Quick comment, I KNOW that lists and difficulties are subjective so some choices might be a surprise, still the point of this video was also to give people a list of pieces to chose from in any category so pls keep that in mind and enjoy the vid!

Interesting take. I appreciate how you move beyond technical difficulty to consider the musical dimensions when deciding on level of difficulty.

(Painless) 1:33 op.49/2 (20) 1:41 op.49/1 (19) 2:04 op.79 (25, "Cuckoo") 2:08 op.14/2 (10) 2:12 op.14/1 (9) 2:23 op.2/1 (1) 2:26 op.2/2 (2) 2:28 op.10/1 (5) 2:31 op.10/2 (6) (Advanced) 2:54 op.13 (8, "Pathétique") 3:06 op.27/2 (14, "Moonlight") 3:16 op.27/1 (13) 3:27 op.28 (15, "Pastoral") 3:33 op.54 (22) 3:44 op.22 (11) (Demanding) 3:49 op.78 (24, "A Thérèse") 3:55 op.26 (12) 4:02 op.31/1 (16) 4:09 op.31/2 (17, "Tempest") 4:42 op.90 (27) 4:48 op.10/3 (7) 4:54 op.2/3 (3) 4:57 op.31/3 (18, "The Hunt") 5:04 op.81a (26, "Les Adieux/Das Lebewohl") 5:20 op.101 (28) (Elite) 5:43 op.7 (4) 6:17 op.109 (30) 6:26 op.53 (21, "Waldstein") 7:22 op.110 (31) 7:57 op.57 (23, "Appassionata") 9:15 op.106 (29, "Hammerklavier") 9:23 op.111 (32)

I agree. Technically the Hammerklavier is the most difficult, but interpretation on Opus 111 is mind altering and perhaps the most challenging in all of the piano repeteur.

The first Beethoven sonata I ever learned was the Pathétique, when I was 19 years old. I needed six months to play it all at full speed. I memorized it segment by segment. The second Beethoven sonata I learned was the Appassionata. I started by slowly sightreading until I could read through the whole sonata, and then gradually increasing the frequency until I could play it at full speed without difficulty. The difference between the two methods of learning produced two different results: even after decades without practice, I was able to rememorize the Pathétique quickly, and play it without the score, while I could never play the Appassionata without the score before my eyes.

The first time I ever heard opus 111 I felt like I was being taken on a musical journey to a place I had never been before. I had a score to follow along with and was astonished at what I was seeing. An experience never to be forgotten.

I'm surprised Op 2/2 is in the painless category. It is considered an off-range piece by many teachers. It doesn't rank against the top tier but is a decent Demanding tier.

A few observations from someone who has performed the entire Hammerklavier on several occasions and studied the op. 111: 1. I don't think you can truly understand the mental difficulty of performing it once you've actually performed it. If you've had a bad day, are a little tired, or have under-prepared even by just a little, disaster can and will start to happen, especially in the fugue. 2. It's not too challenging to give a "decent, listenable" interpretation of it, but an excellent one? That's a different story. The first movement needs to be voiced well and kept under control, the third movement needs razor-sharp focus throughout, else it will start to sound boring about halfway through and the audience will fall asleep. And you will have a memory lapse. If the fugue is just "rattled" through with perfect technique, it will sound pointless. And there are parts of it that are almost unplayable (given, of course, that you play it at a good tempo.) Of course, I understand that different people find different things difficult or not so difficult, but in my experience, the more I practiced Hammerklavier and the more I got close to giving my first performance, the more difficult it became. Op. 111 made my scratch my head (I was close to giving a performance of it, so I had it almost memorized and pretty fluent after a couple months), but Hammerklavier, after half a year of working on it, made me cry and feel absolutely stupid. I also had one performance of it which was an absolute, unmitigated disaster. Several memory lapses and full stops - something that has never happened before. I thought I was ready, but apparently, I was underprepared, hadn't slept and so, several parts of the 1st movement and the fugue left my memory as I was sweating like a pig. This piece requires immense preparation, fingers like lightning, unbreakable concentration and a deep musical understanding to make any sense of the 3rd or 4th movement. Perhaps sometime in the near future, I will return to it again and try to do it more justice. It's just a massive technical and emotional puzzle that I haven't quite solved yet.

I have been working on the Op. 111 Arietta for months. It's far beyond my grasp, but every now and then, I play something and it actually sounds like the music is echoing back at me and it just sends shivers up my spine. Like I'm getting a glimpse of it. I love it.

It's nice to know that at least some people, people with greater abilities than my own, can find any Beethoven sonata "painless" !

For a recital I actually played the Waldstein with the Andante Favori as the second movement. It was definitely no joke.

Wow! Someone asked for just the hardest sonatas, but you gave them all of them ranked! Nice work.

Lovely summary, and I happen to agree totally with Op. 111 harder than Hammerklavier because of the second movement, one of the greatest excursions to heaven and back in the history of Western music.

This is a fantastic take. Op. 111 is very underrated. I agree with almost all the selections you made in the top 5!

You convinced me to listening to Beethoven's sonatas again. So beautiful they are

Glad to see op.10 no.3 is up there on your list. I remember looking at some rankings when I was practicing it and it was way lower than I personally felt it should be.

Also, if you are a beginner/intermediate pianist, Beethoven also wrote some Sonatinas that are not too difficult, most similar level to the Painless sonatas.

It is true that op. 106 and op. 111 are in the most difficult category, but there is another that belongs in this group: op. 101. In fact, many pianists, including myself, consider op. 101 the most challenging of them all. It’s just as technically demanding and “risky” as op. 106, but it requires even more sensitivity, and its character is more elusive.

Op.2 number 2 is actually more difficult than you think.

Waldstein was much more difficult for me than the Appassionata. the third movement in the Waldstein is so much harder to make sound clean than the other. It requires a much more sophisticated pedal and clear voicing

I don't see how Op. 101 isn't in the elite, the fugue gets almost as difficult as in Op. 106 I understand your points for placing Op. 111 above Op. 106, but I don't really agree as the third movement of Op. 106 also has immense musical difficulties, almost on par with the Op. 111 arietta, but technically the whole sonata is on a different planet Nevertheless, a nice video, and I'm looking forward to the future videos!

I have been working on the Appassionata Sonata and I honestly thought it would be a bit easier, but then again, I haven’t really played that much of the Beethoven Sonatas. First sonata I learned was Moonlight, then Pathetique. Then I went through a period where nothing would sound right when I did my Beethoven practice for new pieces, so for a few years, I kind of stopped learning the Beethoven Sonatas, but kept learning other hard pieces by Schubert, Chopin, and other composers. Now I’m at the point where my new Beethoven repertoire sounds okay at least, slow, but not like very wrong sounding. Hardest part of the Appassionata Sonata for me right now and what’s slowing me down is the third movement left hand, specifically the alternating intervals passage in C minor with like the thirds and octaves, that’s quite awkward on my small hands. The ending Presto is easier on my left hand than the alternating intervals. Waldstein just seems like it would be harder because of how fast the repeated chords are, I tend to have a harder time with fast repeated notes than with fast alternations

APPASSIONATA IS IN THE TOP 3!!! I love that piece! It's my favorite piece of ALL TIME!!! (I already mostly learned the 2nd and 3rd movements already, even though you categorized this sonata in Elite.)

thank you for taking my suggestion into mind. i appreciated it

Nice video to lean more. I love all. My father used to listen Appassionata every day like a habit. He would also listen Hammerklavier a lot. I have not decided yet which one is my favorite one.I am still very young in music compare to him...jJajaja😅😘...Thank you!!.He was fan of C. Arrau and Glenn Gould playing them.

I have been working on The Tempest and Appasionata in recent months, and have been wondering what to learn next. I think I would like something less demanding than Appasionata next time, and you have given me some great ideas! By the way, I find it interesting that one of my cats gets in my lap every time I get to the climactic arpeggios toward the end of the first movement, making it even more difficult to play well!

Though not a player, I was happy to see that you picked Opus 101 in 4th place. It's my personal favourite, along with Opus 7, which IS underrated. Critics tore Beethoven apart over it, but was transformative for him.

To those who thinks op111 is more difficult than op106, I would love to see your video recordings of you playing the entire Hammerklavier on stage or record this piece in 1 take. Ppl were like:”oh 111 is more difficult in interpretation” Well ,what about the third movement of 106, and what about the following fugal movement that is considered as the hardest passage Beethoven wrote , both in mental and technique way. The challenge for 111 is the interpretation, the challenge for 106 is try not collapse on the stage XD

Placing Opus 7 so high and giving it more exposure made me happy as its my favourite sonata next to Opus 101. It is a huge piece and only elite players can handle its technical but also emotional challenges!

I really like how you've explained the Hammerklavier versus Opus 111. Even Brendl stopped performing the Hammerklavier as he got older because of its sheer physical demands. But 111 is of transcendental musical conception, so just mastering the notes is hardly sufficient. Bravo. I do think these final two should be in a category by themselves as well. Earlier in the list, I found some of the "easiest" to be difficult, in the manner of Mozart, in that they require a very light touch that is difficult (for me at least) to master. Also, Beethoven mixed and matched the difficulty in his early and middle periods -- the Moonlight finale, for example, is at least a magnitude more difficult than the first two movements. The Pathetique's first movement is much more difficult than the other two, although the second movement requires a high level of musicality that can be lost if all one does is read the notes. Thanks for this and your other videos. They show a lot of serious thought and are very enjoyable.

Very interesting and informative, especially for a dumb klutz like myself. I look forward to listening to the Beethoven sonatas in the order presented.

Op.81a and Op.101 are harder than Appassionata and Waldstein. Hammerklavier is the hardest.

I’ve taught 111 a couple of times in my career, but never had the pleasure of teaching hammerklavier…..people seem more attracted to 111, though always find it a huge challenge.

Acknowledging op. 7 shows that you have a good understanding of the Sonatas. A less experienced musician wouldn’t comprehend it’s difficulty. Last movement of Op 31 no 3 is another silent killer…

Op.2/2 is pretty brutal

I liked your point regarding the difficulty being in "the understanding of op.111". In the late sonatas as well as in the late quartets (and arguably more so in those) it's as if Beethoven has gone over to the other side - as in that dimension that we otherwise associate with death. For me, no one gets as close to conveying that as Maurizio Pollini (despite his coolness toward - and even disdain for - personal interpretation), while this "other side" aspect is the reason, I think, for why the late sonatas are the greatest - and therein the most difficult - to properly do justice too etc.

Zero chance 111 is harder than 106 sorry I know we like to fellate the late Beethoven’s but to say that 111 is harder because it’s unique/hard to understand is borderline missing the point. If you can do the 106 justice you can do the 111 easy, the 106 stands as not only a beast of technique but musicality as well, testing your entire arsenal as a pianist to make a sensible interpretation. 106 probably stood for a good few decades as the hardest piano piece is the standard repertoire. A 15 min slow movement, a chromatic fugue of blazing speeds that cover the entire range of the keyboard, an opening movement that is erratic and bombastic. The amount of musical difficulties in the 106 exceed the 111, which I have performed on a few occasions. In particular, most of the musical difficulties lie in the final few variations after the “boogie woogie”, where there’s an idea of reaching into the heavens, free of earthly burdens. Still, it is fairly consistent within this spiritual framework and the first movement is not that musically difficult. The Hammerklavier contains the struggle of everything, from the deepest depths of the soul, the triumph, the confusion and then to the transcendent as well in the fugue.

The slow movement of the Hammerklavier is just as much of a challenge as the slow movement of op. 111, and it one of four movements, whereas op. 111 is a two-movement sonata. The Hammerklavier is a symphony for piano solo and ends with a fugue that just barely playable by ten fingers. It has no rival.

are you including the third movement of "moonlight" in the same category as the first movement? Didn't see it in the other categories.

La dificultad de las sonatas de el maestro, es que no es solamente a nivel interpretativo, sino que también hubo consecuencias del momento (el instrumento que se interpretó) y que debe sonar a Beethoven, sin que suene a Mozart, Haydn o Salieri.

Great video, as someone who's played all the sonatas I have to respectfully disagree with your last two choices, both are difficult but the philosophical and spiritual nature is very personal, and in my impossibly unbiased opinion the hammerklavier is technically more difficult and conceptually more difficult to put together. When I used to teach 20 years ago I found that students also had the same challenges and I would send them to another musician friend to get second opinions of these great works, 95% of the time most pianists had the same opinion, thank you for your work and putting us together and hopefully my very biased opinion adds to your success.

They are all pretty hard for me ;-) nice list with a good twist at the end.

Very surprised to see op 2/2 in the 'painless: category. Those exceptionally tricky appoggiaturas in the 1st movement development section? The big left hand accompanimental figures in the finale? And although it's short, I'd have put op 54 considerably higher in the difficulty stakes - from what I gather, you have much bigger hands than me!

A good ranking and it is interesting to observe that the most difficult pieces are not the most beautiful.

I thought Hammerklavier was going to be the hardest, and the 32nd at fourth place, but they were all assumptions, since I've never played them, just listened. Very interesting and informative video!

I have played op.111 for 4 years now. I'm only starting to get the first movement right. But in the process i've forgotten how to play the 2nd movement.

Great video! I was surprised to see tempest so much higher than moonlight. I consider tempest to be one of the easier ones honestly. Why did you think it’s so much harder? I’ve played waldstein, moonlight, appasionata, pathetique, tempest, and I’d put tempest as easiest

Couldn't agree more!!!

Can I ask about your decision on the Op. 27 No. 1 (21st), and the Op. 90? (13th)? I'm sure I'd have other questions, but these are the only 2 sonatas I have any real experience with. I consider the Op. 27 No. 1 to be very technically AND musically demanding, whereas the Op. 90 aside from about 3 difficult passages lacks any serious technical difficulty, but is incredibly musically in depth. So I guess in my eyes they round out to about equal difficulty, so why are they as far apart as they are on the list? (With all due respect to your opinion of course. I can tell that this list is very well thought about).

Compared to a list I drew up earlier, many of the positions are similar. The biggest discrepancy is Op.78 (No.24) which you rank sixteenth whereas my list has it ranked twenty-sixth.

In the middle of preparing all 32 for a festival in Mexico next month. Here for all its worth is my very different rankings from easiest to most difficult. Surely the second movement of op.111 is such incredibly great music that it virtually plays itself and doesn't need 'interpretation' (as long as you can master those dreadful trills!). Everything is difficult to do well though and I admire someone who can play the 49s with Mozartian grace and elegance. 1 - Op.49/2 2 - Op.49/1, 3 - Op.14/2, 4 - Op.14/1, 5 - Op.79, 6 - Op.2/1, 7 - Op.10/1, 8 - Op.79, 9 - Op.26, 10 - Op.13, 11 - Op.27/2, 12 - Op.10/3, 13 - Op.2/2, 14 - Op.22 15 - Op.31/2, 16 - Op.28, 17 - Op.27/1, 18 - Op.54, 19 - Op.10/2, 20 - Op.78, 21 - Op.31/3, 22 - Op.2/3, 23 - Op.110 24 - Op.31/1, 25 - Op.7, 26 - Op.81, 27 - Op.109, 28 - Op.53, 29 - Op.57, 30 - Op.111, 31 - Op.101, 32 - Op.106

Great video! All in all I agree with the order, but if you compare a few "easy" ranked sonatas with harder ones, sometimes it's not quite right. For example, I think No. 9 is much harder than No. 27. There are some difficult passages in the first movement of No. 27, but I find them much easier than the last movement of No. 9. Also I think for example No. 30 is easier than some of the earlier ones like No 11. But still, the late sonatas are harder to play on an emotional basis than on a technical basis.

In my opinion Hammer klavier n29 is the most difficoult Beethoven's sonata, but I agree with you that n32 op 111 is a more profound work, it's one of my favourite piano compositions of all times. In my experience, very dufficoult to memorize the second movement without fake notes.

Great video! My own experience shuffles few of them around, but it’s subjective as you said. Would you consider a future video that digs deeper into specific passages for each of them?

Besides the andante favori not being included in the waldstein / length reasoning, what other aspects qualify the appassionata to sit in the last difficulty category for you pls? Lots of ppl including myself find it musically straight-forward / would place into 3rd or 4th category, with some of your earlier mentions a bit further in difficulties. I am asking from a pedagogical point of view - very curious the specific challenges you encounter ;)

I’m preparing op. 31 no 3 (the hunt) right now for a recital and, for me, it’s one of those pieces where all the places that seem easy turn out to be really difficult, and all the spots that look hard at first are actually fairly easy lol

The great thing about music is it's not a Universal truth that everybody needs to agree upon. Everybody has their own thoughts on it. For me the argument of the sheer spiritual level of understanding needed for Opus 111 could equally apply to the Adagio 3rd movement of The Hammerklavier, for me one of the greatest and most profound movements in all music, a monumental and epic journey. The sheer level of concentration and focus required to play this movement is immense In Beethoven's own words he describes this movement as this, "Through penance and purification to the pure fountain." And the only possible release from all this suffering, longing and contemplation of nearly 20 minutes is the final triumph of the immense fugue of the final movement. Those two final chords of the movement mark the end of the epic struggle from darkness to light. The Hammerklavier is both the most difficult interpretively and technically so for this reason i place The Hammerklavier as the most difficult.

Can you please make a video about Schubert' piano sonata ranked by difficulty. I love your ranking of his as well.

Only 2 movements in op.111. If you decide difficulty based on length of middle movement (like in Waldstein), then op.111 is so easy we are born able to play it!

I adore the 111. But Mon dieux, the trills!

The finale of the Hammerklavier is technically the most demading of all.

Oh, so you are saying that my absolute favorite sonata is harder than Hammerklavier? I think I understand your point. It is extremely hard to interpret Op.111 2nd movement, with all its borderline spiritual/transcendental nuances, and the Op.106 sounds impressive even if you are just playing the notes without much thought about the musical aspects. I knew that the Op.111 was among the most challenging sonatas, but I still had the illusion that I would work on it someday. Now I am struggling with the 1st movement of Pathetique, so I guess there is no chance I would ever be able to do a decent performance of that piece. But there is no harm in trying, right? Maybe in the next decade 😅

I agree with most suggestions; but I would put op. 2/1 and op.27/2 behind op. 28, op. 7 as "demanding" and op. 111 behind op. 106.

I completely support the idea of Op. 111 being the most difficult due to the interpretational challenges that one faces amidst the technical demands of both movements. I just recently played 109, 110, and 111 on a single program and even though my love of 109 is deep, I couldn't stop my obsession with 111. I played 101 back in grad school and I have not played 106 yet, but after so many hearings of 106 I am aware enough to know that a good technical rendition of it will very likely produce a good musical rendition. I know many will disagree with me on this, but 106 isn't the most emotionally touching Sonata Beethoven wrote. Unfortunately, the focus is often on the technical demands and the grandiosity of the work as a whole, which often dictates the "difficulty" lists. This is not so with 111. There is something much more profound in 111 that if missed, will render the entire 27-28 minutes as quite empty, IMO, even if it is technically well done. For example, (and I'm not afraid to admit) that the performances of 111 by Pogorelich, Katie Mahan, and Daniil Trifonov left me in absolute tears by the end, but the performances of Brendel, Pletnev, and Pollini were like, "meh." I guess the point I'm trying to make here (which the video commentary proposes already), is that there can be good and not-so-good performances of 106, but it is going to be technical in nature and probably won't have such a wide range of effect on the listener emotionally. However, with 111, the technical ability necessary to transmit the profound emotional and spiritual effect on an interpretational level is what makes this not only one of the greatest works in the repertoire, but also a substantial test on the performer as one of the most difficult tasks we try to achieve on stage. Order and peace from the chaos and mayhem. The victory of bliss and acceptance over pain and the negativities in life. To me, it is just simply astounding that Beethoven would end 111 the way he did and then walk away from the genre. I don't know how to put into words what that means... Sorry, I kind of lost myself there for a moment, but I must also say that I am super happy to see Op. 7 in the "Elite" category. That Sonata is almost impossible. However, I do disagree with the placement of 101. I think the 2nd and 4th movements place that Sonata ahead of 110 for sure, at least technically, and deserves to be in the Elite category for that reason. Honestly, the only movement in 110 that makes it difficult is the treacherous dance. The B-section is so difficult to finger properly that it is almost a miracle to play it accurately. 101 has many more places where things can go wrongly. Having learned and performed all in the elite category (other than 106), I would revise the order to be Opp. 7, 110, 109, 53, 57, 101, 106 and finally 111.

Funnily enough I tried playing the Op.111 last year. I want to play at some point.

A young Daniel Baremboim was once given a 0/10 for his seemingly good performance of Beethoven's Op.111 at an International Competition by Arturo Benedetti-Michelangeli, one of the members of the Jury, because he felt the choice of the Piece was wrong: in the Italian Maestro's own words, a young, debutante concert pianist doesn't know what to do with that Music. And I feel like he maybe was too harsh, but got some points.

For me, the third movement of the Waldstein was also one of those pieces that just never freaking ends! It's hard enough to do those trills and scale in the left hand properly 🥵

PS: i think the tempest is one of the easier ones, but on all lists it is ranked similarly to here . Here it is the 14th hardest but I don’t see anything that is as hard in it as for example the left hand tremolo in the pathetique or the high speed of the 3rd movement of the moonlight.

I'm with you that the 7th is under rated. Personally one of my favourites. It a secret pleasure other people ignore. Now you've let the cat out of the bag!

For me the ranking would be: Entry level: 32. Op. 49 No. 2 (20) 31. Op. 49 No. 1 (19) 30. Op. 79 (25) Super easy: 29. Op. 14 No. 1 (9) 28. Op. 14 No. 2 (10) 27. Op. 2 No. 1 (1) 26. Op. 10 No. 1 (5) 25. Op. 10 No. 2 (6) Easy: 24. Op. 27 No. 2 (14) 23. Op. 2. No. 2 (2) 22. Op. 13 (8) 21. Op. 54 (22) 20. Op. 78 (24) Advanced: 19. Op. 10 No. 3 (7) 18. Op. 27 No. 1 (13) 17. Op. 26 (12) 16. Op. 2 No. 3 (3) 15. Op. 22 (11) Demanding: 14. Op. 31 No. 1 (16) 13. Op. 31 No. 2 (17) 12. Op. 31 No. 3 (18) 11. Op. 28 (15) 10. Op. 90 (27) 9. Op. 7 (4) Difficult: 8. Op. 109 (30) 7. Op. 81a (26) 6. Op. 110 (31) Very difficult: 5. Op. 53 (21) 4. Op. 111 (32) 3. Op. 57 (23) 2. Op. 101 (28) Hammerklavier (yes Hammerklavier should be in its own category): 1. Op. 106 (29)

at least for me, the op90 and 81a ranking are ok.. i would say op90 is at the border.. but depends on how to you see things

Op2/2 is certainly a level 4 (just try the development section of the first movement and you will see it by yourself). The fugue of the Op.101 in development part of final alone should make it a level 5 difficulty. I agree with the rest.

im surprised op10 no1 is in painless. Certainly a very challenging piece having plauyed it myself. I think it deserves a higher spot in the rankings. Also considering teh way you ahve ranked op111 over op106, basd on interpretation adn muscialtiy, I think that both the Tempest and Moonlight deserve to go higher. Both are very demanding to perform musically (especially the first movemetn of the moonlight). I am curious as to why you maybe didnt take this as much into account at you did with op111?

I hope you can rank al Brahms Piano Works from panless to elite, I love his music but is challenging to play

Thanks

Sonata #31 is becoming my favorite amongst others.....the ending is matchless.....sonata #4 was a surprise for me how hard it is and its long..average performance is 28 min...sonata #23 is my fantasy sonata and can only play it in my dreams.....🤣

I personally found 16th more difficult. Played only 1st movement though, and it seemed like a lot of work to get a quality sound. Also, i would like to know, what is so demanding about 27th? First movement is pretty straightforward, the pulse is main focus. Second one is quite repetitve and it can be a bit tricky to make it entertaining. Although technically as a whole i would say its less demanding then even pathetique one. Would like to get opinions on that.

Did I miss your assessment of Opus 26 ( Funeral March)?

Bold take to rank anything over the Hammerklavier/op. 106. My disagreements: Ranked too difficult: op. 31/3 (easiest of the op. 31 sonatas in my opinion although they're all roughly comparable in difficulty; I think 31/1 is the hardest of the three) op. 110, easiest of the last five, and much easier than the Waldstein. Also I think it's the easiest of the last five to interpret. op. 26, one of the easier ones except for the finale and Variation 5 of the opener. Ranked too easy: op. 2/2 in the easiest?? Much harder than op. 2/1. op. 2/3 is nearly as hard as op. 7 and a lot harder than op 10/3. op. 101 should be right behind the Hammerklavier and op. 111, and maybe even above the op. 111. My top 5 would be op. 106, op. 101, op. 111, op. 53, op. 109 (Appassionata and op. 7 would be the next two). I've performed individual movements from many but I've performed all of op. 2/1, op. 14/1, op. 10/3, op. 31/3 and op. 110.

There are some difficult left hand passages in op.57 but I wouldn't rank it that high. I think Waldstein and Hunt have both more techniques and measures

could you make a similar viseo on the well tempered clavier

I think A major No. 2 is quite difficult hummmm

I agree with your point: the #111 is dificulte tô me tô even anderstand.

Personal favorite beethoven sonata op.111

Op.14 no.2, my first Beethoven sonata! I felt so worthless when I saw its rating. The section with triplets and sixteenth notes were pretty easy…

I would have preferred to hear the rationale behind the classification, or even segments of the music that caused them to be in certain rankings rather than just the opening handful of bars.

I agree with you most of the time (I haven't played all 32 sonatas, only 12 of them, and of the difficult ones just op. 53 and 57). But at least for me the op. 27 n1 is harder than the Tempest, I would switch them.

8:08 the octaves glissando makes the "Waldstein" harder.

Merci

Why is the moonlight so low on the list? I know the first two movements are easy to learn (I taught myself movement 1 and i don't even play piano) But the last movement is surely evey bit as hard as appassionata?

I wouldn’t call op. 2/1 4th movement “painless”. It’s short but quite technically difficult

Sonatas Mozart pleeease, excelent video

I dunno; OPus 28 the final movement was certainly challenging/demanding to do right, "a tempo"

The op. 49 are sonatinas, not intended to be published as sonatas. Beet left them at home but one of his brothers had them published against Beethoven’s intention . For money probably. Op. 110 and op. 111 are indeed philosophical or just heavenly..

As someone who has played all 32, I have never wanted this sentence to not be a total lie more in my life.

Op.111 is my favourite Beethoven sonata

How can you rate the difficulty of the 10. and 14. so low?

you know its an actually accurate tier list when he cares about how difficult it is to play it well instead of just being able to play it

I think the hunt is a lot easier than people make it out to be. I tried it and was gobsmacked because i thought it was pretty hard but there are really no major technical sifficulties. Maybe a few bars in mov 2 and 4 but not much

How do you define "difficulty"? Why would Waldstein get harder with the technically easy Andante Favori?