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.

Author: Zushakar Tenos
Country: Republic of Macedonia
Language: English (Spanish)
Genre: Video
Published (Last): 9 April 2004
Pages: 391
PDF File Size: 6.23 Mb
ePub File Size: 16.45 Mb
ISBN: 933-7-66384-485-6
Downloads: 68891
Price: Free* [*Free Regsitration Required]
Uploader: Vot

With the long slurs, the focus in this piece is definitely on the camoagnoli hand. This page was last edited on 25 Decemberat He also has a number of compositions to his name, notably:.

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. Views Read Edit View history. One of my listeners recently mentioned that this caprice reminded them of an aria from Verdi’s Don Carlos. The very first chord in particular, with the extended fourth finger, is just barely playable for me on a But the real clincher is an outright quote of the Chaconne in Campagnoli’s 24th Caprice: In he went to Rome and played in the orchestra of the Teatro Argentina.

This makes it extra tricky for the left hand, as if any more challenges were needed in a piece like this!

Bartolomeo Campagnoli – Wikipedia

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 campagnolj. And a big thanks to my new recording engineer, Stuart Breczinski, for signing on to this project.


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 …. Number 12, marked Allegro assai, should fly off the fingers and at least give the impression of ease.

Wednesday, April 03, Campagnoli and Bach? He obtained a post at the court of the Duke of Courland in Dresden in I devoted a lot of time to backwards practice here! However, after clearing the hurdles, I’ve decided it’s one of my favorite caprices. He studied the violin locally, firstly in Bolognaand then from in Modena with Paul Guastarobba, who had studied with the noted violinist Giuseppe Tartini. They are so musical, and to me, much less dry than the Kreutzer.

Furthermore, if Campagnoli wants a fingering that takes you out of first position, he will usually indicate it. One thing I admire in this piece is the harmonic rhythm and flow, created out of large building blocks one chord per measure.

Music is a mystery for people who play it, write it, listen to it, and write about it. I think you solved it. From Wikipedia, the free encyclopedia.

He toured northern Europe giving concerts in So, in order to play this successfully, your left arm will have to swivel slightly, back and forth to guide the LH adjustment. With further study, I realized this was the wrong approach: 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.


He lived for a few years in Florencewhere he studied with the violinist Pietro Nardini ; this period was influential to his career. Rhythm is another way to control the musical flow.

As with many of Campagnoli’s caprices, you cannot find even one dynamic marking: Bartolomeo was born in Centowhere his father was a trader. 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. His two daughters Albertina and Giannetta were singers, and in he toured Italy with them.

Batolomeo Campagnoli – Caprices (41) Op. 22 viola

The latter passage was especially challenging for the stratified voicing. The key of E Major sounds mellow, rich, and joyful. In he studied further in Venice and Paduawhere Tartini still lived. But I had to look forward to passages like mm. Notice how they even break apart into a dialogue at m.

Now my modern flute spends most of its time tucked away in a drawer, while my violin, viola, and my viola d’amore are often tucked under my chin. Bartolomeo Campagnoli published his Opus 22 Capricci for solo viola in Leipzig in