Repertoire › The Broken Law, Op.105 › What to play next
What to play after The Broken Law, Op.105 ?
Kristof J. Weber · difficulty 48/100

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 in A, "L'Imperatrice"
Luigi Boccherini
53/100 +5 pts 5-10 weeks
partial transfer low risk to confirm
A short step up, staying in Intermediate (around grade 6 ABRSM/RCM). New compared with the previous piece: 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.
Gentle
Adagio et variations, Op.31
Friedrich August Kummer
52/100 +4 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: Doigté complexe and Passages rapides — settle and write in both fingering and bowings at first reading: changing them later costs weeks.
Gentle
Capriccietto, Op.16
Maksymilian Grecki
54/100 +6 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: Vibrato (violoncelle) and Passages rapides — what matters is a steady sustained tone: bow speed, contact point and pressure even, before any thought of speed.
Gentle
Air final varié de 'La sonnambula', Op.37
Joseph Merk
52/100 +4 pts 5-10 weeks
partial transfer 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
La buona maniera, Op.70
Bernhard Romberg
52/100 +4 pts 5-10 weeks
partial transfer low risk to confirm
A short step up, staying in Intermediate (around grade 6 ABRSM/RCM). New compared with the previous piece: 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
Capriccio, Op.10
Leopold Szuk
60/100 +12 pts 12-24 weeks
close skills moderate risk to confirm
A real step up, staying in Intermediate (around grade 6 ABRSM/RCM). The skill that will carry the work: Passages rapides and Doigté complexe — practise it slowly, separating left hand from bow: bow alone on open strings, then the fingering silently.
Balanced
Cappricio über 'Der Templer und die Jüdin', Op.100
Friedrich August Kummer
62/100 +14 pts 12-24 weeks
close skills moderate risk to confirm
A real step up, staying in Intermediate (around grade 7 ABRSM/RCM). The skill that will carry the work: Passages rapides and Doigté complexe — practise it slowly, separating left hand from bow: bow alone on open strings, then the fingering silently.
Balanced
Capriccio über slavische Melodien, Op.9
Julius Goltermann
62/100 +14 pts 12-24 weeks
close skills moderate risk to confirm
A real step up, staying in Intermediate (around grade 7 ABRSM/RCM). The skill that will carry the work: Passages rapides and Doigté complexe — 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 no. 2 in G minor, op. 117
Gabriel Fauré
64/100 +16 pts 24-48 weeks
new reflexes high risk to confirm
An ambitious leap while staying in Intermediate (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.
Challenge
Cello Sonata no. 1 in D minor, op. 109
Gabriel Fauré
64/100 +16 pts 24-48 weeks
new reflexes high risk to confirm
An ambitious leap while staying in Intermediate (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.
Challenge
Cello Sonata in F major, op. 6, TrV115
Richard Strauss
70/100 +22 pts 24-48 weeks
partial transfer high 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: 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

To widen the repertoire without raising the level.

Same level
Suite d minor BWV 1008
Eugene Ysaÿe
47/100 -1 pts 3-4 weeks
new reflexes low risk to confirm
Equivalent demands, still Intermediate (around grade 5 ABRSM/RCM): what changes is the ground. What changes is the skill in play: Style baroque and Polyphonie à deux voix — the notes are not enough: articulation and ornaments follow performance conventions best checked in an urtext edition.
Same level
Suite C major BWV 1009
Eugene Ysaÿe
47/100 -1 pts 3-4 weeks
new reflexes low risk to confirm
Equivalent demands, still Intermediate (around grade 5 ABRSM/RCM): what changes is the ground. What changes is the skill in play: Style baroque and Polyphonie à deux voix — the notes are not enough: articulation and ornaments follow performance conventions best checked in an urtext edition.
Same level
Allegro appassionato in B minor, for cello and piano, op. 43
Camille Saint-Saëns
49/100 +1 pts 3-4 weeks
new reflexes low risk to confirm
Equivalent demands, still Intermediate (around grade 5 ABRSM/RCM): what changes is the ground. What changes is the skill in play: 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.
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.