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Play — J. S. Bach - Cantata BWV 153 "Schau, lieber Gott, wie meine Feind" (J. S. Bach Foundation) · Bachstiftung (the player loads on click)
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Play — Schau, lieber Gott, wie meine Feind, BWV 153: Aria. Sturmt nur, sturmt, ihr Trubsalswetter (Tenor) · Johann Sebastian Bach, Sally Bruce-Payne, James Gilchrist, Peter Harvey, Monteverdi Choir, English Baroque Soloists, John Eliot Gardiner (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.
The piece has a restrained, introspective character: steady bass gestures underpin melodic episodes that often resemble vocal recitative, producing quiet tension rather than overt flamboyance. You will need to work on Lecture clé de fa (2.5/5) to keep the left-hand voices clear — here that means accurately reading bass-line figures that span staves and coordinating independent left-hand fingers to sustain harmonic support — and on Baroque Ornaments (2.5/5), which require precise, small rapid executions (trills, mordents, appoggiaturas) integrated into the line without breaking the phrase. Originally this comes from Bach's body of sacred cantatas, and the piano arrangement should preserve the contrapuntal clarity and phrasing logic of the vocal model.