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Play — 20 Variations en sol majeur, Hob. XVII:2 · ComposersbyNumbers (the player loads on click)
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Play — 20 Variations in A Major, Hob. XVII:2: 20 Variations in G Major, Hob.XVII:2 · Joseph Haydn, Jenő Jandó (the player loads on click)
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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.
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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.
These Variations in G have a bright, nimble character, alternating clear statement of the theme with more ornate episodes where the tempo stays lively without excessive drama. Technically, pay close attention to Analyse harmonique (3.8/5), which here requires making the chordal progressions and inner voices audible through precise fingering and register balance, and to Phrasing (2.5/5), which calls for controlled legato gestures and subtle separation of the short, varied phrases. The piece belongs to the Classical period and occupies a place in Haydn's output as an instance of his use of variation form to combine formal clarity with melodic invention. I do not give a recommended reference performance out of caution, since I am not 100% certain of a single widely recognized recording for this specific work.