A true musician, reading the score during the performance of one of my later works, went to the artists' room and showed the players many errors, faults, and other shortcomings he had observed in their rendition. Strange at first the morale, which compares very well to a viewpoint excusing a crime if it cannot be proven. It seems, these players expected nobody would notice differences, which probably they themselves did not notice. I am the last one to blame the failure of a work of mine on the more or less important shortcomings of a performance. Though they are not entirely uninfluential, especially if they spoil character and mood by false tempo, dynamics, and expression.
Imperfection can spoil much more than perfection can create.
I know the obstacle to comprehension lies even more on my musical thoughts than on their presentation, and on my musical language. I know that little niceties repeated over and over without, or with little variation or development are easier to grasp and provide better for temporary success than a language which insists on brevity and accordingly would not repeat without exhibiting the new form of an idea, the new form resulting from the destiny of an idea. I am acquainted with the preference of many concert goers for easily digestible entertainment.