According to current orthodoxy, since the composer took the trouble to write all those damned little squiggles into the score (and implied a whole lot more), the best performance is the one that makes audible as much of the filigree as possible. This is, in different guises, the principle that guides performers as ostensibly distinct as authentic performance practice gurus, minimalist burblers, and Boulez and his Boulezzini. But, really, what's so terrible about about letting the edges of a chord bleed a bit, or letting some of those waves of fast fiddle notes gurgle indistinctly? Sometimes some judiciously applied atmospheric murk–what a pianist would call pedal–gets closer to the essential truth.