ABSTRACT
This conclusion presents some closing thoughts on the key concepts discussed in the preceding chapters of this book. The book presents the tower framework as an ordered series of performance-related 'informants', thereby developing a means by which to analyse interpretations of Western art music in terms of a particular set of insights. It demonstrates the tower in operation, testing its efficacy in the context of three different eras, three prototypical works from each era, and a broad range of pianistic styles. The book indicates that a theory of interpretation necessarily embraces the question of authenticity in its wider as well as in its Texttreue or HIP senses. It discusses the relative confluence of all four Messiaen performances. The book also discusses the relative confluence of all four Messiaen performances, when compared to the Brahms and, especially, the Bach con discrezione performances.
