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Play — Schubert, Four polonaises for piano four-hands D. 599 op. 75 · Anastasia & Liubov Gromoglasova (the player loads on click)
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Play — 4 Polonaises, Op. 75, D. 599: III. Polonaise in E Major · Franz Schubert, Jenő Jandó, Zsuzsa Kollár (the player loads on click)
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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 set of polonaises has a dancing yet tense character, alternating hammered accents with more singing episodes that create a dramatic rather than purely festive mood. You will need to work on Tempo rubato (3.1/5) by shaping small timing flexibilities — slightly delaying or anticipating beats to highlight phrases while keeping the underlying pulse — and on the sustain pedal (Pédale de sustain, 3.1/5), refining pedal changes (half-pedaling, quick releases) to avoid blurring in the bass and to preserve the clarity of accents. Placed in Schubert's Romantic period, these pieces show his tendency to transform national dance forms into a more lyrical and introspective piano language. I do not give a reference recording here, preferring not to risk naming specific performers unless I am certain of their association with this exact work.