No verified recording for this work yet. We add more every week.
Public-domain sheet music on IMSLP ↗
Estimated from our difficulty score, not taken from an exam syllabus. Checked against 333 works on the ABRSM syllabus: the exact grade is right 7 times out of 10, and within one grade 99 times out of 100.
Difficulty estimate by MusicCoach on a scale of 1 to 100.
Most works cluster between 45 and 65: a small score gap often marks a real step. The highlighted bar shows this work among those for the same instrument.
The MusicCoach difficulty measures a work's overall demands (technique, reading, stamina) on a shared 0-100 scale, consolidated from editorial and pedagogical reference points (Henle, exam syllabuses, curation) and our own analyses. It measures neither musical value nor the practice time YOU will need: two musicians of the same level can experience the same work very differently depending on their strengths (hands used to octaves, quick sight-reading…). The confidence reflects how many reference points sit behind the score and how well they agree — a lightly documented score is flagged “to validate”. For a truly personal bearing, the diagnostic and your space compare each work to YOUR estimated level, which the score alone cannot do.
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This rating is computed automatically from heterogeneous sources. It gets things wrong, sometimes badly. If you know this work, your answer is worth more than our computation: it tells us which ratings to review.
One rarely plays the whole work. We do not yet have a level specific to each of these movements: they carry the opus's level, which does not say which one is the most approachable.
Each suggestion combines difficulty gap, risk, confidence and skill overlap. The first two cards in each column are the most useful pedagogically.
The safest next step.
A genuine step up, without a jolt.
A useful leap with guided practice.
This sonata projects a bright, theatrical energy, alternating lyrical passages with virtuosic outbursts that require clear articulation and a keen sense of drama. You will need to focus particularly on Connaissance des formes (3.6/5) to map reprises, transitions and large tonal sections so you can shape phrases and cadences at the movement level, and on Polyrhythmie 2 contre 3 (3.1/5), which here means developing tactile hand independence — keeping a steady duple pulse in one hand while the other articulates triplets, locking each layer with a metronome before adding musical nuance. The piece belongs to the modern period and, being an early opus, sits among the composer’s first major piano works, already revealing his orchestral approach to the keyboard and a late-romantic voice with newer harmonic colors. I do not provide a reference recording because I prefer not to name a specific interpretation without complete certainty.