Here you see a fundemental rhythm in the left hand and a staccato melodic chords placed between the beats by the right. The left hand is develishly difficult to attain accuracy in. Some people say that this one might suggest Paganini.

In Robert Schmitz opinion, this is a "very modern composition; a brilliant predecessor and forerunner of a syncopated age."

Bulow says: "The bass must be strongly marked throughout--even when piano--and brought out in imitation of the upper part."

Robert Shumann wrote: The present study is less interesting from a technical than a rhythmical point of view. While the chief beats of the measure (1st, 3d, 5th and 7th eighths) are represented only by single tones (in the bass part), which are to a certain extent "free and unconcerned, and void of all encumbrance," the inferior parts of the measure (2d, 4th, 6th and 8th eighths) are burdened with chords, the most of which, moreover, are provided with accents in opposition to the regular beats of the measure. Further, there is associated with these chords, or there may be said to grow out of them, a cantilene in the upper voice, which appears in syncopated form opposite to the strong beats of the bass. This cantilene begins on a weak beat, and produces numerous suspensions, which, in view of the time of their entrance, appear as so many retardations and delayals of melodic tones."