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 D major concerto opens and unfolds with the clear rhythmic drive and sprightly character of Italian Baroque: expect alert phrases and strong contrasts between lyrical passages and virtuosic figurations. You will need to focus on Ornements baroque (3.1/5), which here require precise left-hand placement for short grace notes and cadential figures plus clean bow articulation to respect their timing, and on Indépendance des mains (2.5/5), where you must coordinate rapid bow changes with shifting left-hand fingerings without losing the melodic line. The piece belongs to the Baroque period and is part of Tartini's output of violin concertos that solidified his role as a composer-performer for the instrument. I am not giving a specific recording recommendation because I am not fully certain of a single definitive interpretation for this concerto.