Help with Finnissy

[lowk-_-y]

So I'm currently working on this and enjoying it for the most part. The pianist in this video plays quite straight with minimal rubato which could possibly help in answering one my questions.

At moments like 1.13 and the end, with these tuplets, what is best way to practice this/work out how to organise it in time. Do you think the pianist here is approximating? I can't quite catch how he's organising these bits in terms of beats which maybe is the point and leads to my next question.

What do you think is the purpose of the piece or at  least these sections of the piece. Is this just a depiction of Finnissy's improvisation process over Strauss' waltz, these huge tuplets being moments where he gives up, much like someone might bash the keys after messing up?

Would appreciate any ideas

[fftransform]

Just hit the notes.  I don't know about this piece in particular; whether there is some 'valse form' hidden throughout it that you would want to try to amplify aggressively with the rhythms, but I don't pick it up from this (boring) rec.  He does have a number of pieces like that, but I don't think this is one of them.  The performance practice for Finnissy and most New Complexity composers in general - except where the precision of the material, rhythmically, is sort of the point - is to play pretty freely.  Getting some 'looseness' and 'improvisatory sound' from the performer is like . . . kinda the point of a lot of what a strict New Complexity adherent is doing (though of course they would all complain about being 'pigeonholed by a term' blah blah blah).

You could always e-mail him, or Pace, or Powell (who's a member of this forum), or Hodges.  I dunno about Hodges but the other three are social, they'll probably respond.  Pace and Powell are also Facebook denizens, you could try adding them instead of e-mail.

[lostinidlewonder]

Post an image of the bars you want to discuss it will make things a lot easier. I wouldn't think such details you wrote about would challenge someone ready for this work.

[lowk-_-y]

The performance practice for Finnissy and most New Complexity composers in general - except where the precision of the material, rhythmically, is sort of the point - is to play pretty freely. .

Thanks, just wanted the clarification

You could always e-mail him, or Pace, or Powell (who's a member of this forum), or Hodges.

Ok I’ll try to get into contact.

I wouldn't think such details you wrote about would challenge someone ready for this work.

Yes, maybe I’m not ready...

Anyway I mainly am interesed in any specific interpretations for these tuplet moments just to get different perspectives.

For the performance, I just wondered if anyone could hear things I couldn’t in terms of how the pianist potentially organises these tuplet moments.

Of course it would be a lot easier to approximate and call it a day, just curious.

[lostinidlewonder]

What is the problem it is 3 beats and the segementations of time for each is pretty clear to see.

[lowk-_-y]

What is the problem it is 3 beats and the segementations of time for each is pretty clear to see.

Is it clear in the recording? I can’t quite hear this segmentation.

[themeandvariation]

You can go by the recording to get a basic idea.. but, much of it is smudged, and opaque.
Another way, is to do the RH - feeling the main pulse as 2 + 3 +.
Then look at the LH.. Here we have 13 16s to cover the same amount of time (duration).
Beat 3 will start just before you strike the eighth 16th in the LH pattern. Count 2 + 3 +
while you play the 13 16ths.
After playing separately, (with good fingering) you should be able to out it together.

[lowk-_-y]

Thanks a lot for your advise, I'll definitely practice this way.