Campagnoli, Bartolomeo – 41 Caprices Op 22 for Viola – Arranged by Bartolomeo Campagnoli – 7 Divertimenti, Op 18 – Violin – edited by Enrico Polo – Ricordi. Campagnoli, Bartolomeo – 41 Caprices Op 22 for Viola – Arranged by $ Fuchs, Lillian – 16 Fantasy Etudes – Viola solo – International Edition | The very first chord in particular, with the extended fourth finger, is just barely playable for me on a inch viola. However, after clearing the hurdles, I’ve.

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I disliked it for a long time because frankly, I couldn’t make it sound good. The very first chord in particular, with the extended viooa finger, is just barely playable for me on a However, after clearing the hurdles, I’ve decided it’s one of my favorite caprices.

The key of E Major sounds mellow, rich, and joyful. This makes it extra tricky for the left hand, as if any more challenges were needed in a piece like this! I found it most helpful to emphasize the bottom note vioal each chord, to keep the line going and also to keep my bow and left hand on the from getting distracted by other technical complications. I had fun working on number 15 – it’s a caprice that tends to play itself.

The key of G major makes the most of the viola’s natural resonance, especially in a nice hall like the one in Riverside Church that I used for the recording session. I want to take a moment here to thank Riverside Church for providing the inspiring space.

And a big thanks to my new recording engineer, Stuart Breczinski, for cwmpagnoli on to this project. Campaagnoli has done an amazing job with the audio and video: So back to this caprice: But I had to look forward to passages campagnoki mm.

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Caprices (41) Op. 22 viola

The latter passage was especially challenging for the stratified voicing. Jumping back and forth between the G and A string, or the C and D string, requires a quick and adept adjustment in arm weight to make the string speak properly. I observed many posts ago that many of these caprices …. These beautiful “aria” caprices seem to point toward the aria style that was developing in Italian opera. One of my listeners recently mentioned that this caprice reminded them of an aria from Verdi’s Don Carlos.

Campagnoli seems to use the viola solo as a one-person show: I get to play my own curtain rise with the prelude mm.

The voices are distinct enough that they could function on their own. Notice how they even break apart into a dialogue at m. With further study, I violaa this was the wrong approach: Furthermore, if Campagnoli wants a fingering that takes you out of first position, he will usually indicate it.

Therefore, most of this caprice stays in first position. Ironically, staying in first position makes intonation more difficult.

Musical Assumptions: Campagnoli and Bach?

This is because often, you jump from the C string to the D string, or the G to the A, and the left hand has to adjust across the fingerboard. So, in order to play this successfully, your left arm will have to swivel slightly, back and forth to guide the LH adjustment. You can see how this works for me in the video. Number 12, marked Allegro assai, should fly off the fingers and at least give the impression of ease. After hours of practice, I did find that this piece began to feel enjoyable at a fast clip.

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The Campagnoli Project

As with many of Campagnoli’s caprices, you cannot find even one dynamic marking: With the long slurs, the focus in this piece is definitely on the left hand. The left hand should feel as pliable as possible, as often shifts happen fluidly: Measures are a perfect example: I found the most difficult passage to be mm. I devoted a lot of time to backwards practice here!

It doesn’t invite the kind of subtle music-making that many of the others do, however, it is not purely a technical exercise either. One thing I admire viila this piece acmpagnoli the harmonic rhythm and flow, created out of large building blocks one chord per measure. Rhythm is another way to control the musical flow. At the beginning, each measure has a period at the end: At measuresthe last beat of the measure follows with continuous eighth-notes, which creates the musical equivalent of a run-on sentence.

In each, I found that besides the obvious challenge of hitting the right note, I also tended to try to leave it early – even if I nailed it. As I work through these caprices, I find that even in the simpler ones, Campagnoli usually manages to throw in some monkey wrench just for the …. It lets the viola sing naturally, with simple phrases in the first half and florid passagework in the second. My favorite part of the piece is the coda, from camoagnoli.

The top line should always be held while the vila one undulates: