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Caprice no. 14



Caprice no. 14 juxtaposes harmonization in thirds with florid melisma. These beautiful "aria" caprices seem to point toward the aria style that was developing in Italian opera. One of my listeners recently mentioned that this caprice reminded them of an aria from Verdi's Don Carlos.

Campagnoli seems to use the viola solo as a one-person show: I get to play my own curtain rise with the prelude (mm. 1-12), and a duet, starting at m.13. The voices are distinct enough that they could function on their own. Notice how they even break apart into a dialogue at m. 26, coming back together in the last measure for a satisfying resolution.


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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. 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.

It helps to think of thepiu moto (mm. 25-44) in groups of two measures, like it were written in 6/…

Caprice no. 1

Finally, here we are at the beginning! Until taking the plunge with this project, I had always avoided Caprice no. 1. It didn't make sense to me until I had studied period baroque music for a few years, and now it clicks. Beginning a piece with a slow, contemplative movement (as opposed to an upbeat one) is very Baroque in style, and by the classical era it was going by the wayside. This seems to be Campagnoli's throwback piece, a nod to earlier times. I also think it's a great way to begin a hefty book of caprices, as it hints at the diversity that can be found within every number.

The caprice consists of two mini movements. First, a Largo: a slow, harmonically driven section that cultivates bow control, followed by the Allegro, its flashy counterpart.

The Largo (mm. 1-28) again, is all about bow control. I have heard people play this REALLY slowly, but I don't think that's the point. (Remember, the literal translation of largo is "long" or "broad&…