ABSTRACT
The traditionally hierarchical relationship between composer and performer is one which Christian Wolff has fought against. He refuses to adopt the interventionist role. At the same time, Wolff is rarely involved in lengthy collaborations prior to the composition of a work. The beauty of performing Wolff's music is to be found in the balance between control and freedom: of being situated in such a way that one is faced with new and unusual contexts and yet also having the freedom to make individual choices within that context. Not only is the traditional composer-performer relationship dissolved, but Wolff's scores also open up the possibility of wider societal change. Wolff's concern is for progressive thought and actions. Repetition as a formal device is thus avoided and is assumed to be the death of performance. The acceptance of the possibility of surprise leads to a performance approach which is enlivened by the heightened spontaneity it generates.
