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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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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.
This Fantasy unfolds a restless yet singing mood, with phrases that seem to snatch and then settle like dramatic breaths; the focus is on sustaining melodic line rather than ornamental display. From a technical standpoint, you will need to manage Tempo rubato (3.1/5) by developing a flexible wrist and thumb motion for subtle stretching and compressing of the pulse without losing clarity, and control the Sustain pedal (3.1/5) with precise changes timed to fingerings to keep resonance without blurring. The piece sits within the Romantic period and, as indicated by its opus number, is among the composer's earlier piano works, already experimenting with a lyrical, almost orchestral approach on a small scale. I do not provide a reference interpretation here because I cannot confidently name a single widely recognized recording for this specific work.