Over the years, many readers of this blog have asked me the same question: “What’s the hardest piano piece ever written?” Or, “How difficult is this particular piece?”
I usually shy away from answering these directly, and here’s why — “difficulty” in piano playing is incredibly subjective. What feels impossible to one pianist might feel manageable to another, depending on their technique, musical background, hand size, and even their mindset.
Still, we can’t pretend difficulty doesn’t exist at all. There are some pieces that are universally acknowledged as being extremely demanding. For example, Ravel’s “Scarbo” from Gaspard de la Nuit is undeniably tougher than, say, “Twinkle Twinkle Little Star.” That’s not up for debate. But when it comes to serious concert repertoire, comparing difficulty gets murky.
Truthfully, you’ll usually feel when you’re ready to take on a piece, and you’ll also know when something is out of reach — for now.
That said, I’ve finally decided to put together a list of what I consider to be the seven most difficult piano works. Some of these are actually collections or sets rather than single pieces, but I didn’t want to break them apart because each one, as a whole, represents a mountain of technical and musical challenges.
Now, I know some of you will disagree with this list — and that’s perfectly fine! Difficulty is personal, and these kinds of rankings are always going to spark debate. So let me know: what pieces would you have included?
Ravel – Gaspard de la Nuit
Gaspard de la Nuit is widely regarded as one of the most challenging works ever written for piano. Composed by Maurice Ravel, this three-movement suite draws inspiration from poems written in 1836 by Aloysius Bertrand. Each movement brings its own technical hurdles, but the final piece, “Scarbo,” was intentionally crafted to be even more difficult than Balakirev’s “Islamey,” which was considered the gold standard of virtuosity at the time.
But it’s not just the technical fireworks that make this piece so demanding. What truly sets it apart, in my opinion, is Ravel’s obsessive attention to detail. Every phrase, dynamic marking, articulation, and pedaling instruction is clearly laid out on the score. There’s very little room for personal interpretation—Ravel tells you exactly what he wants, down to the smallest nuance. So not only do you have to master the blindingly fast passages and complex textures, but you also have to deliver them with absolute precision, just as Ravel intended.
It’s a monumental task, both physically and mentally. But if you can pull it off, the sense of achievement is unmatched. Gaspard de la Nuit is more than just a display of technique—it’s a masterclass in control, artistry, and endurance.
Alkan – Le Preux
Literally translated as “The Brave,” this fiery etude paints a vivid picture of a knight charging across the battlefield on horseback. The music is intense, relentless, and technically demanding—packed with octave runs and wild jumps that span the full range of the keyboard.
Very little is known about this piece, and it remains something of a mystery. It’s classified as an etude, but make no mistake—this is no ordinary study. It’s extremely difficult and rarely, if ever, performed. In fact, I don’t know of a single concert pianist who regularly includes it in their recitals.
As far as recordings go, they’re hard to find. Most of what exists are either amateur YouTube performances or MIDI-generated versions. I’ve never come across a proper studio recording. If one exists, I’d love to hear it—so if you know of any, definitely let me know.
To give you a sense of what this piece demands, I’ve added a snapshot of the score below. The leaps and octave passages are simply outrageous. It’s the kind of writing that makes you wonder: Did Alkan ever perform this in public?
If he did—especially anywhere near the breakneck tempo he marked—it must have been an unforgettable sight. No human recording I’ve heard so far comes close to that speed.
Beethoven – Hammerklavier Sonatae
Beethoven’s Sonata No. 29 in B-flat Major, better known as the “Hammerklavier,” is widely considered one of the best piano sonatas ever composed—and for good reason. Finished in 1818, this sonata set new standards in piano music with its immense scale and technical demands. Its reputation for extreme difficulty, often called the Beethoven Hammerklavier difficulty, kept it from being performed publicly until 1836, when the virtuoso Franz Liszt bravely took on the challenge.
At the time, the keyboard world was transitioning from the harpsichord, a Baroque-era instrument, to the newer fortepiano. Beethoven’s choice to call this sonata “Hammerklavier,” which literally means “hammer keyboard,” was no accident—it clearly pointed to the hammer-action fortepiano as the intended instrument, not the harpsichord.
So, how hard is Beethoven’s Sonata No. 29? Extremely hard. The sonata is famous for its nearly unplayable reputation, largely due to its demanding technical passages and extraordinary length. Lasting between 45 and 60 minutes, it was unprecedented in duration for piano music of its time. This epic length, combined with complex movements, makes it one of the most challenging pieces for pianists worldwide.
During my years studying music at university, I rarely saw anyone attempt the Hammerklavier live—it’s that difficult. Many international piano competitions even exclude it from their repertoire lists because of the extreme skill and endurance required.
If you’re looking for the ultimate test of piano technique and stamina, Beethoven’s Hammerklavier Sonata is the pinnacle challenge. Just be prepared for a true musical marathon!
Scriabin – Sonata No.5
Scriabin’s Most Challenging and Popular Sonata: A Masterpiece of Complexity
Arguably Scriabin’s most popular and widely recorded piano sonata, this piece has been famously described by the legendary pianist Sviatoslav Richter as the most difficult work in the entire piano repertoire. Composed in 1907 in Lausanne, this sonata marks a significant turning point in Scriabin’s compositional style. Unlike his earlier works, it is written as a single continuous movement — a format Scriabin embraced in many of his later sonatas.
Harmonically, this sonata broke new ground for Scriabin. Although the key signature suggests F-sharp major, the piece lacks a clear tonal center, making it feel almost atonal at times. This innovative approach to tonal structure challenged the conventions of its time and remains fascinating for both performers and listeners today.
When first hearing this sonata, many might feel overwhelmed by what seems like a flurry of sounds without an obvious structure. However, as you delve deeper, the complexity of Scriabin’s compositional technique becomes clear. The piece demands exceptional skill — pianists must master balancing multiple layers of sound and texture, navigate dense, intricate chords, and execute complex polyrhythms with precision.
I understand some of you may have different opinions on which pieces deserve the title of most difficult. Feel free to share your thoughts and suggest other compositions you find particularly challenging.
If you’re interested in tackling this music and want practical advice on mastering such demanding repertoire, be sure to check out my related articles on effective piano practice techniques for difficult pieces.
Ligeti – Etudes for Piano
This set of etudes is nothing short of a monumental challenge. While they are part of the standard piano repertoire, in all my years attending concerts, I’ve only seen these studies performed live once. That’s not because pianists shy away from them, but rather the immense technical difficulty and pressure of playing them flawlessly on stage is simply overwhelming. Widely regarded as one of György Ligeti’s greatest creative masterpieces, these etudes represent some of the most complex and groundbreaking piano works composed in the 20th century.
What makes this collection truly remarkable is how it combines virtuoso-level technical demands with deeply expressive and musical lines. Ligeti’s work builds on the legacy of great composers like Chopin, Debussy, and Scriabin, yet pushes the boundaries by introducing innovative concepts and fresh technical ideas that still influence pianists today.
My personal favorite from this set is the iconic Etude No. 14, known as the “Devil’s Staircase.” This piece captures the feeling of a relentless, futile struggle, conveyed through relentless, hypnotic music. Interestingly, it also draws inspiration from the endless staircases found in the artwork of Dutch graphic artist M.C. Escher. The etude is a rhythmic, driving toccata that moves polymetrically across the keyboard, featuring ascending chromatic scales and bell-like sounds that create a unique, almost otherworldly atmosphere.
If you haven’t heard it yet, I highly recommend giving it a listen. At first, it might sound strange or even unsettling, but the more you study and immerse yourself in its textures, the more it grows on you—and you’ll come to appreciate its genius.
Messiaen – Vingt Regards sur l’Enfant-Jésus
This is an enormous set of music, running a little over two hours when performed in its entirety. Performances of these works in full are incredibly rare, simply because they are so vast and demanding. However, if you’re curious, you can find recordings of complete performances on YouTube. The level of intensity and technical difficulty throughout these pieces is absolutely staggering.
The structure consists of 20 “regards” — essentially, reflections or visions — that explore the infancy of Jesus. Messiaen composed this monumental work in 1944 for his wife, Yvonne Loriod.
One of the defining features of this set is its use of recurring themes, or “leitmotifs,” which represent key ideas and concepts. These include the “theme of God,” the “theme of Mystical Love,” and the “theme of Chords,” all woven throughout the entire work. It’s a complex and ambitious piece that truly deserves a deep dive if you’re interested.
Two of my personal favorites are No. 10, titled “Regard de l’Esprit de joie” — a fierce and passionate meditation on the joyful nature of the Holy Spirit — and No. 15, “Le baiser de l’Enfant-Jésus,” or “The Kiss of the Infant Jesus.” Although I’m not a religious person, I have to admit, this is profoundly beautiful and powerful music.
Mozart – Sonata No.18 in D Major, K.578
Some might be surprised to find this piece here. While Mozart’s piano music isn’t typically seen as especially technically demanding, it often catches players off guard. The challenge isn’t so much in sheer difficulty, but rather in its extreme transparency—every mistake is immediately obvious. Unlike a piece by Messiaen, where the pedal can help mask slips, Mozart offers no such cover.
This particular sonata, composed in 1789, is Mozart’s final piano sonata and stands apart from his earlier works. It demands more technical skill, featuring lengthy contrapuntal and polyphonic passages that require careful attention. The second movement is relatively straightforward, but the last movement is notoriously treacherous. Despite the challenges, I consider this Mozart’s finest piano sonata. So, if you find his other sonatas too easy, this one will definitely put your skills to the test—and it’s well worth the effort.
If you’d like to learn how to play some of this music. Click here