Repertoire › Violin Concerto no. 2, "Metamorphosen" › What to play next
What to play after Violin Concerto no. 2, "Metamorphosen" ?
Krzysztof Penderecki · difficulty 85/100

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.

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Gentle step

The safest next step.

Gentle
Concerto-Rhapsody for Violin and Orchestra in B flat minor
Aram Khachaturian
90/100 +5 pts 9-18 weeks
partial transfer low risk to confirm
A short step up, staying in Great repertoire (diploma level, beyond grade 8). New compared with the previous piece: Octaves and Style moderne et contemporain — practise it slowly, separating left hand from bow: bow alone on open strings, then the fingering silently.
Gentle
Dikhthas, for violin and piano
Iannis Xenakis
90/100 +5 pts 8-16 weeks
partial transfer low risk to confirm
A short step up, staying in Great repertoire (diploma level, beyond grade 8). New compared with the previous piece: Rythme d'archet complexe and Positions hautes — the pitfall is the pulse drifting as soon as the writing thickens: subdivide with the metronome.
Gentle
Violin Concerto, op. 36
Arnold Schoenberg
89/100 +4 pts 8-16 weeks
partial transfer low risk to confirm
A short step up, staying in Great repertoire (diploma level, beyond grade 8). New compared with the previous piece: Style moderne et contemporain and Indépendance des mains — the notes are not enough: articulation and ornaments follow performance conventions best checked in an urtext edition.
Gentle
Tchaikovsky: Violin Concerto in D, Op. 35 (Julia Fischer)
Pyotr Ilyich Tchaikovsky
91/100 +6 pts 9-18 weeks
new reflexes low risk to confirm
A short step up, staying in Great repertoire (diploma level, beyond grade 8). New compared with the previous piece: Vibrato and Positions hautes — what matters is a steady sustained tone: bow speed, contact point and pressure even, before any thought of speed.
Balanced step

A genuine step up, without a jolt.

Balanced
Variations on Paganini's 'Caprice no. 24', for solo violin
Eugene Ysaÿe
96/100 +11 pts 18-36 weeks
new reflexes moderate risk to confirm
A real step up, staying in Great repertoire (diploma level, beyond grade 8). New compared with the previous piece: Coups d'archet composés and Connaissance des formes — practise it slowly, separating left hand from bow: bow alone on open strings, then the fingering silently.
Balanced
Violin Concerto in D major, op. 77
Johannes Brahms
93/100 +8 pts 18-36 weeks
new reflexes moderate risk to confirm
A real step up, staying in Great repertoire (diploma level, beyond grade 8). 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.
Ambitious challenge

A useful leap with guided practice.

No suggestion yet.

Same level

To widen the repertoire without raising the level.

Same level
Violin Sonata, op. 134
Dmitri Shostakovich
84/100 -1 pts 6-9 weeks
new reflexes low risk to confirm
Equivalent demands, still Great repertoire (diploma level, beyond grade 8): what changes is the ground. What changes is the skill in play: Legato d'archet and Connaissance des formes — practise it slowly, separating left hand from bow: bow alone on open strings, then the fingering silently.
Same level
Cadenza (Wolfgang Schneiderhan)
Eugene Ysaÿe
86/100 +1 pts 6-9 weeks
new reflexes low risk to confirm
Equivalent demands, still Great repertoire (diploma level, beyond grade 8): what changes is the ground. What changes is the skill in play: Intonation and Doigté complexe — practise it slowly, separating left hand from bow: bow alone on open strings, then the fingering silently.
Same level
Violin Concerto in A minor, op. 53
Antonín Dvořák
83/100 -2 pts 6-9 weeks
new reflexes low risk to confirm
Equivalent demands, still Great repertoire (diploma level, beyond grade 8): what changes is the ground. What changes is the skill in play: Indépendance des mains — practise it slowly, separating left hand from bow: bow alone on open strings, then the fingering silently.
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.