From a conversation with Bob Gilmore and Elisabeth Smalt, November 1, 2014
Bob Gilmore: But what I’m saying is that the example we started with, which was me talking about the Swedish guitarist Stefan Östersjö working with this composer in London, and the composer in London does the score, and the guitarist says, “Yeah, I can do that, that’s a bit difficult, this is so forth, and so on,” that’s the old-fashioned model, as far as I’m concerned. That’s no different than Brahms and Joachim, but to me this is not collaboration.
Elisabeth Smalt: But in a collaboration, would you have the two names then?
BG: No, the pieces go out, no one says, “Brahms’ Violin Concerto with editions by Joachim”
ES: No, that’s indeed true.
BG: Or, this piece goes out by David Gordon. I mean, Stefan Östersjö might get thanks in the sort of preface to the score, if there is one, but that’s about it, he’ll just get forgotten about, the way most performers have gotten forgotten about.
Until recently, because now we’re much more aware of the role performers played in stuff like that. So now we know about Joachim’s input in Brahms’ violin concerto but fifty years ago nobody gave a shit if some guy helped Brahms a bit but that’s just normal.