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Play — JS Bach: English Suite No. 3 in G Minor BWV 808 - Ivo Pogorelich, 1985 - DG 415 480-1 · davidhertzberg (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 English Suite No. 3 projects a brisk, dance-like energy in fast movements while asking for a clear detached articulation and singing line in the slower sections; overall it demands rhythmic precision and clean articulation rather than expansive rubato. You will face chiefly issues of Independence of the hands (2.5/5): here you must separate the right-hand melodic contour from the left-hand accompaniment by controlling finger weight and attack, and Two-voice polyphony (2.5/5) which requires bringing out two simultaneous lines by balancing their intensity and shaping articulation so each voice retains its logic. The piece belongs to Bach's keyboard suites and sits among his English Suites, works of the Baroque keyboard repertoire originally for harpsichord but commonly played on piano today. I do not give a reference recording because I am not sufficiently certain of a single widely recognized interpretation for this specific work.