What play does a musician play as an interpreter of a musical composition of the classical music's culture? Is it about expressing his own role in a determined cultural play about obviously old-fashioned musical styles? Or is it even still possible to speak about the musical 'self' with all attached emotions, like in Pop and Jazz? And could this interpreter do so in aiming at a brilliantly witty version of the interpreted composition? Or is a non-trivial self-expression only the result of utterly creative working, as being fulfilled in creative art from painters or composers or improvisation artists like jazz-musicians? So, to finally express it in a defeatist manner: Is musical interpretation just a (virtuoso skilled) dedicated service on behalf of a highly lifted cultural act, which in truth is out of touch with reality for long?
Eventually, there are two answers. First one follows the insight, that all expression of a somewhat inner « self » is a romantic illusion, only crucial and alive amongst the merchandising products of the Pop culture industry. Yet this attitude may arise
the uncomfortable question, if the image of a serious artist in enlightened postmodernism can be only filled with irony and anti-subjectivitiy. Which is a dusty answer, too precariously allied to escapism.
The other answer implies an utopian dream: Any interpreter should be a magician of a new dramaturgy of time.To be that, classical musicans have to restart learning the forgotten art of decoding the mysterious time-lines in the deep structure of an outstanding musical composition. Doing this magic thing, interpreters offer the recipients totally
new experiences in witnessing amazing events and processes of the biggest gift we have in life, which is the gift of time itself. Only with the experience of time as an essential ressource in our life we can develop the potential to create changes in society which are worth living for.