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Play — Claudio Arrau Schumann Waldszenen 4 Verrufene Stelle Op. 82 · Carlos Alberto Navarro (the player loads on click)
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Play — Waldszenen, Op. 82: IV. Verrufene Stelle · Robert Schumann, Maria João Pires (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.
This piece conveys an atmosphere of restrained intimacy, like a hesitant spoken phrase that oscillates between holding back and expressive thrust; accents feel whispered rather than declared. Technically, pay attention to Nuances (2.5/5), which require very subtle dynamic shaping — a refined wrist-and-finger gesture to mould softs and crescendos without breaks — and to Legato (2.5/5), which asks for connecting the melodic line through finger legato and anticipating hand shifts to avoid gaps. In the composer's catalogue it is listed as a solo piano piece under the given opus number and belongs to Schumann's character pieces for keyboard, though no precise period was provided. I do not give a recommended recording here because I am not sufficiently certain of a single authoritative interpretation for this specific work.