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.
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.
A useful leap with guided practice.
These 12 Waltz-Caprices are playful and capricious in mood: they feature quick shifts of character, sudden accents and melodic detours that call for naturalness and nimbleness rather than grand gestures. On the technical side, pay attention to Tempo rubato (3.9/5), which requires controlled timing adjustments between the hands — small, measured delays and advances to keep momentum — and to Phrasing (Phrasé) (3.9/5), which demands careful shaping of lines, voicing and breathing within each melodic curve. From a catalogue perspective, written in the Romantic period as op. 9, these pieces belong to the composer's output for piano four-hands and serve as compact, brilliant miniatures within his works. I do not provide specific reference recordings here because I am not certain of a single widely recognized definitive performance for this set.