what i've done over the last few days:
5-12: HT at around 60
13-24: technically very challenging. HS with lots of uneveness and tripping up. Esp the first 2 notes and last 2 notes of the 4-note appergios seem to form cliques of their own. It is technically challenging to bring out the accents of the 1st note from 13-16, 2nd note from 17-21, and no more accents from 21-24. Cliques, accents and phrasing, on top of the ever present rhythm, makes this passage a real killer.
tried a few methods to conquer the 3s on 4s rhythm problem.
The trick, I think, is to find as many anchor points as possible. So far, the most obvious would be the coordinated landing of the RH 5th with the LH 4th. With this alone, I could play pretty much at ease. But who am I kidding? The LH always felt a bit off, while the RH seems to rush too much. Sigh...I needed more checks and anchor points.
Realised that the last 3 notes(HT) form a ta....ta.ta (quaver on RH followed by 2 semiquavers, LH then RH in quick succession) rhythm. I became conscious of this rhythm, and this became another anchor point for me.
And thats it. If you can play at speed with these two anchor points in mind, you pretty much nail it. If its perfectly done, it's much akin to having the squares and pegs of a seemingly impossible puzzle suddenly falling into place. You can just feel the magic of the 1/12th Moire pattern being weaved from your very own fingers. It's elusive, but that's what makes it even more exhilarating.
Lastly, a sense of foreboding to me. Quoted:
There seems no fear that the Fantasie-Impromptu will suffer from neglect, as it is the joy of the amateur, who usually transforms its presto into a slow, blurred mass of badly related rhythms and its slower episode into a long-drawn, sentimental agony.
I have quiet confidence about it though...Just gimme some time.