No verified recording for this work yet. We add more every week.
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.
Does this rating look right to you?
This rating is computed automatically from heterogeneous sources. It gets things wrong, sometimes badly. If you know this work, your answer is worth more than our computation: it tells us which ratings to review.
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 “Der Einsame” projects a restrained, inward melancholy, typically played with a measured tempo and discreet breaths that allow each melodic cell to unfold. The main technical challenges are Legato (2.5/5) — you will need consistent finger connections and slight wrist release to make the lines sing without breaks — and Nuances (2.5/5), requiring very fine control of dynamics and touch to shape expression often within a very soft dynamic range. The piece belongs to Franz Schubert’s output, placing him at the transition from Classicism to early Romanticism, and fits with his piano miniatures where intimacy and clarity of line are central. I do not provide a reference recording here out of caution, since I cannot be fully certain of a definitive interpretation for this specific piece.