Why must critics consider both a musical work and its performance?

In the context of musical criticism, critics must consider both the composition and the performance because they are inseparable aspects of a single, total musical experience. Music does not exist as a finished entity until it is brought to life by a performer; therefore, effective criticism requires both a deep knowledge of the musical work and an understanding of the instrument being played.1

Attempting to isolate these elements often leads to flawed analysis. For instance, focusing exclusively on technical execution—sometimes called "keyboard gymnastics"—ignores the artistic intent of the composition, while focusing solely on the score can lead to an overly rigid adherence to the text that neglects the performer's role. A performer has a dual duty: to honor the fundamental character of the work and to follow their own artistic conscience in how that work unfolds. Because the performer is responsible for renewing and refining the music, their interpretation is an essential component of the final musical result. Consequently, treating the work and the performance as separate entities is a misleading practice that undermines a comprehensive understanding of the art.12