Within the conventions of the relatively unusual musical practice that might loosely be termed
‘composed art music’ the role and fate of the composer and performer are inextricably linked.
Since medieval times, the constitution, variety and sustainability of performance groups, along
with the degree of public spectacle and cost, have been linked and influenced by the
availability of religious, private and state patronage. At the time of writing, the practice of
maintaining orchestras, opera houses and the commissioning of new repertoire from
composers (whose relationship with the musical text, its interpreters and audiences
predominantly follow a nineteenth-century model), is looking distinctly jaded and
anachronistic...

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