request for opinion on performance difficulty

Besides complimenting you because it is truly beautiful (and you should know how much value I place on this adjective!), I confirm that it is absolutely "very playable". So, go ahead with confidence!

PS who told you that it is "terribly difficult"?

I agree with Carlos. I don't know if you have ever seen or heard what the "Arditti Quartet" can do...

... I saw that a topic was also proposed where that same quartet commissioned this work

http://www.pianoconc...an-ferneyhough/

Go ahead with confidence.

Obviously, if you had written your piece for second-year students ... then okay, but there would be a precise constraint. Since it doesn't seem to me that there is one ...

Uh thanks Carlos !!

My teacher often objects to passages that are too complicated, considering pragmatically that a Mr. Nobody must deal with the difficulty of finding performers willing to commit hard to perform demanding pieces at their best. Frankly, I have often found that, with this encouragement, I have rewritten parts in a simpler but equally effective way .... except that here you either go all out or you play, eliminating the 16ths is not feasible, and it doesn't seem like such unmanageable writing to me either. That is why I was asking for some other authoritative opinions

Stradivari, thanks to you too for your intervention

bye

AleGozzo wrote:

My teacher often objects to passages that are too complicated, considering pragmatically that a Mr. Nobody must deal with the difficulty of finding performers willing to work hard to perform demanding pieces at their best.

On one hand I understand, but you can't always write thinking that you have a conservatory student in front of you... after all, if everyone had done so, we would have missed out on a lot of good music.

And one of the characteristics of music from recent decades is precisely characterized by the fact that it arises from the close relationship between composer/performer, and without the latter, a lot of music available today would not exist.

If you think about it carefully, this happens cyclically in music history; the context changes, but the components at play are always the same... think of Liszt and Paganini...