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 sonata has a bright, lively galant character that calls for flexible rhythmic relief and crisp articulation rather than heavy Romantic expression. You will mainly face demands in Knowledge of forms (3.6/5) and Harmonic analysis (3.6/5): you must clearly identify exposition, development and recapitulation to shape moments of tension and release, and follow the modulations to anticipate cadences and adjust attacks and connections between right and left hands. It belongs to Haydn's classical-era piano sonata output and sits within his important contributions to the sonata genre rather than as a late experimental work. I do not provide a reference recording here because I am not 100% certain of a single established interpretation for this specific sonata.