ABSTRACT
The music leaps off the page in a way that the less conventional Suvini Zerboni score does not suggest. Yet there is a price to be paid. The fluid spring of the original resolves into simpler relationships, often suggesting an underlying quaver or crotchet pulse for a few seconds. The conventional use of beams to join smaller rhythmic units into quaver and crotchet groups encourages a very different view of structural priorities within the phrase. It would be interesting to hear performances from the two notations side by side: I think one could tell them apart. 1
