Or perhaps it works the other way around. When repeated exposure to established masterpieces eventually strips away their novelty, folks with firmly conservative tastes in music try to fight off boredom by immersing themselves in the potentially endless supply of different "interpretations" of these masterpieces (with progressively less significant differences among such interpretations being the principal object of interest).
Either way it seems that, in the end, a hyper-concentrated exploration of the standard repertoire is like a life dedicated exclusively to fucking every cousin in one's large extended family. The reward amounts to little more than a long list of predictably similar experiences.
On the other hand, exploring multiple interpretations of a recent, challenging, and still infrequently performed composition is simply a way of getting an aesthetic grasp on the work that has not yet been taught in music appreciation courses, plagiarized by film composers, quoted in TV commercials, arranged to a disco beat, or sampled by hip-hop bands. And I cannot think of a better way to get acquainted with Carter's exquisitely tart Asko Concerto than through several live recordings I have been playing almost non-stop for days. In each of these live performances the music always sounds subtly but interestingly different because the choices of instrumental balances, dynamics, and phrasing are as different from one another as those found in performances of a Brahms symphony by Furtwangler, Mengelberg, and Szell.