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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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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 E-major concerto has a sprightly, dance-like character, with quick phrases and conversational exchanges between soloist and orchestra that call for rhythmic clarity and crisp articulation rather than expansive romantic lines. You will face notably the mastery of Baroque ornaments (3.1/5), which here means executing mordents, appoggiaturas and small auxiliary notes with precise left-hand fingering and short, articulated bow strokes, and Hand independence (2.5/5), which requires separating rapid left‑hand fingering and restrained embellishment from a stable or contrasting right‑hand bowing. The piece belongs to the Italian Baroque concerto tradition and places the violinist as an agile interlocutor with the continuo and orchestra. I do not give a recommended recording because I am not sufficiently certain of a single definitive interpretation for this specific concerto.