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Public-domain sheet music on IMSLP ↗
Violin and piano · 2 performers
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.
The piece alternates a sustained, singing cantilena with brighter, more showy episodes, giving a feeling of intimate, operatic lyricism punctuated by virtuosic flashes rather than orchestral breadth. You will specifically face the Bow Legato (Legato d'archet, 4.5/5), which requires precise bow distribution and direction changes without breaks, and Phrasing (Phrasé, 4.5/5), which calls for shaping long lines through subtle dynamics and placement of accents; practically this means strict control of bow contact and speed and carefully planned left-hand linkages. The work belongs to the salon and chamber repertoire of the early 19th century, characteristic of Mayseder's output for violin and piano. I do not provide a reference recording here because I am not 100% certain of a single widely recognized interpretation for this piece.