Formation
Violin and piano · 2 performers
Required forces
Violin
1 performers
Piano
1 performers
Playable parts
Violin
Piano
MusicCoach difficulty
72/100
Advanced
Level of the complete work
We have no level specific to this movement. The figure above is that of the complete work: within a cycle, movements often differ widely in demand.
Estimated skills
Theory
Knowledge of forms
1
Rhythm
Tempo rubato
1
Theory
Harmonic analysis
1
Technique
Bow legato
1
Tone
Vibrato
1
Style
Romantic style
1
Technique
Position changes
1
Fingering
Complex fingering
1
Technique
Intonation
1
Interpretation
Dynamics
1
Technique
Fast passages
1
Interpretation
Phrasing
1
Technique
High positions
1
What to play next?
Each suggestion combines difficulty gap, risk, confidence and skill overlap. The first two cards in each column are the most useful pedagogically.
Gentle step
The safest next step.
Gentle
Violin Sonata in E minor, op. 82
Edward Elgar
close skills
low risk
to confirm
A short step up, staying in Advanced (around grade 8 ABRSM/RCM). The skill that will carry the work: Connaissance des formes and Vibrato — understand the form and the harmony before memorising, or memory collapses the moment you play for someone.
Gentle
Violin Sonata no. 2, RTviii/9
Frederick Delius
close skills
low risk
to confirm
A short step up, staying in Advanced (around grade 8 ABRSM/RCM). The skill that will carry the work: Connaissance des formes and Vibrato — understand the form and the harmony before memorising, or memory collapses the moment you play for someone.
Balanced step
A genuine step up, without a jolt.
Balanced
Violin Sonata no. 3 in D minor, op. 108
Johannes Brahms
close skills
moderate risk
to confirm
A real step up, staying in Advanced (around grade 8 ABRSM/RCM). The skill that will carry the work: Legato d'archet and Connaissance des formes — practise it slowly, separating left hand from bow: bow alone on open strings, then the fingering silently.
Balanced
Violin Sonata in D minor, op. 9
Karol Szymanowski
close skills
moderate risk
to confirm
A real step up, staying in Advanced (around grade 8 ABRSM/RCM). The skill that will carry the work: Vibrato and Legato d'archet — what matters is a steady sustained tone: bow speed, contact point and pressure even, before any thought of speed.
Ambitious challenge
A useful leap with guided practice.
Challenge
Violin Concerto in B minor, op. 61
Edward Elgar
partial transfer
high risk
to confirm
An ambitious leap into Great repertoire (diploma level, beyond grade 8) — only worth starting if the practice time is really there. The skill that will carry the work: Passages rapides — practise it slowly, separating left hand from bow: bow alone on open strings, then the fingering silently.
Challenge
Violin Concerto in A minor, op. 53
Antonín Dvořák
partial transfer
high risk
to confirm
An ambitious leap into Great repertoire (diploma level, beyond grade 8) — only worth starting if the practice time is really there. The skill that will carry the work: Passages rapides — practise it slowly, separating left hand from bow: bow alone on open strings, then the fingering silently.
Same level
Same level
Ballade in D minor, for violin and piano
Josef Suk
partial transfer
low risk
to confirm
Equivalent demands, still Advanced (around grade 7 ABRSM/RCM): what changes is the ground. What changes is the skill in play: Octaves — practise it slowly, separating left hand from bow: bow alone on open strings, then the fingering silently.
Same level
Valse-scherzo, for violin and orchestra in C major, op. 34
Pyotr Ilyich Tchaikovsky
partial transfer
low risk
to confirm
Equivalent demands, still Advanced (around grade 7 ABRSM/RCM): what changes is the ground. What changes is the skill in play: Staccato — practise it slowly, separating left hand from bow: bow alone on open strings, then the fingering silently.
Same level
Romance in D major, for violin and piano, op. 23
Karol Szymanowski
partial transfer
low risk
to confirm
Equivalent demands, right at the edge of Intermediate (around grade 7 ABRSM/RCM): different ground, same level. What changes is the skill in play: Voix chantante and Ornements romantiques — the notes will be secure long before the musical line: work in whole phrases, singing the main voice.