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Public-domain sheet music on IMSLP ↗
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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This rating is computed automatically from heterogeneous sources. It gets things wrong, sometimes badly. If you know this work, your answer is worth more than our computation: it tells us which ratings to review.
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.
This cello-and-orchestra piece moves in a tense, compact atmosphere, often angular yet punctuated by lyrical moments that demand precise articulation and refined tonal color. Technically, you will face the Polyrhythm 2 against 3 (3.1/5) — which here means keeping a steady pulse in semiquavers while fitting opposing triplet groupings, requiring strict right-arm timing and clear rhythmic independence — and Double stops (2.5/5), which call for precise left-hand adjustment to maintain stable intonation and even attack across paired strings without deadening resonance. The work belongs to the composer's modern period and reflects his dense orchestration and an increasingly demanding solo writing within his later output. I do not offer performance references because I cannot be completely certain of specific recordings for this exact work.