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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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 D minor concerto has a restrained, dance-like character, alternating ornamented, shadowy figures with lively passages rather than extended lyrical outpourings. You will face in particular Ornements baroque (3.1/5), which here require brief, sharply articulated ornaments — appoggiaturas, mordents and short cadences demanding precise fingering and clear bow attacks — and Reading bass clef (Lecture clé de fa) (3.1/5) to follow low orchestral lines or doublings, requiring confident location of low positions with the left hand. The work belongs to the Baroque period and reflects the violinistic melodic virtuosity typical of the late 17th–early 18th century. I do not provide a recommended recording because I prefer not to name performers unless I am certain of their association with this specific concerto.