Que jouer après Andante et Scherzo for Cello and Piano ?

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

Album du Gaulois

Arthur Meyer

60/100 +5 pts 6-12 weeks

close skills low risk to confirm

A short step up, staying in Intermediate (around grade 6 ABRSM/RCM). New compared with the previous piece: Vibrato and Doigté complexe — what matters is a steady sustained tone: bow speed, contact point and pressure even, before any thought of speed.

Gentle

Dances, for cello and piano

Ned Rorem

60/100 +5 pts 6-12 weeks

close skills low risk to confirm

A short step up, staying in Intermediate (around grade 6 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.

Gentle

Cello Concerto

Philip Glass

60/100 +5 pts 6-12 weeks

close skills low risk to confirm

A short step up, staying in Intermediate (around grade 6 ABRSM/RCM). The demand here is musical rather than mechanical: Phrasé — the notes will be secure long before the musical line: work in whole phrases, singing the main voice.

Gentle

Andante et rondo, Op.66

Bernhard Romberg

58/100 +3 pts 5-10 weeks

close skills low risk to confirm

A short step up, staying in Intermediate (around grade 6 ABRSM/RCM). New compared with the previous piece: Connaissance des formes and Passages rapides — understand the form and the harmony before memorising, or memory collapses the moment you play for someone.

Gentle

Après une lecture de, Op.45

Christophe Queval

58/100 +3 pts 5-10 weeks

close skills low risk to confirm

A short step up, staying in Intermediate (around grade 6 ABRSM/RCM). The skill that will carry the work: Legato d'archet (violoncelle) — 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

Caprice and Elegy

Frederick Delius

66/100 +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: Vibrato (violoncelle) and Legato d'archet (violoncelle) — what matters is a steady sustained tone: bow speed, contact point and pressure even, before any thought of speed.

Balanced

Ballade for Cello and Piano in C minor, op. 15

Sergei Prokofiev

67/100 +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: Octaves and Style moderne et contemporain — practise it slowly, separating left hand from bow: bow alone on open strings, then the fingering silently.

Balanced

Shakespearean Cello Concerto, op. 136

Malcolm Arnold

65/100 +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). The demand here is musical rather than mechanical: Phrasé — the notes will be secure long before the musical line: work in whole phrases, singing the main voice.

Balanced

7 Arabesques, H.201/201a

Bohuslav Martinů

68/100 +13 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: Style moderne et contemporain and Passages rapides — the notes are not enough: articulation and ornaments follow performance conventions best checked in an urtext edition.

Ambitious challenge

A useful leap with guided practice.

Challenge

Cello Sonata no. 4 in C major, op. 102, no. 1

Ludwig van Beethoven

73/100 +18 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: 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 +18 pts 28-56 weeks

partial transfer high risk to confirm

Challenge

Cello Sonata no. 1 in E minor, op. 38

Johannes Brahms

70/100 +15 pts 28-56 weeks

partial transfer moderate risk to confirm

An ambitious leap into Advanced (around grade 7 ABRSM/RCM) — only worth starting if the practice time is really there. 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.

Same level

To widen the repertoire without raising the level.

Same level

Cello Sonata No. 1

Ludwig van Beethoven

57/100 +2 pts 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: Style classique — the notes are not enough: articulation and ornaments follow performance conventions best checked in an urtext edition.

Same level

Cello Sonata no. 1 in C minor, op. 32

Camille Saint-Saëns

58/100 +3 pts 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 (violoncelle) — understand the form and the harmony before memorising, or memory collapses the moment you play for someone.

Same level

Cello Sonata in E flat major, G.11

Luigi Boccherini

52/100 -3 pts 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: 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.