What is Musical interpretation?

In a master piece of classical music's repertoire normally the most crucial parameters of the music are notated. The notation system provided the composer with graphic signs to pass on his ideas to coming generations. These signs can be ususally read without too much misinterpretation of the composer's will. With regard to these "terms of business", what parameters of musicality remain to be executed by the pro musicians, who are trained to perform the well-known music in a perfected way and a fulfilling attitude which does not allow too much deviation of the common stylistic access modes to the repertoire.

Moreover, the special conditions of a concert, concerning the room's acoustics, the quality of the instrument of the musician, the form of the day of the virtuoso could bring imponderable circumstances to the performing act, bringing pretty much enough
"creative" flexibility to the artistic act of playing composed music.

So, do we need more? If the musical technique of the player is perfect enough and the virtuoso actually performs what the composer intended, and if the concert hall has a good atmosphere, what else could we need to add a special pinch of inspiration to a master piece performance to make it unique?

The answer could be as simple as surprising. The interpret should play the music, as if he would discover it during the performance. The piece should sound as if it is played for the first time, which is actually true, because at this place and at this time, the music
will rise its voice the first time. The old music is reborn at a completely new moment of time. Only if this very new moment can be articulated by the player, the music will come to its best appearance: it is not a crucial point if the music is actually new or old, but
if it sounds new or old.

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