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Chapter 9
For me it’s an issue of if I have to reconstruct it... in terms of the music...
or just in terms of the performance. If I just have to say “OK, it was just a
performance with some music put into it. But the important thing was the
performance”. Or... if I have to say... “It was... musical improvisation with
a strong performative element, in which the musical part failed.”
Honesty and authenticity played a considerable part in this appreciation, and in many
cases, these qualities and the interactional/processual axis of musical appreciation
were deemed more important than the realisation of a ‘beautiful’ or coherent ‘musical’
outcome. Risk-taking was key in such cases, and, praising one of his closest colleagues
and collaborators, Christian Lillinger described how:
[This musician], he’s incredible. He’s always doing something different - he’s
searching, like a child. He searches, and for me it’s totally fine if a concert is
shit, because [he always takes] the risk to do something new. And sometimes,
OK, it didn’t work - but so what? He tried something. And that’s really
[this guy]. And it’s great. And when it goes well, then it goes really well.
That’s what it’s about.
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