Graphic notation helped me to bring musicians also on a path which allow experiences depart from what we have learned also about contemporary music. I shall give you an example. If you can write microtonal things, it’s no problem. You can have quarter tones and eighth tones and what you want. But if you have an E flat and say yeah, I want to have an E flat, but it should be a third tone higher or a fourth-tone higher, then you will hear an E flat that is not real, the right pitch. It’s a little bit false.
But you really — you know, that’s an E flat. And so, if you change notation, and not this E flat with an arrow a little bit higher, but if you believe all this stuff, notation, but explain it in another way, then this tradition of thinking in pitches can be realized by the musicians much easier. So, the graphic notation is not only to give the musicians more freedom, it’s also important, because if you are the composer, it’s enough that you compose the piece, you have not to perform it also, I’m not interested in this. I think the performance should have the physiognomy of the musicians, not of the composer.1
And so, graphic notations helps also this, that the musicians can give their vision of music also to the piece, and have not to be like the robots of ideas of the composers. They see the score, and if it is interesting for them, they perform it. And this performance can show their vision of music.