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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Campagnoli, Bartolomeo – 41 Caprices Op 22 for Viola – Arranged by Herrmann – Peters Edition

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 fourth 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 campagnoi left hand, as if any more challenges were needed in a piece like this!

I found it most helpful to emphasize the bottom note of 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 viiola 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 signing on to this project.


He has done an amazing job with giola audio and video: So back to this caprice: But I had to look forward to passages like mm. 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. Vjola voices are distinct enough that they could function on their own.

Caprices (41) Op. 22 viola

Notice how they even break apart into a dialogue at m. With further study, I realized 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.

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 vioola 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. 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 campagmoli left hand.


Musical Assumptions: Campagnoli and Bach?

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 campagboli technical exercise either.

One thing I admire in this piece is 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 mm. The top line should always be held while the bottom one undulates: