You might like to check out the disc of his piano music by Martine Joste on Mode Records (includes Pour Clavier, in my opinion one of the most important piano works of its era) and also that of Bussotti himself playing other pieces on Stradivarius.

Never played those pieces to date, but will do at some point. Like many of Bussotti's scores in that vein, they take a certain amount of creative license in translating them into sound. Whilst there are various symbols that quite obviously imply particular categories of sonic results, also many of the graphic elements are done for visual effect - with that in mind I would say one should try and take into account the visual impact made by the whole when arriving at decisions at how to make the score performable. When I'm back in London I'll have another look at them and post most more about this. Pour Clavier doesn't involve any such notation, though there are numerous partially indeterminate elements (more in the sense of 'open form' than anything else, though, allowing for different trajectories through the material (in different ways to Boulez/Stockhausen/Amy/etc) and various combinations of it either simultaneously or in succession).

Are you referring to the roundtable at the Goldsmiths' conference, with myself, Mieko and Roger Heaton on one hand, and Messrs Tilbury and Prevost on the other (the latter two spending most of the time talking about how wonderful improvisation was and how terribly constrained notated music is, and assuming that both the rest of the panel and practically anyone else at the conference had it in for improvisers)?

Mr Grew, what exactly is your problem with those scores?

Yes.

That's another question: whether your score is actually any good.

(And a third question - whether 'good art' tends to win Turner Prizes.)

And notation isn't music?

I'm afraid we think the good Mr Grew is barking up the proverbially incorrect with this one. I thought I might bring him round with a nice picture of Signor Bussotti all camped up in a lovely gold tunic but I can't seem to find an online source for this sartorial marvel. I may resort to a scanner if I can find some time later on.

What was that about a stream of letters?

Indeed. There's one for Julien, surely.

Lined paper is language, especially when accompanied by an implied invitation.

Lined paper is language, especially when accompanied.

Language is accompanied, especially when lined with paper.

Lined with paper, language has been known to become L A N G U A G E.

<cue Mahler 2nd> da- dA-da- da-da- da-da- ...

"Thank you, Maestro Bussotti."

Indeed: music had come to quite an interesting point when composers started looking into how notation works and trying to express something about their explorations, rather than taking everything for granted in the way you seem to have chosen.

Discussion of music has come to something when words like "charlatan" and "notation... but no music" are bandied around without any knowledge of or interest in the music which is supposedly under discussion. Teleplasm, do you really see the world in such simple terms? If so you're missing a great deal.