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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 A major concerto has a lively, singing character, alternating left-hand virtuosic passages with sighing cantabile lines where rhythmic clarity and an inner dance prevail over mere fireworks. You will need to focus on Ornements baroque (3.1/5) — producing short, clean ornaments (mordents, appoggiaturas, brief trills) requires tight coordination of left-hand fingering with bow articulation — and on Contrôle du toucher (2.5/5), since the expressive shaping depends on finely dosed bow pressure and speed across long sustained phrases. The piece belongs to Tartini's baroque violin output, representative of his concertos where melodic writing meets learned ornamentation. I do not give a specific recording recommendation here, as I am not fully certain of a single widely agreed reference for this exact work.