Abstract
Nowadays, personal interpretations in performance may in some quarters be unfashionable, in some instances undesirable, but to some degree they are inevitable. In many cases, such interpretations can be revealing, in that they throw previously unsuspected light onto the music; despite their apparently unusual approach, they are quickly accepted and join the ranks of the authoritative. (One thinks, for example, of early performances by Maurizio Pollini of Schoenberg's piano music, where an Italian style of performance is brought to bear upon a German style of composition in a wholly convincing manner.) Stravinsky's deep-freeze interpretations, where the performer follows the instructions on the packet, delineate only one approach to the subject.
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