About the Event
No. 1 : Shannon Rhodes
E major Andante, Nicknamed "The Arpeggio", this composition matches chordal playing with ricochet across all 4 strings. The piece opens in E major and then quickly transitions into an E minor development section, where descending scales in thirds are introduced.
No. 2 : Louise Sandercock
B minor Moderato. The second caprice focuses on detache with many string crossings across non-adjacent strings.
No. 3 : Lisa Smith
E minor Sostenuto/Presto/Sostenuto. Caprice No. 3 is a slurred legato exercise with octave trills in the introduction and conclusion.
No. 4 : Ellie Malonzo
C minor Maestoso Caprice No. 4 is an exercise featuring passages with many multiple stops in thirds.
No. 5 : Jocelyn Goh
A minor Agitato. Caprice No. 5 focuses on fast ricochet bowings. It begins and ends with a section of ascending arpeggios followed by descending scales.
No. 6 : Elsabe De Klerk + Siobhan Makinson
G minor Lento, Nicknamed "The Trill", the sixth caprice exploits the use of left-hand tremolo on the violin by quickly alternating between different notes in the chord in one of the voices. A melody is played in one line with a tremolo occurring on another.
No, 7 : Shannon Rhodes
A minor Posato. This caprice focuses on slurred staccato passages, featuring many long slurred scales and arpeggios.
No. 8 : Aaron Dungey
E-flat major Maestoso. Caprice No. 8 focuses on sustaining a lower note while playing a higher melody at the same time, meanwhile incorporating many trills and double stops.
No. 9 : Anika Collins
E major Allegretto, Nicknamed "La Chasse" or "The Hunt", the violin's A and E strings imitate the flutes ("Sulla tastiera imitando il Flauto"), while the G and D strings imitate the horns ("imitando il Corno sulla D e G corda"). Primarily a study in double stops, with ricochet occurring in the middle section.
No. 10 : Audrey Jarvis
G minor Vivace. This caprice is primarily a study in up-bow staccato, with staccato notes punctuated by chords, trills and distant string crossings.
No. 11 : Siobhan Makinson
C major Andante/Presto/Andante. The eleventh caprice starts and ends with sections that require multiple voices, containing a passage that consists of many dotted notes rapidly jumping up and down the scale.
No. 12 : Akiko Miyazawa
A-flat major Allegro. This caprice consists of a slurred pattern of a melody on an upper string alternating with a drone note on a bottom string, forcing the violinist to stretch great distances while keeping a finger on the drone string.
No.13 : Audrey Jarvis
B-flat major Allegro, Nicknamed "The Devil's Laughter", Caprice No. 13 starts out with scale-like double-stopped passages at a moderate speed. The second part consists of high speed runs that exercise left hand flexibility and position shifting, and right hand high speed string changing and detache bowing. The piece then repeats back to the beginning and ends right before reaching the second part for the second time.
No.14 : Jason Chong
E-flat major Moderato. The 14th caprice displays the violin's ability to voice chords. It contains many triple and quadruple stops. Stylistically, the piece imitates brass fanfares.
No. 15 : Katrina Soares
E minor Posato Caprice 15 is in ABA form. The "A" section is in E minor and starts with a melody in octaves followed by a variation in 32nd notes. The "B" section is in G major (the relative major to E minor) and features upbow staccato and singly-bowed arpeggios.
No. 16 : Kylie Liang
G minor Presto. Caprice No. 16 is perhaps the simplest of the caprices. The chief difficulties are string crossings and some broken tenths. The only chord is the final note.
No. 17 : Rob Gladstones
E-flat major Sostenuto/Andante. The "A" section contains numerous thirty-second note runs on the A and E strings that converse back and forth with double stops on the lower two strings. The middle section is famous for the incredibly difficult octave passage.
No. 18 : Lisa Smith
C major Corrente/Allegro. The introduction to caprice 18 demonstrates playing on the G string in very high positions. This is followed by a rapid display of scales in thirds.
No. 19 : Willem Stack
E-flat major Lento/Allegro assai. After 4 measures of octaves marked Lento, the rest of the caprice is in ABA form marked Allegro assai. The "A" section consists of playful staccato 8th notes, and the "B" section consists of fast 16th notes played on the G string. The opening 4 measures and the "A" section are in E-flat major, and the "B" section is in the relative minor (G minor).
No. 20 : Andrea Mendham
D major Allegretto Caprice. 20 is famous for the use of the D string as a drone, backdropping a lyrical melody on the A and E strings, imitating a bagpipe. This is followed by a rapid sixteenth note passage with trills and flying staccato.
No. 21 : Jason Chong
A major Amoroso/Presto. Caprice 21 begins with a very expressive, aria-like melody played in double-stopped sixths. This is followed by a section of rapid up-bow staccato.
No. 22 : Pinn Mitaim
F major Marcato. Caprice 22 explores many types of double and triple stops with louré bowing, then implementing various elements of slurred staccato, slurred tremolos and strings crossings.
No. 23 : Isaac Davis
E-flat major Posato/Minore/Posato. Caprice No. 23 begins with a melody in octaves in E♭. The middle, contrasting section is a formidable exercise in string crossings: it requires the violinist to play patterns of three sixteenth notes on the G string and then cross quickly to play one on the E string, and then back to the G string, all at a quick tempo.
No. 24 : Riley Skevington
A minor Tema: Quasi presto/variazioni I–XI/Finale. The theme from Caprice No. 24 is well known; it has been used as the basis for many pieces by a wide variety of composers. This caprice uses a wide range of highly advanced techniques such as tremendously fast scales and arpeggios, double and triple stops, left hand pizzicato, parallel octaves and tenths, rapid shifting, and string crossings.