For a composer so readily identified with the “New Complexity” school, Finnissy has what might appear to be some curious preoccupations; he is a tremendous admirer of Godowsky, for one thing. Of course, it is through his own more than formidable gifts as pianist that he has become intimately acquainted with the great transcribers, and so suddenly it is less surprising that he has himself transcribed a considerable number of Gershwin songs. These are very unusual transcriptions, owing more than a little to Godowsky (though sounding nothing like him) in that the ‘complexity’ or density of texture is an inherent part of the presentation of the material, and it is necessary for performer and listener alike to be able to follow clearly simultaneously presented material in close polyphony. There are very few grand gestures here, and the Gershwin original is always discernable through the dissonant haze. Fascinating, and certainly among Finnissy’s most individual and enduring creations.