Repertoire › ...et l'Angelus sonna..., Op.34 › What to play next
What to play after ...et l'Angelus sonna..., Op.34 ?
Charles Lagourgue · difficulty 70/100

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 Concerto, in A minor, op. 22
Samuel Barber
75/100 +5 pts 7-14 weeks
partial transfer low risk to confirm
A short step up, staying in Advanced (around grade 8 ABRSM/RCM). New compared with the previous piece: Style moderne et contemporain — the notes are not enough: articulation and ornaments follow performance conventions best checked in an urtext edition.
Gentle
Rhapsody for Cello and Piano, BB94c, Sz.88
Béla Bartók
75/100 +5 pts 7-14 weeks
partial transfer low risk to confirm
A short step up, staying in Advanced (around grade 8 ABRSM/RCM). 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
Cello Sonata in C major, op. 65: V. Moto perpetuo
Benjamin Britten
74/100 +4 pts 7-14 weeks
partial transfer low risk to confirm
A short step up, staying in Advanced (around grade 8 ABRSM/RCM). New compared with the previous piece: Connaissance des formes and Style moderne et contemporain — understand the form and the harmony before memorising, or memory collapses the moment you play for someone.
Gentle
Cello Sonata, op. 6
Samuel Barber
76/100 +6 pts 7-14 weeks
partial transfer low risk to confirm
A short step up, staying in Advanced (around grade 8 ABRSM/RCM). New compared with the previous piece: Connaissance des formes and Style moderne et contemporain — understand the form and the harmony before memorising, or memory collapses the moment you play for someone.
Gentle
Cello Sonata in C major, op. 65
Benjamin Britten
77/100 +7 pts 7-14 weeks
partial transfer low risk to confirm
A short step up, staying in Advanced (around grade 8 ABRSM/RCM). New compared with the previous piece: Connaissance des formes and Style moderne et contemporain — understand the form and the harmony before memorising, or memory collapses the moment you play for someone.
Balanced step

A genuine step up, without a jolt.

Balanced
Paille in the wind, for cello and piano
Iannis Xenakis
80/100 +10 pts 16-32 weeks
partial transfer moderate risk to confirm
A real step up: this piece moves you into Great repertoire (diploma level, beyond grade 8). New compared with the previous piece: Changements de position (violoncelle) — practise it slowly, separating left hand from bow: bow alone on open strings, then the fingering silently.
Balanced
Nocturne and Scherzo for Cello and Piano, L.26
Claude Debussy
80/100 +10 pts 16-32 weeks
partial transfer moderate risk to confirm
A real step up: this piece moves you into Great repertoire (diploma level, beyond grade 8). New compared with the previous piece: Voix chantante and Staccato — the notes will be secure long before the musical line: work in whole phrases, singing the main voice.
Balanced
Cello Concerto no. 1 in G minor, op. 49
Dmitry Kabalevsky
80/100 +10 pts 16-32 weeks
partial transfer moderate risk to confirm
A real step up: this piece moves you into Great repertoire (diploma level, beyond grade 8). New compared with the previous piece: Style moderne et contemporain and Passages rapides — the notes are not enough: articulation and ornaments follow performance conventions best checked in an urtext edition.
Balanced
Cello Sonata in D minor, L.135
Claude Debussy
78/100 +8 pts 14-28 weeks
partial transfer moderate risk to confirm
A real step up, staying in Advanced (around grade 8 ABRSM/RCM). New compared with the previous piece: Connaissance des formes and Vibrato (violoncelle) — 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
Suite D major BWV 1012
Eugene Ysaÿe
90/100 +20 pts 36-72 weeks
new reflexes 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: Polyphonie à trois voix ou plus and Style baroque — practise it slowly, separating left hand from bow: bow alone on open strings, then the fingering silently.
Challenge
Cello Suite no. 6 in D major, BWV.1012
Johann Sebastian Bach
85/100 +15 pts 32-64 weeks
new reflexes moderate 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: Position du pouce and Lecture clé d'ut et de sol — 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
Cello Sonata in F major, op. 6, TrV115
Richard Strauss
70/100 same level 4-7 weeks
new reflexes 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: Vibrato (violoncelle) 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
Cello Sonata no. 1 in E minor, op. 38
Johannes Brahms
70/100 same level 5-8 weeks
new reflexes 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: Connaissance des formes and Vibrato (violoncelle) — understand the form and the harmony before memorising, or memory collapses the moment you play for someone.
Same level
Cello Sonata no. 2, op. 58
Felix Mendelssohn
69/100 -1 pts 4-7 weeks
partial transfer 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: Vibrato (violoncelle) and Connaissance des formes — what matters is a steady sustained tone: bow speed, contact point and pressure even, before any thought of speed.
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.