One into Three: Context, Method and Motivation in Revising and Reworking Dance Maze for Solo Piano

revisions was not an option. As a conductor, I inserted barlines where possible and numbered the arrows in relation to the beating patterns I prescribed (see Figure 1). These graphics remained for use in subsequent performances. As in other scores which I have discussed, the impracticalities were induced by the ideas which informed the work. It is part of a conductor’s task to interpret them with solutions which project the idea successfully. The post-première revisions are then an asset to the performers. My contention is that such changes should never preclude an awareness by the performers of the original score.