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Play — Chopin: Fantasy on Polish Airs in A major, Op.13 - Claudio Arrau, Eliahu Inbal, London Philharmonic · Sebastián Rodríguez González (the player loads on click)
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Play — Fantasy on Polish Airs in A Major, Op. 13: III. Theme de Charles Kurpinski: Allegretto · Frédéric Chopin, Eldar Nebolsin, Warsaw Philharmonic Orchestra, Antoni Wit (the player loads on click)
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Public-domain sheet music on IMSLP ↗
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 on Polish airs in A major alternates dancing, flashy episodes with more singing, nostalgic passages, producing an effect that shifts between brilliance and introspection rather than being merely "emotional." Technically, expect challenges from Passages rapides (2.5/5) — requiring precise fingering and wrist control to keep rapid figures clear — and from Ornaments (Ornements romantiques) (2.5/5) — needing flexible execution of mordents and appoggiaturas to sustain the melodic line without weighing down the phrasing. With the period listed as unknown, caution is appropriate; it is a solo piano fantasy that belongs to Chopin's Romantic piano output rather than to his chamber or orchestral works. I do not provide a reference recording because I am not fully certain of a specific, widely recognized performance for this exact piece.