ABSTRACT
This chapter considers the implications of such conscious borrowing and its specific manifestations for performance, and in particular how performers might respond to both the generic aspects of both the original sources and also their mediated forms in Michael Finnissy’s works. The subjective aspect is manifested through the high degree of mediation undertaken on Finnissy’s part between the sources and the finished score. Genres which inform Finnissy’s piano music include those from various folk musics, with their own melodic, ornamental, and other conventions. It focuses on conscious borrowings does not necessarily reflect a poietic bias, though in earlier work on Finnissy’s use of found materials. The chapter oftens sought to illuminate more information about compositional technique, believing this to be valuable for other composers. It examines a range of Stravinsky’s citations in The Rake’s Progress and combination of heterogenous elements in Agon, and another looking at different approaches and attitudes to collage, which does provide some very loose categories.
