MusicCoach difficulty
80/100
Master repertoire
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
Knowledge of forms
1
Pedaling
Sustain pedal
1
Style
Romantic style
1
Rhythm
Tempo rubato
1
Theory
Harmonic analysis
1
Interpretation
Dynamics
1
Technique
Fast passages
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. 3, op. 36, M38
Karol Szymanowski
close skills
low risk
to confirm
A short step up — but it is the one that moves you into Great repertoire (diploma level, beyond grade 8). The skill that will carry the work: Connaissance des formes and Passages rapides — understand the form and the harmony before memorising, or memory collapses the moment you play for someone.
Gentle
Piano Sonata no. 4 in F sharp major, op. 30
Alexander Scriabin
close skills
low risk
to confirm
A short step up, staying in Advanced (around grade 8 ABRSM/RCM). 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.
Balanced step
A genuine step up, without a jolt.
Balanced
Piano Sonata no. 3 in F sharp minor, op. 23, "Etats d'âme"
Alexander Scriabin
close skills
moderate risk
to confirm
A real step up: this piece moves you into Great repertoire (diploma level, beyond grade 8). The skill that will carry the work: Connaissance des formes and Passages rapides — understand the form and the harmony before memorising, or memory collapses the moment you play for someone.
Balanced
Piano Sonata no. 31 in A flat major, op. 110
Ludwig van Beethoven
close skills
moderate risk
to confirm
A real step up: this piece moves you into Great repertoire (diploma level, beyond grade 8). 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.
Ambitious challenge
A useful leap with guided practice.
Challenge
Piano Sonata no. 29 in B flat major, op. 106, "Hammerklavier"
Ludwig van Beethoven
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: Indépendance des mains and Connaissance des formes — practise it slowly and hands separately before any attempt at tempo: that is where tension builds up.
Challenge
Sonata no. 3 in B minor, op. 58
Frédéric Chopin
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. The skill that will carry the work: Connaissance des formes and Passages rapides — understand the form and the harmony before memorising, or memory collapses the moment you play for someone.
Same level
Same level
Impromptu no. 2 in F sharp major, op. 36
Frédéric Chopin
partial transfer
low risk
to confirm
Equivalent demands, still Advanced (around grade 8 ABRSM/RCM): what changes is the ground. What changes is the skill in play: Voix chantante and Ornements romantiques — the notes will be secure long before the musical line: work in whole phrases, singing the main voice.
Same level
Tarantelle in A flat major, op. 43
Frédéric Chopin
partial transfer
low risk
to confirm
Equivalent demands, still Advanced (around grade 8 ABRSM/RCM): what changes is the ground. What changes is the skill in play: Staccato and Ornements romantiques — practise it slowly and hands separately before any attempt at tempo: that is where tension builds up.
Same level
Scherzo in E flat minor, op. 4
Johannes Brahms
partial transfer
low risk
to confirm
Equivalent demands, still Advanced (around grade 8 ABRSM/RCM): what changes is the ground. What changes is the skill in play: Staccato — practise it slowly and hands separately before any attempt at tempo: that is where tension builds up.
This third movement, Allegro scherzando, feels sprightly and nervy: it strings together virtuosic leaps and sharp answering motifs that demand very crisp articulation and sustained rhythmic drive. You will need to focus especially on Connaissance des formes (3.6/5) — here that means identifying episodes and returns and understanding transition functions so you can shape reprises and thematic reappearances effectively — and on Pédale de sustain (3.1/5), where the physical action is about short releases and half-pedaling to preserve harmonic clarity in rapid figurations while maintaining a warm resonance. The sonata sits late in Szymanowski's piano output and reflects late-romantic language with an increasingly personal harmonic palette and denser contrapuntal textures than his earlier piano works. I do not give a recommended recording because I am not 100% certain of a specific definitive interpretation for this movement.