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Play — Schubert: Piano Sonata No. 20 in A Major, D. 959: II. Andantino · Franz Schubert, Eric Lu (the player loads on click)
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MusicCoach difficulty
81/100
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
Technique
Hand independence
1
Interpretation
Dynamics
1
Interpretation
Phrasing
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 in E flat minor
Paul Dukas
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 and Indépendance des mains — understand the form and the harmony before memorising, or memory collapses the moment you play for someone.
Gentle
Piano Sonata no. 14 in A minor, D.784, op. posth.143
Franz Schubert
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 and Indépendance des mains — 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 A major D 959
Franz Schubert
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: Polyphonie à deux voix 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. 17 in D major, D.850, op. 53, "Gasteiner"
Franz Schubert
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: Passages rapides and Balance mains — 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. 31 in A flat major, op. 110
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: Passages rapides and Connaissance des formes — practise it slowly and hands separately before any attempt at tempo: that is where tension builds up.
Challenge
Piano Sonata in B minor S.178
Franz Liszt
partial transfer
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: Trilles and Demi-pédale — practise it slowly and hands separately before any attempt at tempo: that is where tension builds up.
Same level
Same level
Ballade No.1 in G minor Op.23
Frédéric Chopin
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: Octaves and Connaissance des formes — practise it slowly and hands separately before any attempt at tempo: that is where tension builds up.
Same level
Impromptus Op.90 D.899
Franz Schubert
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: Passages rapides — practise it slowly and hands separately before any attempt at tempo: that is where tension builds up.
Same level
3 Klavierstücke, D.946
Franz Schubert
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 deux voix — practise it slowly and hands separately before any attempt at tempo: that is where tension builds up.
This II. Andantino unfolds a bittersweet, songlike atmosphere with undercurrents of harmonic ambiguity that require careful voicing rather than mere pianistic display. Technically, you will need to work on Connaissance des formes (3.6/5) to shape the alternation of theme and response and to prepare reprises and modulations with clear phrasing, and on Pedal de sustain (3.1/5) which demands very precise releases to preserve resonance without blurring inner voices. The movement belongs to Schubert’s late piano sonatas, expressing the lyrical-structural synthesis typical of that period in his output. I do not provide a recommended recording here because I prefer not to give a name unless I can be certain of its direct correspondence to this specific work.