William Mason was an American composer who studied with Liszt, and his writing often reflects that pedagogical influence. This concert etude focuses more on expressive, flowing textures rather than pure virtuosic display.
At Henle 7 this is a late-advanced work — the technical demands are serious and sustained. The main demands: a true singing tone, with the melody floating above the accompaniment; chord voicing — bringing out one note inside a handful of others; and continuous sixteenth-note figuration that must ripple, not chatter.
The challenge is to maintain a seamless, bell-like tone in the right-hand melody while the left hand provides a supportive, rhythmic bed.
Comparable difficulty and character — good candidates for what to learn next.
A level or two down with the same spirit — ideal if this piece is still out of reach.
Where this piece's skills lead: slightly harder works making similar technical demands.
Lesser-known works by the same hand, at a comparable level.
Etude de Concert (Op.9) is rated Henle level 7 of 9 — late advanced repertoire, roughly ABRSM grade 8 and above. In the RCM system it corresponds to about level 8.
You should be comfortable at Henle level 7 — meaning you can already play level 6–7 pieces cleanly. Learning it one level early is possible as a stretch piece, but more than that usually leads to months of frustration.
A typical performance of Etude de Concert (Op.9) lasts about 3 minutes.
Etude de Concert (Op.9) is available as free public-domain sheet music on IMSLP — the score is linked directly from this page.
Pieces at a comparable difficulty and character include Concert Galop by William Mason, Liebestraum No. 3 in A-flat major by Franz Liszt, Étude in E major, No. 3 by Frédéric Chopin — see the full similar-pieces list on this page.