My partner used to take me to concerts – not so long ago, when concerts were still a thing. Last year, we listened to the Doric quartet. Walking back from Hamer Hall, I raved about that concert. Here is how I phrased it: their interpretation was such that I could identify the signal clearly – the melodic phrase, and the harmonic intention. There was a deliberate attempt at making sense of the score. Playing in that manner takes expertise, but also courage. Because, when you decide to interpret music in this manner, you state this is the music. No fudging. And if you made a wrong choice, inaccurate interpretation, people notice.
I had the same experience a while back, listening to Peter de Jaeger play a piece by Messiaen at an ANAM concert. Suddenly, there were echoes of jazz, it sounded like Gershwin. That was the message. I thought: ‘Of course, that was the musical world of Messiaen, no wonder he captured it, incorporated it to his work’. Peter de Jaeger revealed this to me, and showed how this piece fit in historically with others at the time, only by a choice of deliberate interpretation. He was reading the score, and shared the meaning he found with an audience. He made sense of the piece.
For this, he amplified a certain signal – melody, harmony, rhythm – isolating it, muffling the rest as noise. In the same way, the work of an editor is to amplify a signal. This is what I do, when editing: I look for the signal in the noise noise, then work with an author to amplify the first, and reduce the latter. It is a very personal process. I might be right or wrong. In fact, what I perceive may not even be clear to the author themselves. My unconscious brain, or whatever it is, comes into play.
Corollary: when a piece has nothing but noise, no signal, I will sense this, make it clear to the author. So, the skill – my gift, one may even say – is not my capacity to understand, but remain puzzled. In fact, I have never felt – or been – more useful than when I got puzzled.