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 piece has a calm, ceremonial character with clear phrases and restrained articulation that favor contrapuntal clarity over flashy virtuosity. Technically, pay attention to Reading bass clef (Lecture clé de fa, 2.5/5): you must read the lower register reliably to support the harmonic line, and Hand independence (Indépendance des mains, 2.5/5), where the left hand often sustains a stable chordal flow while the right hand carries the melody, requiring controlled touch and balance. The exact placement of this Church Sonata within Mozart's output is uncertain, but it belongs to the group of liturgical or semi-liturgical pieces in his catalogue and reflects Classical-era conventions. I do not give a recommended recording here, as I am not sufficiently certain of a single widely recognized reference for this specific work.