|The left hand has always been perceived as the weaker of the two hands and since about 1840, a substantial amount of piano repertoire for the left hand has seen the light. Composers continue to show an interest in composing works in this genre and the reasons are mainly because of injuries to the right hand, to aid in the pianist's technical development, because of the challenge it poses to the composer and finally to delight audiences with an unique technical display. The technical challenges that are present in these works, differ greatly from the difficulties found in piano music for both hands. In order to give a commanding performance, the pianist is required to make certain adjustments. In music for the left hand alone, this hand is suddenly solely responsible for both the melodic lines and accompanying textures simultaneously. By addressing the technical difficulties of a composition, the interpretation of the work is invariably influenced. One of the most well-known works in this genre, A. Scriabin's Prelude for the left hand, Op. 9, no. 1, has been used to identify the technical aspects in piano music for the left hand. The question that arises, is: which specific technical aspects can be identified in A. Scriabin's Prelude for the left hand, Op. 9, no. 1? The following questions are subsequently raised: firstly, how will the pianist approach these technical aspects, and secondly, how will certain technical adjustments benefit the performance and interpretation of the work? The hypothesis holds that the pianist will have to identify and address the unique technical aspects of piano works for the left hand alone, in order to perform these works successfully. Four specific areas have been identified that could be considered the main factors contributing to the technical challenges idiomatic of music for the left hand: fingering, pedaling, balance and voicing and physical flexibility.