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Play — Sonatensatz (Rondo) pour piano, vers 1906 · Gianluca Cascioli (the player loads on click)
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Play — Sonata Movement (Rondo), 1906 · Raveliantique (the player loads on click)
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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.
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.
The piece projects a tense, spare atmosphere where each sound-event feels concise and charged: silences sculpt the lines and attacks are brief rather than expansive. Technically, Polyrhythmie 2 contre 3 (3.1/5) will require clear independence between the hands with precise internal subdivision to keep both pulses aligned, and Style impressionniste (3.1/5) calls for refined touch and careful pedaling to color the harmonics without blurring the texture. The work belongs to Webern's modern period and sits within his compact piano explorations that favor thematic economy and concentrated expression over long development. I am not naming a reference interpretation here because I prefer not to risk citing a recording attribution that I cannot state with certainty.