I Made a Graded Repertoire: What do you guys think? (I Revised The List According to You Guys)
So HI guys. I was really disappointed in all the graded repertoires I found on the Internet, so I made my own. I referred to a variety of sources:
SHAR Music Difficulty Ratings
ASTA Difficulty Ratings
Henle Difficulty Ratings
this random list that I found on Quora.
of course, Jubin's list.
The lists were all very different, with all their pros and cons. To be honest, the lists were all whack. They all seemed to hold together pretty well till the Accolay/Haydn in G level, then the lists all went absolutely chaotic, then somehow managed to come together on the Mendelssohn level again. Jubin's list was very inaccurate (at least in my perspective) on the pre-Bruch levels, and was one of the lists that was more personal though it had one of the most accurate ratings in the advanced level. The Quora list too was personal/inaccurate: it had the tendency to underestimate major works, though it was very accurate on the lower levels. The RCM Syllabus rating were the most accurate in my opinion, probably due to the fact that this isn't a graded list (well, it kinda is but still) and a test syllabus so it can't be personal. Violinmasterclass was an OK list, but it suffered from a lack of levels e.g. they placed Berg and Bruch on the same level. The Violinwiki list was arguably the worst because it was put together by random people who probably didn't really care.
What this list indicates is the time you're ready for the piece. For example, the Mozart Concertos, if had to be played flawlessly, it would probably belong in level 10 or even 10+, not level 5 or 6.
The list is in alphabetical order
This is the revised version
Rieding Concerto in B minor
Rieding Concerto in D major
Seitz Concerto No. 2
Seitz Concerto No. 5
Vivaldi Concerto in A minor
Vivaldi Concerto in G major
Marcello Concerto in D major
Seitz Concerto No. 3
Seitz Concerto No. 4
Vivaldi Concerto in G minor
Bach Concerto No. 1
Bach Double Concerto
Haydn Concerto in G major
Komarowski Concerto No. 1
Nardini Concerto in E minor
Bach Concerto No. 2
de Beriot Concerto No. 9
Haydn Concerto in C major
Mozart Concerto No. 2
Mozart Concerto No. 3
Rode Concerto No. 7
Rode Concerto No. 8
Bruch Concerto No. 1
Mozart Concerto No. 4
Mozart Concerto No. 5 “Turkish”
Spohr Concerto No. 2
Spohr Concerto No. 8
Viotti Concerto No. 22
Viotti Concerto No. 23
Bartok Concerto No. 1
Hao-Kang Butterfly Lover’s Concerto
Lalo Symphonie Espagnole
Saint-Saens Concerto No. 3
Szymanowski Concerto No. 1
Szymanowski Concerto No. 2
Vieuxtemps Concerto No. 4
Vieuxtemps Concerto No. 5
Wieniawski Concerto No. 2
Paganini Concerto No. 1
Paganini Concerto No. 2
Prokofiev Concerto No. 2
Shostakovich Concerto No. 2
Joachim Concerto No. 2
Prokofiev Concerto No. 1
Shostakovich Concerto No. 1
Bartok Concerto No. 2
Ernst Concerto “Pathetique”
Wieniawski Concerto No. 1
Bach Partita No. 2 (-Chaconne)
Bach Partita No. 3
Bach Sonata No. 1
Bach Partita No. 1
Bach Sonata No. 2
Bach Partita No. 2 (+Chaconne)
Bach Sonata No. 3
Easiest Paganini Caprices
Easier Wieniawski Etude-Caprices
Intermediate Paganini Caprices
Ysaye Sonata No. 2
Ysaye Sonata No. 3
Ysaye Sonata No. 4
Hardest Paganini Caprices
Harder Wieniawski Etude-Caprices
Ysaye Sonata No. 1
Ysaye Sonata No. 5
Ysaye Sonata No. 6
Bartok Unaccompanied Sonata
Cage Freeman Etudes
Ernst Last Rose of Summer
Paganini Nel Cor Piu Non Mi Sento
Please be nice (a quote from Jubin)
P.S It would be great if you guys inform me on other works thats not on the list; currently I'm trying to figure out the Telemann Fantasias
Nice - I think you missed the Bach Partita #2 movements other than the Chaconne. They should probably be (according to your scale) Level 5 Bach solo (the first to work on).
Oops, there was a mistake and now it's fixed; I did add the Partita No. 2 minus the Chaconne though. Thanks!
May I respectfully suggest that listing alphabetically within a level makes no sense. For example, the Vivaldi G Major is significantly easier than the Vivaldi a minor. I also disagree with listing the Sibelius among the hardest works being performed...I learned it right after Saint-Saens #3 and Mendelssohn, and it's sometimes taught to the better high school students. Prokofiev 1 is harder than 2, I agree, but among the hardest works being performed? (And where is Tchaikovsky? I couldn't find it.)
I hope I'm not being too picky, but I would definitely also separate the Preludio from Partita #3 to Level 6.
Do what I did - join an orchestra and put every list I ever made in the recycling!
Mary Ellen, there are arguments for listing pieces alphabetically within levels. Such an ordering--in fact a random sequence as concerns difficulty--avoids endless debates about small gradations of limited practical importance. I agree for example that Vivaldi G is easier than Vivaldi a*. But the difference of each to a work on a different level is still larger than the difference between the two. Would you really argue that having a student study a-minor before G would be a serious error?
You definitely need to add Vieuxtemps (at least #5; probably 4 as well). I would put #5 as an early Level 9 or late Level 8. #4 would probably be a 7 or 8.
Nice List and good work. Of course all of this can be an entertaining debate. I have a version of a technical list for use at my college job. Beethoven concerto; I will differ with the majority opinion and put it on the same technical level as Bruch-Mendelsohn-Lalo. The difficulty is mainly physical, like performing 3 Mozart concertos back to back. I know this because I have played the solo part during an orchestra rehearsal as substitute soloist, and I am definitely not a high level player. Brahms and Tchaikovsky are out of my league.
Thanks guys for your replies.
If you want another syllabus to check against try New Zealand's.
With respect, Sibelius is not even close to being one of the hardest concertos out there. I don't think you'll find much disagreement among pros on this point.
Scottish Fantasy by Max Bruch didn’t even make the list that has included a lot of obscure works.
As to Beethoven: One of my teacher once said: You can sight read the Beethoven. Then you practice it for a year and you can't play it any more. There are difficulties in it that are unrelated to technical performance.
I don't know about your placement of the Four Seasons; they're not all of equal difficulty. Winter is one of the hardest of the set for sure. Nailing down those virtuoso 32nd notes at the end is exceptionally hard to do. It's not just flourishes which you can get away with fudging a bit; you need absolute precision. And if you're playing it up to a reasonable tempo, it just *flies* past. Also it's in F minor which is an unfriendly key anyway.
The Beethoven's technical difficulties are nontrivial if you intend to play it as cleanly as it needs to be played. Zero room for intonation errors, including lots of perfect intervals which have to be dead-on, just about every shift needs to be silent, no convenient places to shift, and tons of places where if you want to avoid a color-change you have to use a very inconvenient fingering. Mozart concertos lie well in the hand. Beethoven doesn't.
I think Viotti 23 should move up considerably.
The New Zealand site is very interesting, as it is far more comprehensive than the ABRSM (subjectivity and varying performance standards aside).
I question the purpose of this list. If it's supposed to be about a sensible pedagogical order, then I think it's kind of in a weird order, and if it's sort of just about the difficult tricks that pieces have, it's also kind of in a weird order.
I would respectfully suggest that anyone who would come up with a list like this should (at least) have heard every piece of music on the list in its entirety.
Not merely heard, but personally played and preferably taught all the repertoire on the list. But I agree that OP does not seem to have personal familiarity with the advanced repertoire.
> Summed up as impossible
I'm going to say that I don't think the poster's performed many of these. But he seems (he?) to have done due diligence and brings out a lot of fairly obscure works. I suspect he's young(ish) and some of it is hyperbole. "Impossible" doesn't mean "can never be played" in that style of speaking.
What we have here is basically a meta-analysis. Considering the number of lists already out there, a metastudy seems a quite reasonable project. I'd rather the OP had a PhD in statistics than violin performance.
Not sure which Penderecki you mean because if you mean the metamorphosen written for Anne Sophie mutter that work is of insane technical skill as it was written for such a fantastic violinist.
The next person who can write a few nice sounding concerti at the Seitz level is going to make a mint.
Hey guys, I revised the list according to you guys' suggestions. I also removed the accompanying texts since ya'll didn't seem to like it and caused, let's say unhappy people.
On the unaccompanied repertoire list, I'd put the Telemann fantasias in levels 4 to 6. Some are pretty easy and worth playing by intermediate learners, some are more difficult than the 'early' Bach.
Jaehee, any list you make for didactic purposes will be abandoned by you after less than 6 months, so don't waste a lot of time assuming you can plot your future progress - you'll find levels will be skipped, different interests will develop as you get older (you might hate a composer now and love them in 12 months' time or love one now and hate them later). And any piece will have a combination of a) technically difficult passages, b) length, c) musical content. The longer a piece, the easier it will be technically, but it will require stamina instead. Different examiners will have different ideas about the relative importance of the three ingredients when they make their own lists, and whether in their view teaching or performance should be the primary concern.
Elise, I think you underestimate the difficulty of the Loure from Partita No 3 - I think it's at least as difficult as the Praeludio - And that's WITHOUT the challenges of how to bring out the imitation that begins each half, and keep long notes sounding as long as they should.
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