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If it's a long text choose one bite-sized piece (such as a chapter) for this exercise.
Certainly, a piece such as Beethoven's Quartet Opus 130, with its dissonant fugal finale, caused difficulties for its early listeners.
Take a piece such as the yearning Dear Brutus (1917), which sets romantic hypotheticalities against wartime realities.
A big "event" piece such as this suits the Albert Hall perfectly, and this was done really well.
Since it is not always possible to create a metal device in one piece, such as by casting, it is necessary to assemble it from separately prepared parts.
A piece such as "Salvator Mundi" commands a high price tag because it is both unique and the product of an artist universally considered a truly great master.
Occasionally a sculptor might produce some unusual piece, such as the extraordinary figure of Ramses VI with his lion, dragging beside him a Libyan prisoner.
A standard piece such as "Falstaff" can receive a new production only after three years have passed; less common operas require a delay of five years.
There's no crime in programming a bright but insubstantial piece such as "Composer's Holiday". "Kammermusik," however, felt like a hard turn further off course.
When working through a piece such as this, one of the most difficult aspects is the balancing of the melody against the bass notes.
He can play a challenging piece such as Ravel's Alborada del Gracioso so effortlessly that I'm considering studying a recording by him and trying to copy it.
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Since I tried Ludwig back in 2017, I have been constantly using it in both editing and translation. Ever since, I suggest it to my translators at ProSciEditing.

Justyna Jupowicz-Kozak
CEO of Professional Science Editing for Scientists @ prosciediting.com