Not only is it not the case that “this level of analysis is essential to enjoying…” a musical work, this perspective misses out on the full expression of what great composers intended.
@viber6, again with respect, I still feel you miss the point. First, when I refer to listening “at a distance” I am not referring to back of the hall. Sure, every hall has some seats that are possibly too far back and not very good seating locations overall. I’m not talking about that.
You refer to detail that is apparent when following a musical score and not heard unless listening up close. I simply can’t agree with that premise. I would say that when listening from up to a mid hall perspective (and probably even somewhat further back) one can hear every detail that is there to be heard and as seen in a score. No, it will not have the separation that is heard up close, but it will be there and in a more musically honest balance. Separation is not necessarily detail. Acoustic sounds need a certain amount of travel distance to fully develop. Moreover, a certain amount of “homogenization” is precisely what great composers want. Lastly, the great composers were (are?) not particularly concerned about pleasing any particular (or all) segment of the concert going public, and certainly not audiophiles. Their main goal is to be true to their artistic vision.
Thanks for your comments, even if we disagree. And, yes, I have studied countless scores as part of my preparation for performance.