But I think there is another issue lurking behind here and that is that an overdetermined score is an attempt to control the performer, to allow him little or no latitude for musicianship. A good example of this was Stravinsky. In a famous series of reviews of recordings of his music in a magazine back in, I think, the 60s, he was scathing in his dismissal of any departure, no matter how slight, from the exact metronome marking, dynamic or any other feature of the score. The words "narcissistic control-freak" come to mind. Other composers see themselves in a kind of creative partnership with the performer in the realization of the music. The composer is where the piece begins, but certainly not where it ends.
After all, no matter how much you try and control performers, they always have the last word. And if one day, at the end of a concert, a pianist offers to improvise on a theme from the audience (as many did in the 19th century), he might get a request to play the Rite of Spring in the style of Mozart. Nah, that couldn't happen...
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