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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The safest next step.
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This D major concerto breathes the dancing, singing elegance of Venetian baroque, alternating brilliant figures with lyrical respites that require a steady rhythmic foundation so the phrasing keeps its shape. You will face specific technical challenges such as Ornements baroque (3.1/5) — producing clean, regular ornaments that sit within the melodic flow without breaking the line — and Lecture clé de fa (3.1/5), which requires quick reading of bass clef intervals and appropriate left-hand fingerings to maintain stable intonation across registers. The work belongs to the baroque period and represents the Italian concerto tradition for violin where the soloist alternates virtuosity and cantabile passages. I do not provide a recommended recording here because I am not certain of a single, widely agreed reference for this particular concerto.