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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This makes me wonder if it it was Campagnoli and not Kreutzer or David who was the 19th-century’s first window to the solo violin music of Johann Sebastian Bach. At the beginning, each vioola has a period at the end: 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.
With further study, I realized this was the wrong approach: He studied the violin locally, firstly in Bolognaand then from in Modena with Paul Guastarobba, who had studied with the noted violinist Giuseppe Tartini. Furthermore, if Campagnoli wants a fingering that takes you out of first position, he will usually indicate it. The left hand should feel as pliable as possible, as often shifts happen fluidly: You can see how this works for me in the video.
I vipla many posts ago that many of these caprices …. Notice how they even break apart into a dialogue at m. There is no doubt in my mind that he pilfered passages here and there. So, in order to play this successfully, your left arm will have to swivel slightly, back and forth to guide the LH adjustment.
Therefore, most of this caprice stays in first position. I found the most difficult passage to be mm. He toured northern Europe giving concerts giola Campagnoli seems to use the viola solo as a one-person show: I want to take a moment here to thank Riverside Church for providing the inspiring space. 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.
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. I had fun working on number 15 – it’s a caprice that tends to play itself.
My favorite part of the piece is the coda, from mm. However, after clearing the hurdles, I’ve decided it’s one of my favorite caprices. The voices are cam;agnoli enough that they could function on their own. In he published Metodo per Violinoa treatise on violin playing; it can be regarded as demonstrating the style of a transitional period between the Baroque and Classical era.
One viol I admire in this piece is the harmonic rhythm and flow, created out of large building blocks one chord per measure. I devoted a lot of time to backwards practice here! Wednesday, April 03, Campagnoli and Bach? They weren’t really known untilwhen Ferdinand David made his edition; and even then they were not well known until they were performed by the famous Joseph Joachim. Here’s a link to the first publication of the Campagnoli Capricesand one to the publication of the Kreutzer Caprices.
They are important etudes for the viola because they are original for the instrument, and they are rewarding to practice.
Bartolomeo Campagnoli published his Opus 22 Capricci for solo viola in Leipzig in His two daughters Albertina and Giannetta were singers, and in he toured Italy with them.
This makes it extra tricky for the left hand, as if any more challenges were needed in a piece like this! Even though they were published cmpagnoli Bonn inonly a few violinists knew about Johann Sebastian Bach’s Sonatas and Partitas.
While retaining this post he undertook tours; he toured Sweden in where in Stockholm he was elected a member of the Royal Swedish Academy of Music ; in toured European cities, mainly in Germany and Austria.
At measuresthe last beat of the measure follows with continuous eighth-notes, which creates the musical equivalent of a run-on sentence. I imagine that Kreutzer figured that Campagnoli’s technical paramaters for the viola i.
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