[T]he professional [musician] himself will cease, like the actor, to rank as a sort of superior harlequin or performing animal, exhibiting his powers for the diversion of an assembled public. What he has once played can, if he choose, be constantly repeated. … Instead of the executant or singer being judged by his performance on an occasion when fatigue, illness or unfavourable circumstances may militate against his perfect success, when the nerve-shattering conditions of the platform probably in any case offend his susceptibilities and detract from the perfection of his performance, he will be able to found his reputation upon the very best performance he is capable of. He will be able to try and try again in the privacy of his study. When he has satisfied himself, and then alone, will he publish his artistic effort to the world. He can destroy as many unsatisfactory records as he pleases, just as the sculptor can break up his clay when he has not succeeded, just as the painter can paint out his picture when it has not pleased him, and be judged only by his best.

— T. Baron Russell, A Hundred Years Hence, 1906