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Caprice no. 9




Caprice no. 9 is straightforward, lighthearted, and fun. I found it tempting to take a quick tempo, but was always pulled back by the tricky fingerwork starting at m. 16, followed by the demands for rhythmic precision at m. 19.

Obviously, the performer must figure out a scheme for dynamics, since no direction is given. You can listen to my ideas in the recording, but I also encourage you to experiment on your own!


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Caprice no. 38

We're almost at the end of this book, and in Caprice number 38, Campagnoli takes his hat off to Rodolphe Kreutzer and his 42 Etudes for Violin (1796), by quoting Etude #2. And guess where it happens: at measures 41-42. Is this a coincidence of numbers? Knowing how deliberate Camapagnoli was, I think probably not. We don't know about the two composers' relationship, but it is very likely that they knew each other, and obvious that there was admiration. This all but confirms my theory that Campagnoli held the great Kreutzer in such regard that he wrote 41 caprices, one less than his contemporary. Many of Campagnoli's caprices have a strong focus on bowing. However, Caprice 37 is all about the left hand. And wow - did my left hand feel like it was going to fall off after recording this piece. (even though I was in great shape!) Having said that, it was very important to let my bow arm drive the momentum as much as possible. Almost all of our expression comes from the bow,

Caprice no. 16

Caprice no. 16 was a bear for my left hand, which I contorted in ways I previously thought impossible. I disliked it for a long time because frankly, I couldn't make it sound good. The very first chord in particular, with the extended fourth finger, is just barely playable for me on a 16.5-inch viola. However, after clearing the hurdles, I've decided it's one of my favorite caprices.  The key of E Major sounds mellow, rich, and joyful. especially on the return of the "A" section after the C-sharp minor section (mm.17-end) . Campagnoli certainly does interesting things with the bariolage  stroke, especially in mm. 9-16 where he staggers the slurs. This makes it extra tricky for the left hand, as if any more challenges were needed in a piece like this! 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.

Caprice no. 20

Well, hello, Positions 1-7.... Caprice no. 20 is by far the MOST ANNOYING caprice I have encountered in the book so far. But, it's also the one that most improved my raw technique! In fact, I have never been made to hang out in seventh position unless I'm playing on the A string for some stratosphere work. So, it was a new experience having to traverse ALL the strings in these high positions. It was uncomfortable, and very tricky to eliminate extraneous noise, such as a plucked string when crossing over to the next one. Plus, getting a stellar sound way up there is a constant challenge! I had to pay extra attention to my bow: in order to make a good sound it had to be in exactly the right place with the perfect amount of tension and speed.