How to (per)form the incomparable, how to (con)form it?

In this paper I raise the question: how and why interpretation's traditional statute changes when a score, ideally and/or asymptotically, proposes itself as a hapax legomenon? In other words, it is possible to truly educate performers to move in search of a “wisdom of singularities”, in spite of the levelling press of musical mass-market? As is well know, romantic aesthetic emphasized originality in composing and faithfulness and reverence to text in performances, without never think the eventuality that the meanings of music aren't in the score (opus factum) or in the authorship (voluntas auctoris), but in the listener's previous musical experience. Which listener, yet: ideal or empirical, unexampled or educated to a particular grade of understanding? A reflection on these issues might also be useful to understand that the inclusion of such scores is useful not only to rejuvenate the academic curricula, but also to revise the power relations inside the classic “hermeneutical triangle”.