This article looks behind the scenes at the notational and interpretative issues arising from the compositional and rehearsal processes embodied in the Second String
Quartet by Michael Finnissy, written for the Kreutzer Quartet in 2006-07. The relationship between the individual parts and corporate whole, as represented by the score, or
quasi-score, or even the absence of a score, has been of central importance in all of Finnissy’s quartet music to date. Recorded evidence from the rehearsal of the piece is evaluated from both ‘insider’and ‘outsider’
perspectives to demonstrate the extent to which players need to devise new interpretative strategies in response to the specific demands of the notation. Examination of composer-performer interactions reveals how the limits of notation can provide creative tension and imaginative interpretation that contribute to a developing contemporary performance practice
