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.
Does this rating look right to you?
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.
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.
No suggestion yet.
A useful leap with guided practice.
No suggestion yet.
This piece is capricious and highly virtuosic, alternating brilliant outbursts, large leaps and singing moments where the pulse is constantly under expressive rubato pressure. You will need to work specifically on Tempo rubato (3.1/5) by controlling elastic phrasing — the practical gesture here is to slightly delay or anticipate the right hand while keeping the left hand metrically steady so the flexibility remains controlled — and on Sustain pedal (3.1/5), which requires precise half‑pedaling and quick releases to connect voices without blurring the rapid passagework. From the Romantic period, it belongs to Liszt’s set of transcriptions/paraphrases of Paganini pieces, written as concert showpieces to showcase pianistic virtuosity. I do not give a reference recording because I am not 100% certain of a single widely recognized reference for this particular transcription.