ATCL Violin Diploma Guide: Trinity 2026 Repertoire
Trinity ATCL violin diploma requirements: 32-38 minute recital, Programme & Planning, approval rules and 2026 repertoire choices after Grade 8.
ATCL violin is Trinity’s first performance diploma level. It is a recital exam of 32-38 minutes, marked out of 100, with 96 marks for the recital and 4 marks for Programme & Planning.
Unlike ABRSM’s diploma route, Trinity does not require a previous qualification before entry. That does not mean the level is casual. ATCL is described as comparable in standard to a first-year undergraduate recital, so the candidate should already be beyond Grade 8 in stamina, programme control and musical judgement.
For the full route, see the Trinity violin diploma exam hub.
What ATCL violin is testing
| Area | What matters |
|---|---|
| Recital | A varied 32-38 minute performance with fluency, accuracy, technique, interpretation and stagecraft |
| Written programme | Candidate/accompanist details, date, full titles, movement details and timings |
| Programme planning | Balance, contrast, effective order and artistic coherence |
| Practical compliance | Minimum two works, correct timing, legal music copies and approval letter where needed |
There is no Viva Voce or Quick Study in this syllabus. The performance has to carry the musical argument.
Repertoire direction
The 2026 Trinity ATCL violin list includes repertoire that can form many different recital identities. Bach appears through violin-and-keyboard sonatas and the E major Concerto. Beethoven offers early sonatas, the Spring Sonata and Romance in G. Brahms gives Op.78 and Op.100. There is also de Falla, Delius, Dvorak, Finzi, Francaix, Grieg, Hindemith, Khachaturian, Kreisler, Lalo, Leighton, Martinu, Messiaen, Mozart, Prokofiev, Schubert, Schumann, Stravinsky, Suk, Tchaikovsky, Vitali, Walton, Wieniawski and Wilkinson.
The best first ATCL programme usually avoids two traps. The first is choosing only famous works. The second is choosing pieces that are all persuasive in the same way. A strong recital needs contrast of language, tempo, texture and emotional temperature.
ATCL violin repertoire choices
| Composer | Repertoire choice | Edition |
|---|---|---|
| Bach, J S | Any sonata from 6 Sonatas for Violin and Keyboard, BWV 1014-1019; cembalo-only movements should not be performed | Peters |
| Bach, J S | Concerto no. 2 in E, BWV 1042 | Barenreiter |
| Beach | Sonata in A minor, op. 34, 1st movt | any reliable edition |
| Beethoven | Romance in G, op. 40 | Henle |
| Beethoven | Sonata in D, op. 12 no. 1 | Henle |
| Beethoven | Sonata in A, op. 12 no. 2 | Henle |
| Beethoven | Sonata in F “Spring”, op. 24 | Henle |
| Bloch | Nigun, no. 2 from Baal Shem suite | Fischer |
| Bloch | Simchas Torah, no. 3 from Baal Shem suite | Fischer |
| Brahms | Sonata in A, op. 100 | Henle |
| Brahms | Sonata in G, op. 78 | Henle |
| de Falla | Suite populaire espagnole, all 6 movts | Chester |
| Delius | Legende in E-flat | Forsyth |
| Dvorak | Romance in F minor, op. 11 | Simrock |
| Finzi | Elegy or Introit | Boosey |
| Francaix | Sonatine | Schott |
| Grieg | Sonata no. 2 in G, op. 13 | Peters |
| Grieg | Sonata no. 3 in C minor, op. 45 | Peters |
| Grime | Romance for violin and piano | Chester |
| Hindemith | Sonata in E-flat, op. 11 no. 1 | Schott |
| Khachaturian | Chant-Poeme | Boosey |
| Kreisler | Variations on a Theme of Corelli | Schott |
| Kroll | Banjo and Fiddle | Schirmer |
| Lalo | Symphonie espagnole in D minor, op. 21, any 2 or more movts | any reliable edition |
| Leighton | Metamorphoses, op. 48 | Novello |
| Martinu | Sonata no. 2, H 208 | Salabert |
| Messiaen | Theme et variations | Leduc |
| Mozart | Sonata in B-flat, K 454 or Sonata in A, K 526 | any reliable edition |
| Prokofiev | Cinq melodies, op. 35a, also known as op. 35bis | Boosey |
| Rubbra | Sonata no. 2 | Allegro / OUP archive |
| Schubert | Rondo in A, D 438 | any reliable edition |
| Schumann | 3 Fantasiestucke, op. 73 | Henle |
| Schumann | Sonata no. 1 in A minor, op. 105 | Peters |
| Stravinsky, arr. Dushkin | Suite Italienne, all 6 movts | Boosey |
| Suk | 4 Pieces, op. 17, both volumes to be played | Simrock |
| Szymanowski | Chant de Roxanne from King Roger | Universal |
| Tchaikovsky | Souvenir d’un lieu cher, op. 42, all 3 movts | Faber |
| Vitali | Chaconne | any reliable edition |
| Walton | Two Pieces | OUP |
| Wieniawski | Legende, op. 17 | Schott |
| Wilkinson | Legende de l’oiseau bleu | UMP |
Programme shapes
| Shape | Why it can work |
|---|---|
| Bach or Beethoven plus Romantic sonata plus shorter colour work | Clear style contrast with a central large work |
| Classical sonata plus national-style suite plus twentieth-century piece | Good variety without overloading virtuosity |
| Brahms plus a lighter character piece plus Baroque or Classical clarity | Warmth balanced by articulation and structure |
Check timing early. Trinity’s minimum duration is firm, and repeats normally cannot be used to pad the programme. Short breaks between complete works are acceptable, but the total performing time must fit the stated window.
Digital or face-to-face
ATCL may be taken face-to-face or digitally. A digital submission must be one continuous performance with no editing. The written programme, scans of the music and any approval letter are uploaded with the video.
For Hong Kong candidates, the digital route can reduce scheduling pressure, but it creates its own demands: camera framing, sound balance, accompanist recording quality and the discipline of choosing one complete take.
Next step
If ATCL repertoire feels secure and the candidate wants a larger artistic challenge, compare LTCL violin. LTCL asks for a longer recital and a more mature programme identity.
