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198 Chapter 9 For me itâs 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 âOK, it was just a performance with some music put into it. But the important thing was the performanceâ. Or... if I have to say... âIt was... musical improvisation with a strong performative element, in which the musical part failed.â 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 âbeautifulâ or coherent âmusicalâ outcome. Risk-taking was key in such cases, and, praising one of his closest colleagues and collaborators, Christian Lillinger described how: [This musician], heâs incredible. Heâs always doing something different - heâs searching, like a child. He searches, and for me itâs totally fine if a concert is shit, because [he always takes] the risk to do something new. And sometimes, OK, it didnât work - but so what? He tried something. And thatâs really [this guy]. And itâs great. And when it goes well, then it goes really well. Thatâs what itâs about.