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Caprice no. 41


I couldn't think of a better way to end an epic book of caprices. Caprice number 41 is a grand bookend for a grand project. I used to think number 17 was my favorite, but this piece took the cake once I discovered it. It is joyful and stately. And the sonority it draws out of the instrument makes the solo viola sound like a chamber group. 

Perhaps it's the crescendo of energy and sound output. This can heard and also clearly seen in the music, at about measure 26, going on to the end of the piece. Double-stops and bariolage, and sometimes both at once, make the viola into a mini-organ. This was my favorite section to play because I felt awash in sound. 

This piece mostly tries to be a fugue, but also reaches for something greater. In fact, it reminds me a lot of the fourth movement of Hindemith's Op.11, No.5 sonata (another favorite of mine). The Hindemith obviously came later, and is much longer and more fantastical. But both pieces give you the feeling that you have been on a journey by the end.

It's a wonderful celebration of an awesome instrument. I hope you enjoy listening and playing. 



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Introduction

Background Two years ago, I assigned one of Bartolomeo Campagnoli's 41 Caprices for Viola, Op. 22 to a student of mine. At our lesson the following week, she told me she had searched for a recording online but couldn't find one. Listening to assigned pieces is a regular exercise for her (as for many of my students), and the fact that she couldn't find a recording hindered her progress that week. I went home that evening and began searching online for recordings of the caprices, and found they were sadly lacking. Campagnoli's Caprices for Viola are as difficult and musical as Paganini's 24 Caprices for Violin, yet as scarce as Paganini's are popular in representation. That's when I realized someone needed to change that. In fact, I could change it. I thought up a far-fetched dream to record all forty-one caprices. After practicing some of my favorite caprices and realizing their true difficulty, I got discouraged and put the thought away for a w

Caprice no. 40

Caprice number 40 was difficult to learn but ultimately fun and rewarding. As musically simple as it is, I think it's one of the flashiest pieces in the book. (Case in point: my recording engineer, Stuart Breczkinsi, decided this one should be the background piece for the introductory video to my project.)  The key of B Major makes the notes bright and cheerful on the viola. And the string crossing sections almost give it a fiddling/bluegrass feel (mm.27-37) . Of course, that style emerged from Baroque violin technique.  Don't be fooled by the eighth notes: this one should fly off your fingers (and bow) as the Vivace assai marking requests. As with any fast piece, practice working up your speed in very short bursts, at times only a measure. Always remember to land on the next downbeat so you can thread your section practice together into longer fragments.

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,