Que jouer après 6 Pezzi for Violin and Piano, P.31 ?

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

Impromptu concertant, for violin and piano in G flat major

George Enescu

63/100 +5 pts 6-12 weeks

close skills low risk to confirm

A short step up, staying in Intermediate (around grade 7 ABRSM/RCM). 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.

Gentle

Violin Sonata in A major, op. 162, D.574

Franz Schubert

62/100 +5 pts 6-12 weeks

close skills low risk to confirm

A short step up, staying in Intermediate (around grade 7 ABRSM/RCM). New compared with the previous piece: Analyse harmonique and Vibrato — understand the form and the harmony before memorising, or memory collapses the moment you play for someone.

Gentle

Violin Sonata no. 2 in A major, op. 100

Johannes Brahms

63/100 +6 pts 6-12 weeks

close skills low risk to confirm

A short step up, staying in Intermediate (around grade 7 ABRSM/RCM). New compared with the previous piece: Connaissance des formes and Vibrato — understand the form and the harmony before memorising, or memory collapses the moment you play for someone.

Gentle

Rondo brillant for Violin and Piano, op. 126

Johann Nepomuk Hummel

62/100 +4 pts 6-12 weeks

close skills low risk to confirm

A short step up, staying in Intermediate (around grade 7 ABRSM/RCM). New compared with the previous piece: Détaché — practise it slowly, separating left hand from bow: bow alone on open strings, then the fingering silently.

Gentle

4 Pieces for Violin and Piano, op. 115

Jean Sibelius

61/100 +4 pts 6-12 weeks

close skills low risk to confirm

A short step up, staying in Intermediate (around grade 7 ABRSM/RCM). The demand here is musical rather than mechanical: Legato — practise it slowly, separating left hand from bow: bow alone on open strings, then the fingering silently.

Balanced step

A genuine step up, without a jolt.

Balanced

Duos concertant in E major, for violin and piano, op. 112

Louis Spohr

69/100 +12 pts 12-24 weeks

close skills moderate risk to confirm

A real step up: this piece moves you into Advanced (around grade 7 ABRSM/RCM). New compared with the previous piece: Changements de position — practise it slowly, separating left hand from bow: bow alone on open strings, then the fingering silently.

Balanced

Poème élégiaque, for violin and orchestra in D minor, op. 12

Eugene Ysaÿe

70/100 +12 pts 14-28 weeks

close skills moderate risk to confirm

A real step up: this piece moves you into Advanced (around grade 7 ABRSM/RCM). 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.

Balanced

Concerto gregoriano, for violin and orchestra, P.135

Ottorino Respighi

70/100 +12 pts 14-28 weeks

partial transfer moderate risk to confirm

A real step up: this piece moves you into Advanced (around grade 7 ABRSM/RCM). New compared with the previous piece: Contrôle du toucher — what matters is a steady sustained tone: bow speed, contact point and pressure even, before any thought of speed.

Balanced

Violin Concerto no. 8 in A minor, op. 47

Louis Spohr

70/100 +12 pts 14-28 weeks

close skills moderate risk to confirm

A real step up: this piece moves you into 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.

Ambitious challenge

A useful leap with guided practice.

Challenge

Violin Concerto in D major, op. 61

Ludwig van Beethoven

75/100 +17 pts 28-56 weeks

partial transfer high risk to confirm

An ambitious leap into Advanced (around grade 8 ABRSM/RCM) — only worth starting if the practice time is really there. New compared with the previous piece: Contrôle du toucher — what matters is a steady sustained tone: bow speed, contact point and pressure even, before any thought of speed.

Challenge

Violin Sonata no. 2 in E minor, op. 108

Gabriel Fauré

74/100 +16 pts 28-56 weeks

close skills high risk to confirm

An ambitious leap into Advanced (around grade 8 ABRSM/RCM) — only worth starting if the practice time is really there. New compared with the previous piece: Connaissance des formes and Vibrato — understand the form and the harmony before memorising, or memory collapses the moment you play for someone.

Challenge

Violin Sonata in B minor, P.110

Ottorino Respighi

73/100 +15 pts 28-56 weeks

close skills moderate risk to confirm

An ambitious leap into Advanced (around grade 8 ABRSM/RCM) — only worth starting if the practice time is really there. New compared with the previous piece: Vibrato and Connaissance des formes — what matters is a steady sustained tone: bow speed, contact point and pressure even, before any thought of speed.

Same level

To widen the repertoire without raising the level.

Same level

5 Pezzi for Violin and Piano, P.62

Ottorino Respighi

58/100 same level 4-6 weeks

close skills low risk to confirm

Equivalent demands, still Intermediate (around grade 6 ABRSM/RCM): what changes is the ground. 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

Violin Sonata no. 2 in G major, op. 13

Edvard Grieg

58/100 same level 4-6 weeks

partial transfer low risk to confirm

Equivalent demands, still Intermediate (around grade 6 ABRSM/RCM): what changes is the ground. What changes is the skill in play: Connaissance des formes and Vibrato — understand the form and the harmony before memorising, or memory collapses the moment you play for someone.

Same level

Violin Sonata no. 1 in D major, op. 12 no. 1

Ludwig van Beethoven

59/100 +1 pts 4-6 weeks

partial transfer low risk to confirm

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.