Repertoire › Sonate pour violoncelle & piano no. 1, op. 109: II. Andante › What to play next
What to play after Sonate pour violoncelle & piano no. 1, op. 109: II. Andante ?
Gabriel Fauré · difficulty 46/100

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 B-flat major, op. 45: II. Andante
Felix Mendelssohn
51/100 +5 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: Voix chantante and Intonation (violoncelle) — the notes will be secure long before the musical line: work in whole phrases, singing the main voice.
Gentle
Cello Sonata in C major, G.17
Luigi Boccherini
52/100 +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: Style classique and Intonation (violoncelle) — the notes are not enough: articulation and ornaments follow performance conventions best checked in an urtext edition.
Gentle
Sicilienne, for cello and piano, op. 78
Gabriel Fauré
50/100 +4 pts 4-8 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: Rythmes pointés and Legato d'archet (violoncelle) — the pitfall is the pulse drifting as soon as the writing thickens: subdivide with the metronome.
Gentle
Papillon, for cello and piano, op. 77
Gabriel Fauré
52/100 +6 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: 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.
Gentle
Cello Sonata in E flat major, G. deest
Luigi Boccherini
52/100 +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: Style classique and Intonation (violoncelle) — the notes are not enough: articulation and ornaments follow performance conventions best checked in an urtext edition.
Balanced step

A genuine step up, without a jolt.

Balanced
Cello Sonata no. 1 in C minor, op. 32
Camille Saint-Saëns
58/100 +12 pts 10-20 weeks
close skills moderate risk to confirm
A real step up, staying in Intermediate (around grade 6 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.
Balanced
Cello Sonata no. 1, op. 45
Felix Mendelssohn
60/100 +14 pts 10-20 weeks
close skills moderate risk to confirm
A real step up, staying in Intermediate (around grade 6 ABRSM/RCM). New compared with the previous piece: Intonation (violoncelle) and Vibrato (violoncelle) — 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. 1 in D minor, op. 109
Gabriel Fauré
64/100 +18 pts 24-48 weeks
close skills 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. 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. 2 in G minor, op. 117
Gabriel Fauré
64/100 +18 pts 24-48 weeks
close skills 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: Passages rapides and Connaissance des formes — practise it slowly, separating left hand from bow: bow alone on open strings, then the fingering silently.
Challenge
Cello Sonata in A minor
Edouard Lalo
67/100 +21 pts 24-48 weeks
close skills 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: Intonation (violoncelle) and Vibrato (violoncelle) — 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
Gavotte, for cello and piano in G minor
Camille Saint-Saëns
46/100 same level 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 Ornements baroque — the notes are not enough: articulation and ornaments follow performance conventions best checked in an urtext edition.
Same level
Waltz, for cello and piano, op. 48
Reinhold Glière
45/100 -1 pts 3-4 weeks
partial transfer 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: Rythmes pointés and Détaché (violoncelle) — the pitfall is the pulse drifting as soon as the writing thickens: subdivide with the metronome.
Same level
Allegretto Moderato, for cello and piano
Gabriel Fauré
48/100 +3 pts 3-4 weeks
close skills 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: Voix chantante and Legato d'archet (violoncelle) — the notes will be secure long before the musical line: work in whole phrases, singing the main voice.
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.