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 Poco adagio in G major has a singing, contemplative character, akin to a quiet meditation on the hymn theme, with decorative touches that call for restraint and suspension. Technically, pay close attention to Phrasing (2.5/5): you will need to shape long melodic lines by managing connections and internal breaths, and to Legato (2.5/5), which requires precise fingering and wrist control to keep the sound continuous without tension. The piece belongs to the set of variations on the hymn “Gott erhalte” (Hob. III:77II) and is part of Haydn's keyboard variation output. I do not provide a reference recording here, as I am not fully certain of a single definitive interpretation for this specific piece.