The grade scale stops at 8; this work belongs to concert or diploma repertoire.
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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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.
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This Liszt fantasy projects a dramatic chiaroscuro, alternating virtuosic, stormy passages with lyrical episodes where orchestral color must be suggested at the piano. Technically, pay attention to the Tempo rubato (3.1/5) which requires measured local flexibility of timing — small controlled shifts between the hands — and to the Pedal de sustain (3.1/5) which calls for precise pedal work (half-pedaling and clean releases) to preserve harmonic clarity in dense textures; the Style romantique (3.1/5) also demands broad dynamic contrasts and careful attention to phrasing. The piece belongs to the Romantic period and sits among Liszt's opera-based transcriptions and fantasies that bring stage material into the piano repertory. I do not give a reference recording here because I prefer not to risk recommending names unless I am fully certain of their direct association with this specific work.