This challenging study by Charles Ives reflects his unique approach to dissonance and complex rhythmic layering. It is a highly experimental piece that tests the boundaries of traditional piano writing.
At Henle 8 this is concert repertoire: professional-level technique is the entry ticket. The main demands: sharp dynamic and character contrasts held together in one arc; polyrhythms that have to lock together without sounding mechanical; and several simultaneous layers, each needing its own dynamic level.
The primary challenge is managing the complex polyrhythms and dense, discordant textures found throughout the work.
Comparable difficulty and character — good candidates for what to learn next.
A level or two down with the same spirit — ideal if this piece is still out of reach.
Where this piece's skills lead: slightly harder works making similar technical demands.
Editing Study No.22 for Piano (S.106) is rated Henle level 8 of 9 — concert repertoire, roughly diploma level. In the RCM system it corresponds to about level 10.
You should be comfortable at Henle level 8 — meaning you can already play level 7–8 pieces cleanly. Learning it one level early is possible as a stretch piece, but more than that usually leads to months of frustration.
A typical performance of Editing Study No.22 for Piano (S.106) lasts about 5 minutes.
Editing Study No.22 for Piano (S.106) is available as free public-domain sheet music on IMSLP — the score is linked directly from this page.
Pieces at a comparable difficulty and character include Diabelli Variations Op.120 by Ludwig van Beethoven, Chromatic Fantasia and Fugue by Johann Sebastian Bach, Piano Sonata in B minor by Franz Liszt — see the full similar-pieces list on this page.