| I think we have to give the composer the edge, though, in establishing who is "primary" in the relationship. If anyone wants an example of how a performer/advocate/interpreter can have undue effects on how one's works are perceived, take a long hard look at Stravinsky and Craft's relationship or Janacek and Max Brod's.
In "classical" music, we nearly always have a text. I think it works pretty well for transmitting a piece. Not to discount the role of the performer - but I don't think they are equal. |