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Caprice no. 10



The tenth caprice is another beautiful aria that highlights Campagnoli's gift for melody. It lets the viola sing naturally, with simple phrases in the first half and florid passagework in the second.

Note: Usually I advocate for following the bowings which I find to be purposeful from a technical standpoint, but I did correct a few here,  in mm. 1, 5, and 7 to facilitate a down-bow at the top of a phrase or on a triple stop.

My favorite part of the piece is the coda, from mm. 18 to the end. The top line should always be held while the bottom one undulates: the effect is a rich harmony and texture.






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Caprice no. 6

I have finally made my return to writing (but not playing), two months after baby number 2! If you are a parent and reading this, you understand...if not, let's just say life is organized chaos at this point (especially since my oldest just turned two). Although this is a forced hiatus from playing - this was recorded back in March - I'm enjoying the time off. I hope to come back to the viola with a new perspective and fresh ears in August!

Anyway, let's jump back in with the contemplative Caprice no. 6. This was so relaxing to play, both in practice and performance. I felt that I had time to breathe, and think about phrasing and shapes. Caprice number 6 is all about bow control, starting with the very first note. I found a reasonable tempo to be between 50-60 bpm.

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Caprice no. 2

Caprice no. 2 is a loose semblance of a Theme and Variations. While short, there is still a lot of material packed into a few minutes, and I find it's a great all-encompassing etude for warming up and hitting your double-stops, triplets and bariolage.

The Theme (m.m. 1-8) has a song-like quality, and it is helpful to practice without the double and triple-stops to get an idea of the flow for the melody. It is quickly followed by a bariolage section (m.m. 9-16) in the relative minor key of e , which I think does well in a more hushed, mysterious tone, building up to the forte in m. 15.

Measures 17-22 are a bit curious with the break from the traditional eight-bar phrase to a four-measure phrase repeated, followed by a three-measure phrase (also repeated). The end of this section marks the end of the theme/variations, as the character, form and key shift going into the triplet section.

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Caprice no. 5

I recorded Caprices 5-8 over two weeks ago, at 7 months of pregnancy with my second child. Needless to say, I'm taking a break now, as my energy wanes and I anticipate learning how to navigate life with a toddler and newborn!

Caprice no. 5 has always intrigued me, but when giving it the cursory read-through I would realize that it was too difficult to read for fun. This one took the most time to learn out of the current set, and the biggest challenge was giving it the light, playful character that I believe it deserves. There are lots of bowing inconsistencies in the engraving, and I marked what I deemed appropriate, trying to stay true to the few decipherable patterns. However, there are many other possibilities depending on one's personal preferences.

Another choice that I've made is to not re-articulate the top note in the slurred triple-stops, occurring at mm.32-33 and 36-37. This follows historical performance practices, as well as a more literal interpretation of th…