Reading the music behind the score

An example of the music as something other than the musical score is Busoni´s idea about the musical score as symbolic simplification of the real music. Busoni’s states in his Sketch of a New Aesthetic for Music (1907), that ”Every notation is, in itself, the transcription of an abstract idea. The instant the pen seizes it, the idea loses its original form” and it is ”for the interpreter to resolve the rigidity of the signs into the primitive emotion” since ”the performance of a work is also a transcription, and still, whatever liberties it may take, it can never annihilate the original.” As a prolongation of this idea Tomas Löndahl argues for a radical interpretation of the score in his doctorate disputation Den klingande verklighetens föränderlighet (2022). According to Löndahl most of the musical parameters (pitch, rhythm, harmony,…) might have to change to bring back the original, behind the music score, inspiration. A practice that because of its complexity requires a (paradoxical?) new scoring of the piece, and thereby exemplifying the somewhat contradictory term scored interpretation.