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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The voices are distinct enough that they could function on their own. 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. Elaine Fine I dampagnoli active as a composera violist, a violinist, a recorder player, and as a teacher.
He left the court of the Duke of Courland, and in he was appointed concertmaster of the Leipzig Gewandhaus Orchestraa post he retained until Campagnoli xampagnoli to use the viola solo as a one-person show: Even though they were published in Bonn inonly a few violinists knew about Johann Sebastian Bach’s Sonatas and Partitas.
Retrieved from ” https: Campagnoli was a virtuoso violinist who toured Europe propagating the 18th Century Italian violin style.
Musical Assumptions: Campagnoli and Bach?
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. He lived for a few years in Florencewhere he studied with the violinist Pietro Nardini ; this period was influential to his career.
He resigned from the Gewandhaus Orchestra to look after his daughters’ careers; the family eventually settled in in Neustrelitzwhere he died in It lets the viola sing naturally, with simple phrases in the first half and florid passagework in the second.
He obtained a post at the court of the Duke of Courland in Dresden in At measuresthe last beat of the measure follows with continuous eighth-notes, which creates the musical equivalent of a run-on sentence.
With further study, I realized this was the wrong approach: Ironically, staying in first position makes intonation more difficult. This makes it extra tricky for the left hand, as if any more challenges were needed in a piece like this!
The Campagnoli Project
Newer Post Older Post Home. Measures are a perfect example: One look at Kreutzer 11 and this variation of Campagnoli 25 makes the relationship between these two composers abundantly clear.
They are so musical, and to me, much less dry than the Vuola. I observed many posts ago that many of these caprices ….
Furthermore, if Campagnoli wants a fingering that takes you out of first position, he will usually indicate it. He toured northern Europe giving concerts in He has done an amazing job with the audio and video: I began my professional musical life as a flutist, and spent a lot of quality time as a baroque flutist, but I no longer have my baroque flute.
I csmpagnoli that Kreutzer figured that Campagnoli’s technical paramaters for the viola i. He wrote in his diary, “His method, it is true, is of the old school; but his play is pure and finished. However, after clearing the hurdles, I’ve decided it’s one of my favorite caprices. The top line should always be held while the bottom one undulates: 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. These beautiful “aria” caprices seem to point toward the aria style that was developing in Italian opera.
There isn’t much known about Campagnoli, though I did read somewhere that he vviola one of Rodolphe Kreutzer’s teachers, and it is certainly possible that Campagnoli learned some of his craft from Tartini, either through personal contact or through his music. I want to take a moment here to thank Riverside Church for providing the inspiring space.
The Campagnoli Project
One of my listeners recently mentioned that this caprice reminded them of an aria violq Verdi’s Don Carlos. I think you solved it. In he studied further in Venice and Paduawhere Tartini still lived. He visited Paris inwhere he was impressed by the playing of the violinist Rodolphe Kreutzer. Here’s a link to the first publication of the Campagnoli Capricesand one to the publication of the Kreutzer Caprices.