One other thought, Tash... I was inspired to dust off
Suite Bergamasque again, earlier today. Once again, I think I need to put a bit of extra work into the left hand. One thing you can try, which you've probably thought of, is to play through just the left hand with both hands. Take the last three of each group of four with the right hand and the first with the left. Like this you can easily get the control you want, and once you have that sound in your head try and achieve it with your left hand alone. It is so easy to 'bump' the thumb, and to have general unevenness of touch, but I found it much easier to get the LH under control once I knew what I was aiming for. It is a bit like archery - I'm not all that likely to ever hit the target, but if I didn't know where it was I'd almost certainly kill somebody! Is that a useful analogy?
Next,
Clair De Lune is one of those poor pieces which so frequently gets played out of context, ie on its own. The Largo from Dvorák's
New World symphony is another example. Overplayed, and awful - until, that is, you hear the whole thing, and you realise Dvorák's 9th Symphony is a superb work, and even the Largo fits in perfectly. Listen to all of
Suite Bergamasque and I think
Clair De Lune plays its role very satisfactorily. Just my opinion.
Richard.
PS It is definitely best if I don't say what my spelling checker wanted to replace the word 'Tash' with.
