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The considerable fame that Bartolomeo Campagnoli (1751-1827) achieved during his own lifetime was largely due to his contribution to violin studies. The 41 Caprices he wrote for viola and the 7 Divertimenti for solo violin are still in use today. Campagnoli's career as a concert performer began in Rome in 1775, continuing in a long tour of the courts of the capital cities of Europe. In 1797 he was made concert director and first violin at the Gewandhaus in Leipzig, a post that he held until 1818, although he also maintained his contacts with the most advanced and influential cultural centers of Europe. He thus enjoyed a florid exchange with some of the most famous teachers and Nevertheless, there is an unmistakably composers of the time, in particular with Cherubini and Kreutzer. The idea that 'true expression depends on the sound, intonation, movement, taste and aplomb of the measure' was a constant tenet with Campagnoli, as was his insistence on the need to understand clearly the character of each piece in order to appreciate to the full the composer's intentions. All this required respect for the exact point in which embellishments have to be added (without exceeding), because: 'nothing is more beautiful and moving than what is simple'.
The considerable fame that Bartolomeo Campagnoli (1751-1827) achieved during his own lifetime was largely due to his contribution to violin studies. The 41 Caprices he wrote for viola and the 7 Divertimenti for solo violin are still in use today. Campagnoli's career as a concert performer began in Rome in 1775, continuing in a long tour of the courts of the capital cities of Europe. In 1797 he was made concert director and first violin at the Gewandhaus in Leipzig, a post that he held until 1818, although he also maintained his contacts with the most advanced and influential cultural centers of Europe. He thus enjoyed a florid exchange with some of the most famous teachers and Nevertheless, there is an unmistakably composers of the time, in particular with Cherubini and Kreutzer. The idea that 'true expression depends on the sound, intonation, movement, taste and aplomb of the measure' was a constant tenet with Campagnoli, as was his insistence on the need to understand clearly the character of each piece in order to appreciate to the full the composer's intentions. All this required respect for the exact point in which embellishments have to be added (without exceeding), because: 'nothing is more beautiful and moving than what is simple'.
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41 Caprices For Viola Op.22 Arranged For Viola
Artist: Marco Misciagna
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1. 41 Caprices For Viola, Op. 22: I. Largo - Allegro
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2. 41 Caprices For Viola, Op. 22: II. Andante Con Moto - Piu Moto
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3. 41 Caprices For Viola, Op. 22: III. Allegro Moderato
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4. 41 Caprices For Viola, Op. 22: IV. Andante Maestoso
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5. 41 Caprices For Viola, Op. 22: V. Allegro Moderato
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6. 41 Caprices For Viola, Op. 22: VI. Adagio
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7. 41 Caprices For Viola, Op. 22: VII. Tempo Giusto
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8. 41 Caprices For Viola, Op. 22: VIII. Largo
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9. 41 Caprices For Viola, Op. 22: IX. Allegro
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10. 41 Caprices For Viola, Op. 22: X. Adagio Amoroso
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11. 41 Caprices For Viola, Op. 22: XI. Allegro
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12. 41 Caprices For Viola, Op. 22: XII. Allegro Assai
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13. 41 Caprices For Viola, Op. 22: XIII. Allegro
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14. 41 Caprices For Viola, Op. 22: XIV. Preludium - Adagio
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15. 41 Caprices For Viola, Op. 22: XV. Allegro Moderato
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16. 41 Caprices For Viola, Op. 22: XVI. Tempo A Piacere
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17. 41 Caprices For Viola, Op. 22: XVII. Andantino Con Variazioni
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18. 41 Caprices For Viola, Op. 22: XVIII. Presto
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19. 41 Caprices For Viola, Op. 22: XIX. Tempo A Piacere
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20. 41 Caprices For Viola, Op. 22: XX. Tempo A Piacere
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21. 41 Caprices For Viola, Op. 22: XXI. Alla Polacca E Trio
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22. 41 Caprices For Viola, Op. 22: XXII. Allegro Vivace
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23. 41 Caprices For Viola, Op. 22: XXIII. Andante Sostenuto
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24. 41 Caprices For Viola, Op. 22: XXIV. Adagio Grandioso - Allegro - Adagio - Allegro
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25. 41 Caprices For Viola, Op. 22: XXV. Andantino Con Variazioni
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26. 41 Caprices For Viola, Op. 22: XXVI. Adagio
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27. 41 Caprices For Viola, Op. 22: XXVII. Allegro Non Troppo
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28. 41 Caprices For Viola, Op. 22: XXVIII. Allegretto
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29. 41 Caprices For Viola, Op. 22: XXIX. Allegro Assai
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30. 41 Caprices For Viola, Op. 22: XXX. Andante Con Moto
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31. 41 Caprices For Viola, Op. 22: XXXI. Presto
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32. 41 Caprices For Viola, Op. 22: XXXII. Larghetto
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33. 41 Caprices For Viola, Op. 22: XXXIII. Allegro
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34. 41 Caprices For Viola, Op. 22: XXXIV. Andantino - Presto
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35. 41 Caprices For Viola, Op. 22: XXXV. Allegretto Scherzando
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36. 41 Caprices For Viola, Op. 22: XXXVI. Moderato Assai
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37. 41 Caprices For Viola, Op. 22: XXXVII. Vivace
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38. 41 Caprices For Viola, Op. 22: XXXVIII. Allegro Assai
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39. 41 Caprices For Viola, Op. 22: XXXIX. Larghetto
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40. 41 Caprices For Viola, Op. 22: Xl. Vivace Assai
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41. 41 Caprices For Viola, Op. 22: Xli. Allegro Maestoso
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The considerable fame that Bartolomeo Campagnoli (1751-1827) achieved during his own lifetime was largely due to his contribution to violin studies. The 41 Caprices he wrote for viola and the 7 Divertimenti for solo violin are still in use today. Campagnoli's career as a concert performer began in Rome in 1775, continuing in a long tour of the courts of the capital cities of Europe. In 1797 he was made concert director and first violin at the Gewandhaus in Leipzig, a post that he held until 1818, although he also maintained his contacts with the most advanced and influential cultural centers of Europe. He thus enjoyed a florid exchange with some of the most famous teachers and Nevertheless, there is an unmistakably composers of the time, in particular with Cherubini and Kreutzer. The idea that 'true expression depends on the sound, intonation, movement, taste and aplomb of the measure' was a constant tenet with Campagnoli, as was his insistence on the need to understand clearly the character of each piece in order to appreciate to the full the composer's intentions. All this required respect for the exact point in which embellishments have to be added (without exceeding), because: 'nothing is more beautiful and moving than what is simple'.
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