…With a well-known piece from the standard repertoire—a Mozart sonata, let’s say—I find I have to fight the impulse to play an imitation of what I have already heard so much in performances by others. It’s so easy for it to be all preconceived! Being able to approach the Mozart sonata compositionally—seeing the piece from where it really started—is a way out, a means toward creating your own interpretation.”
…at no time should the technic be in any way an end in itself…In other words, if one is to perform a work from a certain period, the technic to do so will develop in direct proportion to one’s increasingly precise understanding of the style involved.
My point, in conclusion, is that the more one knows of the inner workings of a piece and the more one tries to project meaningful relationships, the more sense a work will make, even to the uninitiated.
George Crumb and David Burge