Etude for the left hand: to provide speed in a continuous passage.
The result of a fast and continuous bass is a tiredness that soon leads to weakening and stiffness of the hand. It is in the perfection of the fingering that we will find the way to avoid this inconvenience, since it always puts the hand in the posture where it can most easily develop all its means. Here, the energy of the bass must compete powerfully with that which makes the character of the melody. One should not confuse with energy a hurried, collided game aimed only at the brilliant effect of the part known as performance: heat and strength must not remove neither the greatness which is indicated by the extreme length of the singing phrase, nor the pathetic expression which is never more sensitive than in an animated movement. In order for the left hand to run through the keyboard without jerking, and to be in control of the effects it must produce, the fingers should be held more extended on the keys than in their ordinary position, and they should be lifted as little as possible. One will avoid, by making the dotted eighth notes of the right hand, to precipitate too much the sixteenth note, but on the contrary one will make it with the width and the softness that a singer of good taste would put there. (H. de Montgeroult)
(Bruno Robillard – 2006)