Repertoire › Cello Sonata in E-flat major, op. 64: V. Menuetto. Moderato › What to play next
What to play after Cello Sonata in E-flat major, op. 64: V. Menuetto. Moderato ?
Ludwig van Beethoven · difficulty 57/100

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
Cello Sonata no. 1 in D minor, op. 109
Gabriel Fauré
64/100 +6 pts 6-12 weeks
close skills low risk to confirm
A short step up, staying in Intermediate (around grade 7 ABRSM/RCM). The skill that will carry the work: Connaissance des formes and Vibrato (violoncelle) — understand the form and the harmony before memorising, or memory collapses the moment you play for someone.
Gentle
Cello Sonata no. 2 in F major, op. 123
Camille Saint-Saëns
61/100 +3 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: Passages rapides and Doigté complexe — practise it slowly, separating left hand from bow: bow alone on open strings, then the fingering silently.
Gentle
Cello Sonata no. 2 in G minor, op. 5 no. 2
Ludwig van Beethoven
61/100 +3 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: Passages rapides and Vibrato (violoncelle) — practise it slowly, separating left hand from bow: bow alone on open strings, then the fingering silently.
Gentle
Cello Sonata no. 2 in G minor, op. 117
Gabriel Fauré
64/100 +7 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: Passages rapides and Connaissance des formes — 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
Cello Sonata no. 2, op. 58
Felix Mendelssohn
69/100 +11 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: Passages rapides and Vibrato (violoncelle) — practise it slowly, separating left hand from bow: bow alone on open strings, then the fingering silently.
Balanced
Cello Sonata in E-flat major, op. 64: VI. Finale. Allegro
Ludwig van Beethoven
68/100 +10 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: Passages rapides and Connaissance des formes — practise it slowly, separating left hand from bow: bow alone on open strings, then the fingering silently.
Balanced
Cello Sonata no. 1 in E minor, op. 38
Johannes Brahms
70/100 +13 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). New compared with the previous piece: Passages rapides and Connaissance des formes — practise it slowly, separating left hand from bow: bow alone on open strings, then the fingering silently.
Balanced
Cello Sonata in E-flat major, op. 64: I. Allegro con brio
Ludwig van Beethoven
66/100 +8 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: Intonation (violoncelle) and Analyse harmonique — practise it slowly, separating left hand from bow: bow alone on open strings, then the fingering silently.
Ambitious challenge

A useful leap with guided practice.

Challenge
Cello Sonata in G minor, op. 65
Frédéric Chopin
77/100 +20 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. The skill that will carry the work: Connaissance des formes and Vibrato (violoncelle) — understand the form and the harmony before memorising, or memory collapses the moment you play for someone.
Challenge
Cello Sonata no. 3 in A major, op. 69
Ludwig van Beethoven
73/100 +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: Passages rapides and Ornements romantiques — practise it slowly, separating left hand from bow: bow alone on open strings, then the fingering silently.
Challenge
Cello Sonata no. 4 in C major, op. 102, no. 1
Ludwig van Beethoven
73/100 +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: Intonation (violoncelle) and Connaissance des formes — practise it slowly, separating left hand from bow: bow alone on open strings, then the fingering silently.
Same level

To widen the repertoire without raising the level.

Same level
2 Pieces for Cello and Piano, op. 2
Sergei Rachmaninoff
57/100 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: Caractère et style — the notes are not enough: articulation and ornaments follow performance conventions best checked in an urtext edition.
Same level
Pièce in C major, for cello and piano, op. 39
Ernest Chausson
56/100 -2 pts 4-6 weeks
close skills 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: Voix chantante and Vibrato (violoncelle) — the notes will be secure long before the musical line: work in whole phrases, singing the main voice.
Same level
Harmonies des bois, 3 pieces for cello solo, op. 76
Jacques Offenbach
60/100 +3 pts 4-7 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: Position du pouce and Voix chantante — 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.