have been performed, under ideal conditions, in the era in which they were composed - the most fundamental norm governing our practice of work performance is, in fact, another kind of kind...