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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The safest next step.
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The Adagio sections and the lively movements alternate a poised, elegant lyricism with bright orchestral writing, demanding clarity of attack and ease of line. You will particularly face issues in Connaissance des formes (3.1/5) — you must recognise repeats and formal departures to choose where to place breaths and dynamic emphasis — and in Phrasing (2.5/5), which here means precise bow-length control and clean connections so long phrases breathe without breaking. The piece belongs to the Classical period and occupies an important place in the cello repertoire as a typical example of Haydn's concertante writing. I do not provide a reference interpretation here because I am not fully confident naming a specific recording for this work.