A few thoughts regarding the essay below:
(1) What I am clarifying in terms of a theoretical position is the formalistic quality of the Lacanian category of the Ego-Ideal, the Ideal-"I" as a site discursive reflection. I view the site of misrecognition as one that is a predicate for various discourses regarding (a) the autonomy of the author (or, in this case, composer) and (b) the site from which musicological work on manuscripts and their revision are indebted to as an a priori.
(2) What if Hegel's formulation of recognition of Geist in the work of art was wrong, i.e. that the subject misrecognizes himself in the work of art, that the impulse to recognition is indeed a symptom, our "only crutch" of being (as Zizek puts it)?