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.
|Published (Last):||12 June 2015|
|PDF File Size:||19.63 Mb|
|ePub File Size:||12.14 Mb|
|Price:||Free* [*Free Regsitration Required]|
Capricci, Op.22 (Campagnoli, Bartolomeo)
Music is a mystery for people who play it, write it, listen to it, and write about it. The only thing I can really do when I try to say something about music is assume. They are so musical, and to me, much less dry than the Kreutzer.
So my son just finished up the 5th Campagnoli caprice, and I could never figure out why it sounded so relatively Bach-like.
I think you solved it. Wednesday, April 03, Campagnoli and Campagonli
Batolomeo Campagnoli – Caprices (41) Op. 22 viola
Bartolomeo Campagnoli published his Opus 22 Capricci for solo viola in Leipzig in They are important etudes for the viola because vviola are original for the instrument, and they are rewarding to practice. There isn’t much known about Campagnoli, though I did read somewhere that he was one of Rodolphe Kreutzer’s campavnoli, and it is certainly possible that Campagnoli learned some of his craft from Tartini, either through personal contact or through his music.
One look at Kreutzer 11 and this variation of Campagnoli 25 makes the relationship between these two composers abundantly clear. I imagine that Kreutzer figured that Campagnoli’s technical paramaters for the viola i. There is no doubt in my mind that he pilfered passages here and there. Even though they were published in Bonn inonly a few violinists knew about Campaggnoli Sebastian Bach’s Sonatas and Partitas.
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. I used to think that Vila might have been one of the few violinists who had the publication because of how Bach-inspired his 37th Caprice sounds.
Musical Assumptions: Campagnoli and Bach?
Then there’s his 5th Caprice: But the real clincher is an outright quote of the Chaconne in Campagnoli’s 24th Caprice: 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. Here’s a link to the first publication of the Campagnoli Capricesand one to the publication of the Kreutzer Caprices.
Posted by Elaine Fine at Newer Post Older Post Home. Elaine Fine I am active as a composera violist, a violinist, a recorder player, and as a teacher.
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. Now my modern flute spends most of its time tucked away in a drawer, while my violin, viola, and my cwmpagnoli d’amore are often tucked under my chin.