JAVS Spring 2022

Campagnoli had performed these particular caprices in concert, as a set? Or, perhaps he performed the whole book, straight through? It is likely that he did. Campagnoli was a concert violinist, studying under the tutelage of Nardini as a young musician. He was born in 1751 in Cento, and at age 15 became a member of the local orchestra. He held various concertmaster positions and played several tours throughout Europe as a soloist, at one point even touring with his daughters, both singers. He was a seasoned musician and 64 years old when the 41 Caprices were published in 1815. Campagnoli is sometimes referred to as the “Paganini of the Viola”. Interestingly, his caprices were actually published before Paganini’s 24 Caprices for the Violin , which came out in 1820. All musicians have to be historians. Regrettably, I sometimes lag on my research until I feel a strong connection to the music that I am performing. This happened early with Campagnoli’s caprices, simply because there were so many surprises that sparked intrigue and questions. The Caprices include musical genres that I have never seen for solo viola. If you have ever encountered a Polacca (no. 21) or Siciliana (no. 32), I would love to hear from you. No. 28 has the curious subtitle: “ Kind, willst du ruhig schlafen ”, which translates as: “Child, do you want to sleep peacefully.” Was this his grandchild? Or someone else’s child fussing at night, in a host house while he was on tour? Either way, the innocent and playful tone of the piece makes me think he wasn’t too upset about the inconvenience. And there was the big discovery that set me on a research binge. Caprice no. 38 directly quotes Rodolfe Kreutzer’s Etude no. 2, from his book of 42 Etudes for the Violin ,

published in 1796. The quote happens at—of all places— mm. 41-42. Campagnoli’s book contains 41 caprices, whereas Kreutzer’s book contains 42 etudes. Were these coincidences? I doubt it. Kreutzer was a larger-than-life figure in the music world during his time. Campagnoli met him in 1801, and the violinist/composer made a formative impression on him. The book of 41 Caprices—for the Viola (emphases mine)—were most likely a way for Campagnoli to pay tribute to his idol, (writing one less to show deference, mind you) while still distinguishing himself as a notable composer with a unique edge. That unique edge? Composing the first book of solo anything for the viola. Let me repeat: Campagnoli was the first composer to publish a collection of solo works for the viola. This, alone, should earn the Caprices spots on every viola recital. As my recording project grew, a parallel idea hatched. These pieces needed a dedicated concert. I submitted a proposal to the Gotham Early Music scene for a recital of Campagnoli Caprices. In September 2018, I finally realized my pipe dream of playing the Caprices on gut strings, in a beautiful Gothic style church in Midtown Manhattan. I borrowed a line from pop music culture and grouped eleven caprices into smaller sets, essentially crafting mini sonatas out of pieces that complemented each other. The recital opened with a set of Caprices 1, 2, and 28. No. 1 starts off mysteriously, with a long open C followed by its minor arpeggio. It draws us into an unknown world: a fitting opening for a solo viola concert.

Figure 7: Campagnoli, 41 Caprices, no.38, mm.40-42.

Figure 8: Kreutzer, 42 Etudes for the Violin, no.2, mm.1-4.

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Journal of the American Viola Society / Vol. 38, No. 1, Spring 2022