When you begin piano lessons, most of the time, the goal is to progress as quickly and as well as possible. Often, students interested in learning the piano want to pound out their favourite tunes or legendary melodies like the best pianists do. However, it took the piano virtuosos nearly 300 years of history to create and dominate the king of the instruments.
The most outstanding pianists have explored the piano under various political and social contexts throughout the centuries, with their creativity often put to the test. These extreme conditions led many of the great names on this list to create the wonders we'll tell you about, with the melodies becoming an outlet for their emotions, political beliefs and most profound thoughts.
Would you like to learn more about some of the top 10 most difficult piano pieces to play? Get inspired! Once you've read this article through, you may go to your piano to practice a difficult piano song … or two.
| Name of the Piece | Composer | Year of Composition |
|---|---|---|
| Piano Concerto No. 3 | Rachmaninoff | 1909 |
| Piano Concerto No. 2 | Tchaikovsky | 1879–1880 |
| Piano Sonata No. 29, Op. 106 / Hammerklavier | Beethoven | 1817–1818 |
| Étude op. 10, no 2 | Chopin | 1829 |
| Transcendental Études | Liszt | 1851 |
| Opus Clavicembalisticum | Sorabji | 1930 |
| Piano Sonata No. 18 K.576 | Mozart | 1789 |
| Gaspard de la Nuit | Ravel | 1908 |
| Toccata & Fugue in D minor, BWV 565 | Bach | ca. 1704 |
| Piano Concerto No. 3 | Prokofiev | 1917–1921 |
The 10 hardest classical piano pieces
Piano Concerto No. 3 by Rachmaninoff
The favourite of many of the best piano players, the Russian pianist, composer, and director Sergei Rachmaninoff left a monumental heritage described by many as moving, cold but equally warm, and above all, technically challenging to perform.
From his grandfather, mother, and father, he inherited the musical vein. And with a career that began at a very early age at the rigorous Moscow Conservatory—where he graduated with top honours—it was evident that he was destined to compose a piece such as his celebrated Piano Concerto No. 3, dubbed "Rach 3” by the true connaisseurs.
Published in 1909, one of the most demanding pieces for a professional pianist (a rhythmical puzzle for many), the Third Piano Concerto requires:
It may seem that the fingers move without control (as we said, at a lightning pace), but learning this melody requires, firstly, masterful precision and control of the hands and very, very careful practice.
In addition to the technical aspect, the emotional interpretation of such a moving piece as Piano Concerto No. 3—which is always in competition with its predecessor, Concerto No. 2—demands profound sensitivity and emotional depth to navigate its rich textures and sweeping passages over its nearly 45-minute span.
Piano Concerto No. 2 by Tchaikovsky
Tchaikovsky began playing at a very young age, at just 4 years old. His talent and youth allowed him, like many virtuosos of his time, to dedicate himself to teaching, being one of the first professors to teach harmony at the Moscow Conservatory.
After his critically acclaimed Piano Concerto No. 1, which was disliked within the conservatory, and he was even accused of plagiarising (although Tchaikovsky didn't budge a single note from it, as it had been well received by international audiences), in 1880, he sought to redeem himself with the conservatory and finished Piano Concerto No. 2 in G major, just a year after he began writing it during a brief trip to Italy and France.
Many people wouldn't imagine that the composer of some of the most difficult—and beautiful—pieces in history had a career working as a civil employee at the Ministry of Justice in St. Petersburg before enrolling at the Conservatory of the same city.
Tchaikovsky's Piano Concerto No. 2 demands both power and finesse. It's recognised as one of the most challenging piano pieces to play due to the intricate interplay with the orchestra, its dense textures, and complex lyrical lines. The performer must put their talents to the test while balancing the clarity of its rapid passagework with the delicacy of the slow movement and elegance of the orchestra itself.
Piano Sonata No. 29, Op. 106 / Hammerklavier by Beethoven
Beethoven's sonatas are among the most beloved works in classical piano music. While many of these pieces of the famous German musician are celebrated for their lyricism and structural elegance, others—particularly from his later period—challenge both performers and listeners with their complexity and depth. The perfect example is the Piano Sonata No. 29, Op. 106, commonly known as the "Hammerklavier."
Published in 1818, it stands apart as one of Beethoven's most ambitious piano compositions due to its audacious structure: vast movements, a wide dynamic range, and a highly complex counterpoint push the limits of the instrument and the pianist's technique until the very end.
This is Beethoven’s longest sonata, revered not just for its technical demands but also for its profound emotional weight, which sets it as a pinnacle of the composer’s late style.
With this formidable piano piece, Beethoven acquired the status of a visionary and put himself in the Olympus of composers. His work was conceptually very different from most of what had been written before, with chords that were previously unknown. We must consider that, at that time, the piano was still in its development stage, and Beethoven was one of the first people to compose for the version we know nowadays.
Étude op. 10, no. 2 by Chopin
The Polish prodigal son and child genius overcame numerous health-related obstacles. Still, he quickly gained fame for his piano compositions and performances from a young age, with some claiming he had his first concert at just 8 years old.
Frédéric François Chopin trained at the Warsaw Conservatory, where he mastered composition and the organ. Today, we thank him for his contributions to the piano and its technique like:
🖐🏻 The systematic use of the fingers. While emphasising fluidity and natural hand movement, Chopin developed a technique to preserve the mysteriousness and vaporous quality of his pieces, thereby contributing to their artistic merit beyond mere technical exercise.
🌚 The weaving effect: His études and nocturnes are among the most celebrated pieces for the piano virtuoso, standing out for their distinctive merging of tone and poetic nuance.
These characteristics, prevalent throughout his work, as well as the passion and power behind his pieces, were intended to honour his homeland because of the political struggles of the Polish people at the time.
Compact yet fully expressive, Chopin’s Étude Op. 10 No. 2 stands as a hallmark of his compositional maturity. The piece is particularly famous among the hardest piano pieces to play for its challenging right-hand passages, needing rapid, simultaneous movements of the outer fingers (the “weaker” fingers) with exceptional control and independence. If you want to excel in finger control, let's look for a private piano tutor in the Ballarat area.
Transcendental Études by Liszt
Franz Liszt earned his place in the history of classical piano music as one of the greatest thanks to compositions that represent a proper technical and artistic test for any pianist. One thing is to master a chef-d'oeuvre on the technical side, but another is to understand Liszt's poetry and artistry, which gave him a special place throughout the centuries. Liszt changed the piano forever.
The instrument wouldn’t sound as it does today if not for pieces like "La Campanella," in which complexity is constantly confronted with another of his masterworks, The Transcendental Études, a magnificent set of twelve pieces that pushed the technical boundaries of piano performance, considered by many as its most difficult work to mimic.
Developed throughout his life, from 1826 to 1852, and dedicated to his teacher, Carl Czerny (Liszt was well known for his friendship with the greats, Chopin among them), the Douze études d'exécution transcendante vary in degree of difficulty, and each has a distinct character.
What all the études have in common is their interpretive and physical depth. Frequent shifts in leaps and dynamics, as well as complex hand crossings, almost perfect technical precision...
To play one of the most difficult classical piano pieces, one must possess impressive finger agility to keep up with its high speed.
The challenge of this difficult piano piece is to navigate the extreme tempos, rhythmic complexities, and wide dynamic ranges, all while maintaining emotional expression, just as Liszt did… Do you dare to play the 12 Transcendental Études? First, a piano lesson in Brisbane could be helpful.
| The 12 Transcendental Etudes | Étude title |
|---|---|
| Etude No. 1 | Preludio |
| Etude No. 2 | untitled - Molto vivace |
| Etude No. 3 | Paysage |
| Etude No. 4 | Mazeppa |
| Etude No. 5 | Feux Follets |
| Etude No. 6 | Vision |
| Etude No. 7 | Eroica |
| Etude No. 8 | Wilde Jagd |
| Etude No. 9 | Ricordanza |
| Etude No. 10 | untitled - Allegro agitato molto |
| Etude No. 11 | Harmonies du Soir |
| Etude No. 12 | Chasse-Neige |
Opus Clavicembalisticum by Kaikhosru Sorabji
Sorabji was a pianist and composer who defied his profession. Some consider these defiances too difficult or exhausting. But let’s start with the basics so we can understand why his Opus Clavicembalisticum, a 5-hour-long piece, earned a place on the list of the hardest piano pieces to play.
Drastically different from the conservatory musicians on this list, many of whom were considered musical geniuses from childhood and had strong relationships with one another (especially during the romantic period), Sorabji (1892-1988) was a self-taught pianist who rarely appeared in public.
Sorabji was so cautious and meticulous with his work that he put a personal embargo on public performances for nearly 40 years, as he didn't think there was anyone with the skills to play his pieces. He lifted it only in the 1970s.
He was cautious with his meticulous work, putting a personal embargo on public performances for nearly 40 years, lifting it only in the 1970s, as he didn't think there was anyone with the skills to play his pieces.
He developed his complex work in seclusion, so no wonder about the depth and large structure of it. Completed in 1930, his Opus Clavicembalisticum, composed of twelve massive movements, is widely regarded as one of the most technically demanding compositions ever written for classical piano music.
Sorabji tests physical endurance, memory, concentration, and precision in pianistic technique with rapid chordal passages and unexpected leaps that only a few pianists have been able to reproduce (there are fewer than 10 known recordings of it).
Sonata No. 18 in D major by W.A. Mozart
Wolfgang Amadeus Mozart hardly needs an introduction. Even music lovers who can't stand Baroque compositions know who Mozart is. One of the most prolific composers of the Classical period, Mozart wielded much influence over this art form's direction and style.
The Austrian musician was early recognised as a prodigy (as a violinist, his father quickly saw it), whose abilities evolved to an exorbitant level, leaving us with operas, symphonies, and all sorts of melodic pieces that have been extensively studied through the years.
Who doesn't recognise The Magic Flute, an opera more than two hours long? It is a staple of most secondary school music appreciation curricula. The Queen of the Night aria alone is as playful as it is menacing!
Mozart's sonatas are among the most challenging piano pieces. You can confidently say you are a pianist with great capacities when you master the Mozart sonatas, particularly No. 18., here are some of the many reasons:
🌀 The Sonata No. 18 offers an impressive technical panel with variations of rhythms, changes of fingering and speed
🫧 For its clarity, beauty, and simplicity, this piece is one of Mozart's most appreciated works, as it is an example of how a sonata must sound: very "clean.”
🪶 It obliges the pianist to execute its rapid passages with precision and deliver its ornaments with elegance and playfulness, but always with the lightness characteristic of the work of its composer.
Gaspard de la Nuit by Maurice Ravel
One of the most iconic pieces of piano, but also a nightmare for many students, is Gaspard de la Nuit by the magnificent Maurice Ravel. The French legend of harmonies and orchestration studied at Paris’s Conservatoire, and it was in 1908, at the age of 33, inspired by his love for poetry, that he composed Gaspard de la Nuit. At first glance, a classical sequence (fast–slow–fast) goes to the extreme, pushing any pianist's abilities, especially for the ending part.
Gaspard de la Nuit has various layers; inspired by the magical (some would say scary) poems of Aloysius Bertrand, each arrangement of the composition corresponds to a part of the poems starring three supernatural creatures; their personalities and features are perfectly reflected in Ravel’s melody among the three parts of the composition:
(inspired by the nymph in the poem)
(inspired by the executioner character)
(based on the diabolic goblin of the poem)
The third one, “Scarbo,” is the most difficult in terms of performance; notes come very fast along with unexpected leaps and hand crossings: a perfect reflection of the diabolic goblin’s wanderings in the poems of Bertrand. Gaspard de la Nuit is a testament to Ravel’s impressive creativity, as he manages to express the emotions of the poem without words.
Toccata & Fugue in D minor by J.S Bach
You most likely know this tune, the reference music written for the organs by Bach at the beginning of the 18th century. There is a timeless aspect to this piece; it features in many popular media even today. This Toccata often recalls entrances to horror story castles, for instance.
It gained extreme popularity in 1931, serving as the opening music for the horror film Jekyll and Hyde. It was later used as a sample in the Phantom of the Opera theatre piece or Blondie’s song, “No Exit.” It also features in films such as Fantasia, Twenty Thousand Leagues under the Sea, The Godfather, The Aviator and Pirates of the Caribbean.
Nowadays, it is often used to express grimness or terror, but its composer had a completely different intention when writing it. Bach, had the opportunity to experiment with the keyboard through his role as cantor in the Lutheran church, as a member, he may have had the intention to create a melody with a glorifying connotation.
Aforetime during the Baroque period, when Italian was the primary language for music, the name "toccata" ("to play") was often given to pieces that had a fairly flexible musical structure. Like this famous one by Bach, they were usually followed by a fugue (the systematic imitation of a principal theme in simultaneously sounding melodic lines)
Comprising three episodes, this piece took four years to write, and controversy erupted when it was first performed. German composers Johannes Ringck and Johann Peter Kellner both claimed it as their original composition. But they both associated with Bach, the latter as his student. Ultimately, experts attributed the piece to a young Bach, probably at 20 years old.
Thus, these notes entered history. This toccata's melody is as beautiful as it is difficult to render, with all of its accelerations and piano adaptations.
Featuring rapid arpeggios, flourishes, and improvisatory rhythms typical of organ toccatas, Bach achieved crafting an elaborate composition without the keyboard of the modern piano (as we mentioned, it was made for the organ), touching a wide range of the register and marking a step further into the evolution of the instrument defining the Baroque era.
Piano Concerto No. 3 by Prokofiev
With numerous masterpieces under his arm and an extensive repertoire known by the broad public, with works such as the Romeo and Juliet ballet, the honest debate among the piano virtuosos is to decide if Prokofiev’s Piano Concerto No. 3 is harder to play than his Piano Concerto No. 2. In this publication we will incline to the number 3.
Appreciated by many for his melodic inventiveness and clear structures, Sergei Prokofiev always stood out for his innovative vision.
The Piano Concerto No. 3 in C Major, Op. 26, was composed while he was in France and premiered in Chicago in 1921, shining for its liveliness and beautiful symbiosis with all the instruments involved: the flute, piccolo, clarinets, oboes, bassoons, horns, trumpets, trombones, timpani, percussion, and a full string section.
This complex concerto is structured in three sections:
It includes a sort of duel with its - rich and vast- orchestra, evoking in the audience a particular excitement, almost described as magical by many; it is powerful, intricate, and profound.
The Hardest Piano Song in Popular Music
Many songs are an essential part of pop culture. Contrary to popular belief, popular music can be difficult to perform. Pop melodies often feature in piano classes because they demand technical skill and lyrical ability. Not just because they're popular, as so many piano students think. Before you get inspiration from the following list of hard pop songs to perform, check the online piano courses Superprof offers near you.
Diego, by Michel Berger (1983)
In France, Michel Berger is synonymous with the piano and musical creation. We owe him for a catalogue of great hits, replete with every style from ballads to more peppy fare. A prolific songwriter, he composed for himself as well as for other musicians.
When asked for a song title that represents the composer's genius, Diego is the one that comes to mind.
it's a perfectly lapped melody; its chords are fluidly linked. Technically, it is not the most difficult piano song but it deserves its place in our Top 10 most difficult piano pieces for its management of rhythms and emotions. Despite being a complete piece for performance or learning to play the piano, it is challenging to interpret it as wistfully as the original piece.
Life on Mars by David Bowie (1971)
Life on Mars found new heights of popularity and meaning with David Bowie's passing in 2016. One of his greatest hits, the piece is built on a simple piano melody. Some might consider it repetitive but this song's challenge revolves around raising the crescendo's intensity - much as with the Michel Berger song and Ravel's Boléro.
In the end, the piece takes on the persona of a cult melody, where the emotion is difficult to transcribe. As the most difficult piano piece in David Bowie's catalogue, you'll need to devote the time to mastering this expressive song. If you're in Victoria, taking piano classes in Melbourne will help you do that.
Comptine d'un autre été by Yann Tiersen (Amélie)
Have you seen the 2001 film Amélie? If so, you know this haunting piece. No one could forget this French film's poignant piano-accordion melody. You may have even heard more senior students perform it as you waited for your piano lessons in Sydney to start.
Composer Yann Tiersen is often mistaken for a soundtrack composer because he's so prolific in his output in this genre. But he splits his time between studio work, touring and composing. He avers he has no classical training and, in fact, prefers touring and studio work over writing melodies.
Comptine is challenging to master because it is a piece for left-hand dominant piano players. Since 75% of all pianists are right-hand dominant, this piece takes on a new dimension. It requires specific fingering training to adapt to this piece. The difficulty of interpreting a piece for left-hand dominant players and the speed of this piece make it doubly difficult.
The soundtracks have taken on a new dimension thanks to composers as Yann Tiersen. To maximise their scores' commercial potential, composers started including popular music styles. Film soundtracks have naturally, become the best tutorials for learning the piano.
Fly by Ludovico Einaudi (The Intouchables)
You may find yourself shedding a tear or two while listening to this track or when taking a piano lesson. A relatively fast and rhythmic melody, the piece is sure to challenge your ability to span an octave. It requires considerable dexterity and a relatively soft feel. It's a melody meant for pianists who have cultivated those skills well.
This piece remains a great example of a cinema soundtrack. It's based on speed, arpeggios and chords, but with all in the emotion and sweetness of any evocative piece. If The Untouchables' success is anything to go by, it proves that music definitely plays a role in the success of a movie.
Interstellar theme by Hans Zimmer (Interstellar)
Revered as a master, Hans Zimmer is a worthy successor to John Williams — and this German is THE reference in movie soundtracks.
With the Interstellar soundtrack, Zimmer poured his heart out. The end result is a piece of considerable length, with rhythmic and melodic accelerations. It is seen as an all-powerful and all-crescendo piece.
As with much of Hans Zimmer's compositions, the basis of the song is, technically, not very complex. It is the rhythmic changes and variations of sound that make this piece a role model for movie scores.
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Austrian? Yes, he lived in Vienna but Beethoven was German.