Claire Cartier

The notion of interpretation constantly raises the question of how to read a score, and therefore of the very subject matter of the score. Particularly in the Baroque period, and especially in the seventeenth-
century, the score is but an infrastructure that the composer leaves behind to allow his work to be brought to life. One should not be led astray by it as you might by a trompel'œil; it lacks a great deal of information: nuances, instrumentation, ornaments, playing styles, etc. The majority of these composers thus leave the performers a great deal of latitude for the completion of their scores in order to bring them to back to life.