Repertoire › Der Gondelfahrer, S.559 › What to play next
What to play after Der Gondelfahrer, S.559 ?
Franz Liszt · difficulty 66/100

Choose your level of commitment: consolidate, move up a tier or prepare a challenge. The top-ranked cards combine difficulty, risk, shared skills and confidence.

Back to the full work page
Gentle step

The safest next step.

Gentle
Klavierstücke, op. 32
Robert Schumann
71/100 +5 pts 7-14 weeks
close skills low risk to confirm
A short step up, staying in Advanced (around grade 7 ABRSM/RCM). The demand here is musical rather than mechanical: Legato — practise it slowly and hands separately before any attempt at tempo: that is where tension builds up.
Gentle
Rondo in C minor, op. 1
Frédéric Chopin
72/100 +6 pts 7-14 weeks
close skills low risk to confirm
A short step up, staying in Advanced (around grade 8 ABRSM/RCM). The demand here is musical rather than mechanical: Legato — practise it slowly and hands separately before any attempt at tempo: that is where tension builds up.
Gentle
Der Asra, S.554/2, R.239/2
Franz Liszt
70/100 +4 pts 7-14 weeks
close skills low risk to confirm
A short step up, staying in Advanced (around grade 7 ABRSM/RCM). The demand here is musical rather than mechanical: Legato — practise it slowly and hands separately before any attempt at tempo: that is where tension builds up.
Gentle
Faschingsschwank aus Wien, op. 26
Robert Schumann
69/100 +3 pts 6-12 weeks
close skills low risk to confirm
A short step up, staying in Advanced (around grade 7 ABRSM/RCM). The demand here is musical rather than mechanical: Tempo rubato — the pitfall is the pulse drifting as soon as the writing thickens: subdivide with the metronome.
Gentle
Sposalizio I, S.157a
Franz Liszt
73/100 +7 pts 7-14 weeks
close skills low risk to confirm
A short step up, staying in Advanced (around grade 8 ABRSM/RCM). The demand here is musical rather than mechanical: Tempo rubato — the pitfall is the pulse drifting as soon as the writing thickens: subdivide with the metronome.
Balanced step

A genuine step up, without a jolt.

Balanced
Evocation à la Chapelle Sixtine, for organ, harmonium or pedal piano, S.658
Franz Liszt
75/100 +9 pts 14-28 weeks
close skills moderate risk to confirm
A real step up, staying in Advanced (around grade 8 ABRSM/RCM). New compared with the previous piece: Polyphonie à trois voix ou plus — practise it slowly and hands separately before any attempt at tempo: that is where tension builds up.
Balanced
Elégie sur des motifs du Prince Louis Ferdinand de Prusse, S.168
Franz Liszt
75/100 +9 pts 14-28 weeks
close skills moderate risk to confirm
A real step up, staying in Advanced (around grade 8 ABRSM/RCM). New compared with the previous piece: Polyphonie à trois voix ou plus — practise it slowly and hands separately before any attempt at tempo: that is where tension builds up.
Balanced
Poème tragique in B flat major, op. 34
Alexander Scriabin
75/100 +9 pts 14-28 weeks
close skills moderate risk to confirm
A real step up, staying in Advanced (around grade 8 ABRSM/RCM). The demand here is musical rather than mechanical: Tempo rubato — the pitfall is the pulse drifting as soon as the writing thickens: subdivide with the metronome.
Balanced
Fantasy Pieces, op. 111
Robert Schumann
75/100 +9 pts 14-28 weeks
close skills moderate risk to confirm
A real step up, staying in Advanced (around grade 8 ABRSM/RCM). New compared with the previous piece: Analyse harmonique — understand the form and the harmony before memorising, or memory collapses the moment you play for someone.
Ambitious challenge

A useful leap with guided practice.

Challenge
Polonaise no. 6 in A flat major, op. 53, "Heroic"
Frédéric Chopin
84/100 +18 pts 32-64 weeks
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. New compared with the previous piece: Rythmes pointés and Passages rapides — the pitfall is the pulse drifting as soon as the writing thickens: subdivide with the metronome.
Challenge
Grandes Etudes de Paganini, S141/R3b
Franz Liszt
82/100 +16 pts 32-64 weeks
close skills 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. New compared with the previous piece: Passages rapides — practise it slowly and hands separately before any attempt at tempo: that is where tension builds up.
Challenge
Festklänge, symphonic poem for piano, S.511d
Franz Liszt
88/100 +22 pts 32-64 weeks
close skills 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. New compared with the previous piece: Indépendance des mains — practise it slowly and hands separately before any attempt at tempo: that is where tension builds up.
Same level

To widen the repertoire without raising the level.

Same level
Fantasias, op. 116
Johannes Brahms
66/100 same level 4-7 weeks
close skills 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: Polyphonie à deux voix and Ornements romantiques — practise it slowly and hands separately before any attempt at tempo: that is where tension builds up.
Same level
6 Organ Preludes and Fugues, S.462, R.119
Franz Liszt
65/100 -1 pts 4-7 weeks
close skills 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: Polyrhythmie 2 contre 3 — the pitfall is the pulse drifting as soon as the writing thickens: subdivide with the metronome.
Same level
Csardas obstine, for piano, S618/R300
Franz Liszt
65/100 -1 pts 4-7 weeks
close skills 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: Rythme général — the pitfall is the pulse drifting as soon as the writing thickens: subdivide with the metronome.
Progressions computed from difficulty, skill overlap and style between works. A What do we play next? recommendation should remain a pedagogical starting point, not an automatic prescription.