In general I seriously try to apply early fingering because I am convinced of
the strong relationship between fingering and articulation. I have learned a lot by
consulting books such as Howard Ferguson's 'Keyboard Interpretation'.
Nevertheless, when playing very rapid passages, such as in Sweelinck's
toccatas or, for example, Byrd's fantasia Nr. 13, I think that the very fast
succession of, e.g., 23 or 34 was felt as inconvenient to the keyboard players in 
those early times as it is for me. Could it be that in such (exceptional?)
cases these players applied some kind of what we now call 'modern' fingering?
Of course, our hands donot differ from their hands but, maybe, their training was different,
such that they successfully managed rapid 12-, 23-, and 34 successions.

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