“The dialogue between the composer, the orchestra and the audience was based on an understanding that the composer would primarily serve the needs of the listener and performer by providing music for worship or entertainment. Tension arose when composers began to express themselves overtly as individuals, and the contract started to break down at the end of the 19th century when – straining against the bounds of conventional tonality – composers started to make demands on players and audiences that required an ability to focus and specialise that was generally beyond the non-professional or social listener.”