MusicCoach difficulty
70/100
Advanced
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
Rhythm
Polyrhythm 2 against 3
1
Style
Modern and contemporary style
1
Tone
Touch control
1
Technique
Hand independence
1
Interpretation
Dynamics
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
Piano Sonata no. 2 in E major, op. 2
Erich Wolfgang Korngold
close skills
low risk
to confirm
A short step up, staying in Advanced (around grade 7 ABRSM/RCM). The skill that will carry the work: Connaissance des formes and Style moderne et contemporain — understand the form and the harmony before memorising, or memory collapses the moment you play for someone.
Gentle
Piano Sonata no. 1, op. 12
Dmitri Shostakovich
close skills
low risk
to confirm
A short step up, staying in Advanced (around grade 7 ABRSM/RCM). The skill that will carry the work: Connaissance des formes and Style moderne et contemporain — understand the form and the harmony before memorising, or memory collapses the moment you play for someone.
Balanced step
A genuine step up, without a jolt.
Balanced
Organ Sonata no. 3, "On Old Folksongs"
Paul Hindemith
close skills
moderate risk
to confirm
A real step up, staying in Advanced (around grade 8 ABRSM/RCM). New compared with the previous piece: Polyphonie à trois voix ou plus and Connaissance des formes — practise it slowly and hands separately before any attempt at tempo: that is where tension builds up.
Balanced
Piano Sonata no. 3 in C major, op. 25
Erich Wolfgang Korngold
close skills
moderate risk
to confirm
A real step up, staying in Advanced (around grade 8 ABRSM/RCM). New compared with the previous piece: Polyphonie à trois voix ou plus and Connaissance des formes — practise it slowly and hands separately before any attempt at tempo: that is where tension builds up.
Ambitious challenge
A useful leap with guided practice.
Challenge
Piano Sonata no. 4
Michael Tippett
close skills
high risk
to confirm
An ambitious leap into Great repertoire (diploma level, beyond grade 8) — only worth starting if the practice time is really there. New compared with the previous piece: Pédale una corda and Doubles notes — the pedal is set by ear, note by note: misjudged, it blurs the harmony instead of joining it.
Challenge
Piano Sonata no. 3
Michael Tippett
close skills
moderate risk
to confirm
An ambitious leap into Great repertoire (diploma level, beyond grade 8) — only worth starting if the practice time is really there. New compared with the previous piece: Ornements romantiques and Connaissance des formes — ornaments must be secure before the piece goes up to tempo, otherwise they break the line instead of decorating it.
Same level
Same level
Suite for Piano, op. 14, BB70, Sz.62
Béla Bartók
partial transfer
low risk
to confirm
Equivalent demands, still Advanced (around grade 7 ABRSM/RCM): what changes is the ground. What changes is the skill in play: Style baroque and Ornements baroque — the notes are not enough: articulation and ornaments follow performance conventions best checked in an urtext edition.
Same level
6 Preludes and Fugues, op. 61
Dmitry Kabalevsky
partial transfer
low risk
to confirm
Equivalent demands, still Advanced (around grade 7 ABRSM/RCM): what changes is the ground. What changes is the skill in play: Polyphonie à trois voix ou plus and Style moderne et contemporain — practise it slowly and hands separately before any attempt at tempo: that is where tension builds up.
Same level
3 Early Piano Pieces
Dmitri Shostakovich
partial transfer
low risk
to confirm
Equivalent demands, right at the edge of Intermediate (around grade 7 ABRSM/RCM): different ground, same level. The skill that will carry the work: Style moderne et contemporain and Indépendance des mains — the notes are not enough: articulation and ornaments follow performance conventions best checked in an urtext edition.
This first movement presents a taut yet lyrical sonata character, alternating singing episodes with sharp, punctuated figures that require rhythmic clarity and contrasting tonal colors at the piano. For technical work, focus on Connaissance des formes (3.6/5): you must clearly map the thematic modules and shape returns so phrasing and large-scale architecture remain coherent, and on Polyrhythmie 2 contre 3 (3.1/5): this asks for independent control of hands so the duple versus triple support stays steady without collapsing the main pulse. The piece belongs to the modern period and, marked op. 2, sits early in the composer's catalogue, already showing richly orchestral pianistic writing. I do not give performance references here because I am not fully certain of a single widely recognized recording for this specific movement.