CAMPAGNOLI VIOLA PDF

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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Views Read Edit View history. In he studied further in Venice and Paduawhere Tartini still lived. I get to play my own curtain rise with the prelude mm.

Even though they were published in Bonn inonly a few violinists knew about Johann Sebastian Bach’s Sonatas and Partitas.

The Campagnoli Project

And a big thanks to my new recording engineer, Stuart Breczinski, for signing on to this project. 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 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 complications. One of my listeners recently mentioned that this caprice reminded them of an aria from Verdi’s Don Violx.

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Campagnoli, Bartolomeo – 41 Caprices Op 22 for Viola – Arranged by Herrmann – Peters Edition

The campagnloi hand should feel as pliable as possible, as often shifts happen fluidly: 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.

In he was appointed kapellmeister campavnoli the bishop of Freising in Bavaria. 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. With further study, I realized this was the wrong approach: Rhythm is another way to control the musical flow.

The Campagnoli Project

Wednesday, April 03, Campagnoli and Bach? One look at Kreutzer 11 and this variation of Campagnoli 25 makes the relationship between these two composers abundantly clear. One thing I admire in this piece is the harmonic rhythm and flow, created out of large building blocks one chord per measure. Campgnoli observed many posts ago that many of these caprices ….

He obtained a post at the court of the Duke of Courland in Dresden in By using this site, you agree to the Terms of Use and Privacy Policy. You can see how this works for me in the vioal.

Therefore, most of this caprice stays in first position. The only thing I can really do when I try to say something about music is assume. These beautiful “aria” caprices seem to point toward the aria style that was developing in Italian opera.

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Elaine Fine I am active as a composera violist, a violinist, xampagnoli recorder player, and as a cmapagnoli. 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.

Music is a mystery for people who play it, write it, listen to it, and write about it. He visited Paris inwhere he was impressed by the playing of the campagnpli Rodolphe Kreutzer. 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. They are important etudes for the viola because they are original for the instrument, and they are rewarding to practice. There is no doubt in my mind that he pilfered passages here and there.

Musical Assumptions: Campagnoli and Bach?

The latter passage was especially challenging for the stratified voicing. Vampagnoli want to take a moment here to thank Riverside Church for providing the inspiring space. 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. In he went to Rome and played in the orchestra of the Teatro Argentina.

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