MusicCoach difficulty
58/100
Intermediate
Level of the complete work
We have no level specific to this movement. The figure above is that of the complete work: within a cycle, movements often differ widely in demand.
Estimated skills
Theory
Harmonic analysis
1
Theory
Knowledge of forms
1
Pedaling
Sustain pedal
1
Style
Romantic style
1
Rhythm
Tempo rubato
1
Technique
Legato
1
Interpretation
Phrasing
1
Rhythm
General rhythm
1
What to play next?
Each suggestion combines difficulty gap, risk, confidence and skill overlap. The first two cards in each column are the most useful pedagogically.
Gentle step
The safest next step.
Gentle
Sonata for 2 Organs
Luigi Cherubini
close skills
low risk
to confirm
A short step up — but it is the one that moves you into Intermediate (around grade 5 ABRSM/RCM). New compared with the previous piece: Indépendance des mains and Demi-pédale — practise it slowly and hands separately before any attempt at tempo: that is where tension builds up.
Gentle
Piano Sonata no. 19 in G minor, op. 49 no. 1
Ludwig van Beethoven
close skills
low risk
to confirm
A short step up, staying in Elementary (around grade 5 ABRSM/RCM). New compared with the previous piece: Indépendance des mains and Connaissance des formes — practise it slowly and hands separately before any attempt at tempo: that is where tension builds up.
Balanced step
A genuine step up, without a jolt.
Balanced
Sonata in B flat major, D.617, op. 30
Franz Schubert
close skills
moderate risk
to confirm
A real step up: this piece moves you into Intermediate (around grade 6 ABRSM/RCM). New compared with the previous piece: Style classique and Balance mains — the notes are not enough: articulation and ornaments follow performance conventions best checked in an urtext edition.
Balanced
Piano Sonata no. 1 in C major, op. 2, no. 3
Johann Nepomuk Hummel
close skills
moderate risk
to confirm
A real step up: this piece moves you into Intermediate (around grade 6 ABRSM/RCM). New compared with the previous piece: Style classique and Connaissance des formes — the notes are not enough: articulation and ornaments follow performance conventions best checked in an urtext edition.
Ambitious challenge
A useful leap with guided practice.
Challenge
Piano Sonata no. 3 in F minor, op. 20
Johann Nepomuk Hummel
close skills
high risk
to confirm
An ambitious leap into Intermediate (around grade 6 ABRSM/RCM) — only worth starting if the practice time is really there. The skill that will carry the work: Connaissance des formes — understand the form and the harmony before memorising, or memory collapses the moment you play for someone.
Challenge
Piano Sonata no. 10 in G major, op. 14 no. 2
Ludwig van Beethoven
close skills
high risk
to confirm
An ambitious leap into Intermediate (around grade 6 ABRSM/RCM) — only worth starting if the practice time is really there. New compared with the previous piece: Indépendance des mains and Connaissance des formes — practise it slowly and hands separately before any attempt at tempo: that is where tension builds up.
Same level
Same level
6 Bagatelles, op. 107
Johann Nepomuk Hummel
close skills
low risk
to confirm
Equivalent demands, still Elementary (around grade 4 ABRSM/RCM): what changes is the ground. The demand here is musical rather than mechanical: Tempo rubato — the pitfall is the pulse drifting as soon as the writing thickens: subdivide with the metronome.
Same level
Rondo in C major, WoO 48
Ludwig van Beethoven
close skills
low risk
to confirm
Equivalent demands, still Elementary (around grade 5 ABRSM/RCM): what changes is the ground. What changes is the skill in play: Contrôle du toucher — what matters is quality of attack and evenness of tone, not speed.
Same level
30 Minuets with Trios, D.41
Franz Schubert
partial transfer
low risk
to confirm
Equivalent demands, still Elementary (around grade 4 ABRSM/RCM): what changes is the ground. What changes is the skill in play: Caractère et style — the notes are not enough: articulation and ornaments follow performance conventions best checked in an urtext edition.
This III. Cantabile, Larghetto e Capriccioso presents a singing, lyrical line punctuated by capricious, sudden gestures: you should shape the melody as a breathed vocal line while allowing occasional playful accents to appear. Technically, Connaissance des formes (3.6/5) is essential to identify repeats and extended phrases so you can plan breaths and dynamic shaping, and Tempo rubato (3.1/5) requires control of slight lengthening and release — a right‑hand gesture that subtly delays the phrase head and lets it go cleanly without breaking the left‑hand accompaniment. The piece belongs to the Romantic vein and to the composer’s output of piano sonatas, reflecting a shift from classical clarity toward more expressive colors. I do not provide performance references here because I am not fully certain of specific authoritative recordings.