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 observed many posts ago that many of these caprices …. Posted by Elaine Fine at Wednesday, April 03, Campagnoli and Bach? He obtained a post at the court of the Duke of Courland in Dresden in However, after clearing the hurdles, I’ve decided it’s one of my favorite caprices. I began my professional musical life as a flutist, and spent a lot of campagjoli time as a baroque flutist, but I no longer have my baroque flute.

The latter passage was especially challenging for the stratified voicing. 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.

The Campagnoli Project

One of my listeners recently mentioned that this caprice reminded them of an aria from Verdi’s Don Carlos. These beautiful “aria” caprices seem to point toward the aria style that was developing in Italian opera.


He left the court of the Duke of Courland, and in he was appointed campagholi of the Leipzig Gewandhaus Orchestraa post he retained until From Wikipedia, the free encyclopedia. There is no doubt in my mind that he pilfered passages here and there. The only thing I can really do when I try to say something about music is assume. ciola

There isn’t much known about Campagnoli, though I did read somewhere that he was 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.

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.

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. Ironically, staying in first position makes intonation more difficult.

He toured northern Europe giving concerts in In he went to Rome and played in the orchestra of the Teatro Argentina. They are so musical, and to me, much less dry than the Kreutzer.

Musical Assumptions: Campagnoli and Bach?

I used to think that Campwgnoli might have been one of the few violinists who had the publication because of how Bach-inspired his 37th Caprice sounds. But the real clincher is an outright quote of the Chaconne in Campagnoli’s 24th Caprice: He visited Paris violzwhere he was impressed by the playing of the violinist Rodolphe Kreutzer.


Bartolomeo Campagnoli September 10, — November 6, was an Italian violinist and composer. At the beginning, each measure has a period at the end: But I had to look forward to passages like mm.

Rhythm is another way to control the musical flow. I found the most difficult passage to be mm.

Caprices (41) Op. 22 viola

Notice how they even break apart into a dialogue at m. Campagnoli was a virtuoso violinist who toured Europe propagating the 18th Century Italian violin style. I think you solved it.

Music is a mystery for people who play it, write it, listen to it, and write about it. He lived for a few years in Florencewhere he studied with the violinist Pietro Nardini ; this period was influential to his career.

They are important etudes for the viola because they are original for the instrument, and they are rewarding to practice. Views Read Edit View history.

As I work through these caprices, I find cmpagnoli even in the simpler ones, Campagnoli usually manages to throw in some monkey wrench just for the ….