The next section is more problematic for me perosnally. Thus your list suggest the first two concertos and the Vitali Chaccone are more difficult than Mozart three which I would beg to differ slightly with. The problems you note lead, in my opinion, to the greatest amount of diiiculty in classifying the sort of middle area which may at leats superficially not be so demanding. I did the concerto very early on (after de beroiot 9) so that would be much lower down the list than some concertos that would have exposed my weaknesses more. For example, when I was a kid I played a lot of Wieniawski. It does, as you say depend on a slew of factors that are very subjective and after you have tried to factor those in you are still stuck with the problem of individual differences in players and there relative streengths. I agree with you about some of the lists currently available although the ASTA one is pretty good in my opinion. That`s a really interesting project and I think you have done alot of thoughtful work. O Saint-Saëns: Introduction and Rondo Capriccioso in A minor O Rimsky-Korsakov: Flight of the Bumblebee O Mozart: Rondo in G major from “Haffner” Serenade O Kreisler: Concerto in the style of Vivaldi O Vivaldi: Concerto in G minor, from Suzuki Book 5 or another source Please keep in mind, these are pieces for solo violin and orchestra. I am not perfect, so if I have missed something important, misspelled something, or misjudged a piece, please let me know. Please feel free to comment, inquire, reject, or add (or some other verb) to this list. The levels range from 1-13+, 1 being the easiest and + being disgusting. For this reason, the Paganini concertos are not higher in level than other, technically easier pieces (such as Barber and Beethoven) for the reason that Barber and Beethoven require more insight and knowledge to play. However, I have taken into consideration the technique and musicality required to play the pieces (bow control, dexerity, vibrato, flexibility, tone quality, and tempo among other things). The criteria for each level is not specific, as that would mean 110 different analyses of each work. But after being frustrated with the amount of ambiguity in many graded repertoire lists and hearing so many music teachers, professors, and students complain, I have taken it upon myself to create my own graded repertoire (with help from many sources).
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