General practice strategies that are less local and affect the piano playing in more “generic” ways include practicing the music in all twelve keys, realizing harmonic reductions, finding possibilities to re-arrange pitch content, and/or experimenting with character distinction (also addressed and described in further detail in the subchapter Practicing). While none of these methods are explicitly audible in the two recordings, the performances are very much a result of this kind of practicing. As addressed in more detail in the Conclusion, I make a distinction between performing and practicing due to the element of public presentation in the former, which is therefore more subject to parameters involving the presentation of art. Conversely, practicing, an important topic in this project, is less subject to the conditions of presenting music as art and leaves its mark on the way the music unfolds in a performance. It should be acknowledged, however, that the pursuit of experimentation while practicing does not necessarily lead to a drastically wider variety of realizations of the score in public performance. In fact, the experimental methods discussed here can also lead to deeper convictions and more consistent performances. In the recordings presented above, for example, the general tempi of all the movements and the over-arching sense of phrasing of the melodic material do not vary significantly. I argue that this is due to the other authenticities guiding the performance besides the “personal authenticity” of the performer. (A thorough discussion of musicologist Peter Kivy’s authenticities and how they guide musical practice can be found in the chapter On Sonic Signature). While the practicing methods exposed in this project clearly help a performer to develop his or her own approach to the score – what Peter Kivy calls the “personal authenticity” and what I refer to as the performer’s sonic signature – a performance is also necessarily guided by other parameters, other “authenticities.” These include considerations regarding the composer’s intentions, the sonic authenticity of either the composer’s or the audience’s milieu (or both), the idea of pursuing a particular, often historically informed approach to performance practice, and the consideration of how an audience may perceive a performance. Roland Jackson describes this last factor as the “sensible authenticity – the meaning attached to a performance by its audience” (Jackson 1997, 1-2); and alongside the conscious pursuit of my own sonic signature, the “sensible authenticity” I maintain towards audiences serves as the next main guiding force for my public performances.