Let’s continue our series on interpretation and scores. In our previous post we have been discussing the issue of editions, today let’s focus on notation and its interpretation.

Each sign written by the composer has a global meaning. Each performer has a different approach of the same sign. In other words, notation gives us a certain flexibility, a tiny space of freedom. We have to define the exact meaning of the sign, according to our taste, to the context, to the historical background and the composer himself.

Now let’s consider a practical example. A dot above or below a musical note indicates that you are to play the note staccato. The composer signifies an unconnected note, which is short and detached. Yes, but how short? The shortest possible or just short? This is what the interpreter has to define. The concept of length is very relative: some will play the note very short and others will opt for a less dry staccato. The result in both cases is completely different and will affect the global conception of the work: there will be a different interpretation of the sign resulting in a different interpretation of the whole work.

Each composer has a very clear idea of the musical result he wants. Part of his job is to transcribe this idea in a “universal” language, using a notation understood by all musicians. This notation often turns out to be semantically vague and reflects only part of the composer’s intention. The composer can then clarify his toughts by adding annotations or other signs, but this can sometimes overload the score with information, making it difficult to read. He can also let the interpreter deduce the accurate meaning of a sign used in the specific context of his work. So, the interpreter must always put in perspective what the composer wrote and can not accept notation at face value: it is a basis of interpretive work. Remember: a dot means staccato, yes, but what kind of staccato?

When collaborating with composers, it often happens that your interpretation is very different from the composer’s idea. We are obviously reading the same text, the same signs, but our idea of the musical result is completely different. We can not say that the interpreter is wrong, nor that the composer has written things in a wrong way: our perspectives are different, period. The composer then explains his intentions in order to make the interpreter better understand his music. And that’s so much easier when the composer is still living!