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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In he went to Rome and played in the orchestra of the Teatro Argentina. He returned home in and played in a local orchestra. He visited Paris inwhere he was impressed by the playing of the violinist Rodolphe Kreutzer. 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.

Bartolomeo Campagnoli September 10, — November 6, was an Italian violinist and composer. Campagnoli seems to use the viola solo as a one-person show: Bartolomeo Campagnoli published his Opus 22 Capricci for solo viola in Leipzig in During Campagnoli’s time in Leipzig, the violinist and composer Louis Spohrvisiting the city where he was to give a concert, heard Campagnoli play a violin concerto by Rodolphe Kreutzer.

Batolomeo Campagnoli – Caprices (41) Op. 22 viola

However, after clearing the hurdles, I’ve decided it’s one of my favorite caprices. He also has a number of compositions to his name, notably:. The latter passage was especially challenging for the stratified voicing. They are important etudes for the viola because they are original for the instrument, and they are rewarding to practice.

He lived for a few years in Florencewhere he studied with the violinist Pietro Nardini ; this period was influential to his career. Furthermore, if Campagnoli wants a fingering that takes you out of first position, he will usually indicate it.

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They are so musical, and to me, much less dry than the Kreutzer. At the beginning, each measure has a period at the end: Wednesday, April 03, Campagnoli and Bach? The left hand should feel as pliable as possible, as often shifts happen fluidly: Retrieved from ” https: Rhythm is another way to control the violz flow. His two daughters Albertina and Giannetta were singers, and in he toured Italy with them.

With further study, I realized this was the wrong approach: Elaine Fine I am active fiola a composera violist, a violinist, a recorder player, and as a teacher. I found the most difficult passage to be mm.

But the real clincher is an outright quote of the Cmapagnoli in Campagnoli’s 24th Caprice: One look at Kreutzer 11 and this variation of Campagnoli 25 makes the relationship between these two composers abundantly clear.

The voices are distinct enough that they could function on their own. The only thing I can really do when I try to say something about music is assume. The very first chord in particular, with the extended fourth finger, is just barely playable for me on a You can see how this works for me in the video.

In he studied further in Venice and Paduawhere Tartini still lived. Number 12, marked Allegro assai, should fly off the fingers and at least give the impression of ease. Music is a mystery for people who play it, write it, listen to it, and write about it.

At measuresthe last beat of the measure follows with continuous eighth-notes, which creates the musical equivalent of a run-on sentence. 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 campagnolli contact or through his music.

Campagnoli was a virtuoso violinist who toured Europe propagating the 18th Century Italian violin style. I disliked it for a long time because frankly, I couldn’t make it sound good. In Florence he also played in the orchestra of the Teatro della Pergola. After hours of practice, I did find that this piece began to feel enjoyable at a fast campsgnoli.


And a big thanks to my new recording engineer, Stuart Breczinski, for signing on to this ivola. He toured northern Europe giving concerts in But I had to look forward to passages like mm.

With the long slurs, the focus in this piece is definitely on the left hand. I devoted a lot of time to backwards practice here!

Jumping back and forth between the G and A string, or the C and D string, requires a campagnooli and adept adjustment in arm weight to make the string speak properly. From Wikipedia, the free encyclopedia. In he published Metodo per Violinovioola treatise on violin playing; it can be regarded as demonstrating the style of a transitional period between the Baroque and Classical era. I observed many posts ago that many of these caprices ….

In he was appointed kapellmeister to the bishop of Freising in Bavaria. Even though they were published in Bonn inonly a few violinists knew about Johann Sebastian Bach’s Sonatas and Partitas.

Bartolomeo Campagnoli

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. He resigned from the Gewandhaus Orchestra to look after his daughters’ careers; the family eventually settled in in Neustrelitzwhere he died in Here’s a link to the first campsgnoli of the Campagnoli Capricesand one to the publication of the Kreutzer Caprices.

He obtained a post at the court of the Duke of Courland in Dresden in Now my modern flute spends most of its time tucked away in a drawer, while my violin, viola, and my viola d’amore are viila tucked under my chin.