Cassado

GASPAR CASSADO: SUITE FOR SOLO CELLO

A PROJECT REPORT

Presented to the Bob Cole Conservatory of Music

California State University, Long Beach

In Partial Fulfillment

of the Requirements for the Degree

Master of Music

Committee Members:

Carolyn Bremer, Ph.D. (Chair) Johannes Muller-Stosch, D.M.A

David Garrett, D.M.A.

College Designee:

John Carnahan, M.A.

By Dawn Seward

B.M., 2004, Manhattan School of Music, New York

December 2009

UMI Number: 1481774

All rights reserved

INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted.

In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed,

a note will indicate the deletion.

UMT Dissertation Publishing

UMI 1481774 Copyright 2010 by ProQuest LLC.

All rights reserved. This edition of the work is protected against unauthorized copying under Title 17, United States Code.

ProQuest LLC 789 East Eisenhower Parkway

P.O. Box 1346 Ann Arbor, Ml 48106-1346

Copyright 2009

Dawn Seward

ALL RIGHTS RESERVED

ABSTRACT

GASPAR CASSADO: SUITE FOR SOLO CELLO

By

Dawn Seward

December 2009

The Suite for Solo Cello, written by the Catalonian cellist Gaspar Cassad6

(1897-1966), reflects his native heritage and demonstrates his technical expertise and

understanding of the instrument. Cassado's international career was destroyed by

fellow Catalonian cellist Pablo Casals and his political ties: as a result, Cassado never

received the recognition he deserved as a performer or as a composer and the Suite for

Solo Cello is not well known. A demanding composition both musically and

technically, this project report provides pertinent background information and

performance practice observations and strategies directly related to the piece. A

recording of the author performing the Suite for Solo Cello in recital is included as an

appendix.

PREFACE

A Catalonian cellist of international repute as a performer, Gaspar Cassado

(1897-1966) is known for his stylish interpretations full of ideas and originality and

for his significant contribution of arrangements and compositions mainly to the cello

repertoire. His Suite for Solo Cello exhibits the influence of Cassado's Catalonian

heritage and his command and style of performance on the instrument. Although a

few biographies and studies regarding Cassado and his music have already been

written, this paper investigates more fully events and issues specifically relevant to his

Suite for Solo Cello.

The influence of Pablo Casals as a teacher and mentor on Cassado was the

foundation of his career as a cellist and key in his professional success. Political

accusations, reputedly made by Casals against Cassado during the Franco regime,

significantly limited the scope of his promising career. With his performance

opportunities and consequently his international reputation diminished, Cassado's

contributions and accomplishments, as a cellist and composer, remain largely

unacknowledged.

The majority of Cassado's works comprise arrangements, mostly for cello and

piano. The Suite for Solo Cello stands out in his compositions as individual and well

developed, written by a mature composer of strong Catalonian heritage with

iii

demonstrable expertise and extensive knowledge of the idiomatic, technical, and

timbral effects possible on the cello.

This paper provides a comprehensive overview of the pertinent information

relevant to the Suite. It includes historical and biographical information, an analysis of

the piece including origins of traditional dances, and performance practice

observations and strategies.

IV

TABLE OF CONTENTS

Page

PREFACE iii

TABLES vi

FIGURES vii

CHAPTER

1. BIOGRAPHY 1

Gaspar Cassado 1

Cassado's Relationship with Casals 4

2. OVERVIEW OF THE SUITE FOR SOLO CELLO 7

3. ANALYSIS 11

Preludio-Fantasia 11 Sardana (Danza) 14

Intermezzo e Danza Finale 17

4. PERFORMANCE PRACTICE 23

5. CONCLUSION 40

APPENDIX: RECITAL PROGRAM 41

BIBLIOGRAPHY 45

v

TABLES

TABLE Page

1. Form and Structure in the Preludio-Fantasia 12

2. Harmony in the Preludio-Fantasia 14

3. Form and Structure in the Sardana (Danza) 15

4. Harmony in the Sardana (Danza) 17

5. Form and Structure in the Intermezzo e Danza Finale 18

6. Harmony in the Intermezzo e Danza Finale 21

7. Comparison of Recordings 24

VI

FIGURES

FIGURE Page

1. Thematic material a. Preludio-Fantasia, measures. 1-2 12

2. Thematic material b. Preludio-Fantasia, measures 11-12 13

3. Thematic material c. Preludio-Fantasia, measures 17-18 13

4. Thematic material a. Intermezzo e Danza Finale, measures 1-4 19

5. Thematic material b. Intermezzo e Danza Finale, measures 10-13 19

6. Thematic material c. Intermezzo e Danza Finale, measures 42-49 19

7. E-mode cadence. Intermezzo e Danza Finale, measures 5-6 21

8. Intermezzo e Danza Finale, measure 199 25

9. Sardana (Danza), measures 69-70 26

10. Sardana (Danza), measures 65-66 26

11. Intermezzo e Danza Finale, measures 16-17 27



14. Intermezzo e Danza Finalel, measures 94-95 27



17 Preludio-Fantasia, measures 60-63 29

18 Sardana (Danza), measures 1-4 30

vii

FIGURE Page



21 Intermezzo e Danza Finale, measures 86-87 32

22 Preludio-Fantasia, measures 52-55 34

23 Preludio-Fantasia, measure 24 34

24 Preludio-Fantasia, measure 27 35






viii

CHAPTER 1

BIOGRAPHY

Gaspar Cassado

Gaspar Cassado was born to a musical family in Barcelona on September 30,

1897. He began his musical training singing in his father's choir when he was five

years old and started cello lessons with the local cellist, Dionisio March, when he was

seven. Both Gaspar and his brother Agustin, who played the violin, made such

progress that in 1907 their father, Joaquin, moved the family to Paris in order to give

the brothers the best training possible. With the help of a grant from the city of

Barcelona, Gaspar and his brother began studying with the world-class performers

Pablo Casals and Jacques Thibaud.

At the peak of his career, Casals was often away concertizing on tour and was

very reluctant to accept new students, but after hearing Cassado's "tremendous

talent,"1 Casals immediately accepted him.2 This was the beginning of a lifelong

relationship between two people, who would become two world-famous Catalonian

Nathaniel Jacob Chaitkin, "Gaspar Cassado: His Relationship with Pablo Casals and his Versatile Musical Life" (D.M.A. diss., University of Maryland, 2001), 4.

2Cassado was Casals' second of three students, all of whom had close relations with Casals.

1

cellists of the twentieth century. Their relationship was pivotal in Cassado's career

and success as a performing cellist.

While in Paris, Cassado performed many concerts with his father and brother

as the Cassado Trio and also studied composition. His composition teachers were

Maurice Ravel and Manuel de Falla, but he was also influenced and surrounded by

such great composers as Claude Debussy, Erik Satie, Alfredo Casella, Joaquin Turina,

and Isaac Albeniz.

In 1914, at the beginning of the First World War, the Cassad6 family returned

to Barcelona and Gaspar began performing regularly as a soloist. By the end of the

war, he was in high demand throughout Spain, performing with first class orchestras

and premiering pieces written for him. With the end of the war making travel possible

again, he began performing in Paris and Italy, his career growing on an international

scale. The balance in his relationship with Casals shifted as teacher and student began

performing and recording together. He met new composers, and performing

contemporary music became a substantial part of his career. He also began

composing, and though he modestly referred to his own composing as a hobby, it was

rare that he would give a recital without including one of his own works on the

program.3

In 1923, Cassado made his home in Florence, Italy, but continued touring

internationally, premiering his own works with orchestra, and making recordings. He

made his debut in New York in 1936, and began to create an international reputation

3Chaitkin, 6. 2

for himself as a first-class cellist and composer, receiving stellar reviews of his

performances. In 1949, however, his relationship with Casals, who took on a political

role at the beginning of the Spanish Civil War, brought major interruptions to his

promising career. Their relationship remained strained until 1955, and although

Cassado continued to perform and compose, his reputation had been permanently

damaged.

Cassado taught at the Accademia Musica Chigiana in Siena, Italy, starting in

1946, and at the Musik Hochschule in Cologne, Germany, starting in 1958, and

founded his own summer festival in Santiago de Compostela, Spain, along with

Andres Segovia and Alicia de Larrocha that same year. He formed a trio with violinist

Yehudi Menuhin and pianist Louis Kentner in the early 1950s, and performed

chamber music regularly throughout his career. As a teacher he was highly sought

after and his students were of all nationalities. Teaching alongside Andre Navarra in

Siena, his students recall that Navarra taught music through technique but Cassado

taught technique through music.4

After his reconciliation with Casals in 1955, Cassado judged high profile

competitions and began performing more, making his first tour of the Soviet Union in

1962. In the fall of 1966, with his health declining, he continued to perform and tour

even though his doctors advised him to rest. While visiting family in Madrid, he

suffered a heart attack and died on Christmas Eve of 1966.

4This is a commonly known story among cellists. 3

Cassado's Relationship with Casals

The relationship between Casals and Cassado played a pivotal role in the

success of Cassado's career as a performing cellist. That role was so strong and

influential that Cassado later referred to Casals as his musical and spiritual father. It

was as if Cassado inherited the natural talent, technique and musicianship of Casals.

As Cassado became increasingly in demand first within Spain and then throughout

Europe and the Americas, their relationship changed from student/teacher to two

collaborative artists.

With such great talent, training, and nurturing, Cassado was building a

promising international performing career. When Franco came into power in 1939

and banned the celebration of native traditions, dialects and cultural events, Casals

used his international fame as leverage in a movement against the regime by refusing

to perform publicly as long as there was political unrest. His message was heard

around the world, but repercussions of this political move led to accusations against

Cassado. These accusations, though unfounded, greatly damaged his blossoming

career. Cassado was devastated both professionally and personally and the

relationship between the two cellists was broken off. They had no communication for

the next six years.

Cassado avoided political roles, controversies and conflicts. He had moved to

Italy in 1923 and his life was not as directly influenced by Franco as Casals' was. In

1939 he was still young, still establishing his reputation internationally, and not yet as

well known as Casals. Casals' fame and established recognition around the world

4

gave him credibility with the general population to make a strong political statement

against the government. Those who did not join his cause, especially musicians, were

singled out by his entourage and accused of supporting the Nazis or the Fascists. In

1949, Cassado became one of them.

In January of 1949, Cassado gave a highly successful recital in New York and

was contracted to record for Columbia Records. Shortly after this, the New York

Times published a letter containing accusations against him. The letter was from

Diran Alexanian, member of Casals' movement, and it accused Cassado of falsely

using Casals' name to gain recognition and fame. It included a note from Casals

stating that Cassado had built his career under the Franco regime, falsely implying that

Cassado was an active supporter of Franco. Cassado attempted to refute the

accusations publicly, but his name was already tarnished. Neither the American

public nor the recording labels wanted to be associated with a musician labeled as

Fascist or Nazi, and his concert tour and recording contract were cancelled. His

reputation was dishonored.

The motive behind Casals' behavior related to these accusations is unclear. It

has since been shown that the accusations that damaged Cassado's career did not come

directly from Casals. It is also indisputable that Casals' political stance effected his

own personal and musical career decisions: he was not at liberty to perform whenever

or with whomever he pleased, nor was he at liberty to make personal apologies or

statements that might conflict with his cause. It is left to speculation whether Casals

5

was jealous of Cassado's promising career and intentionally sabotaged him or whether

he was just trapped by his cause and the damage was merely collateral.

Cassado was not politically active, but nor was he fascist. While living,

teaching, and performing in Italy, many of his close friends and colleagues who held

him in high regard were either actively anti-fascist or were themselves persecuted by

the government. The evidence of these relationships leads one to believe that Cassado

could not have been a fascist supporter.

It was not until 1955, years after the war had officially ended, that the

relationship between Cassado and Casals was reestablished. The violinist Yehudi

Menuhin, a friend of both cellists, was able to persuade Casals to apologize to Cassado

and make amends, after which Casals invited Cassado to judge his competition.

Performing and recording together again, the relationship between the two Catalonian

cellists had taken yet another turn in the road, and although the damage to Cassado's

career could not be undone, the two collaborated on many more performances.

6

CHAPTER 2

OVERVIEW OF THE SUITE FOR SOLO CELLO

Published in 1926, the Suite for Solo Cello was dedicated "a Francesco von

Mendelssohn con affettuosa eprofonda amicizia^ Francesco was the son of Robert

von Mendelssohn and his wife Giuletta Gordigiani. The von Mendelssohns were great

patrons of the arts and Robert was an amateur cellist himself. After the death of the

famous cellist Carlo Alfredo Piatti, Robert bought the Stradivarius cello played by

Piatti. On a trip to Berlin, Cassado met Giulietta, an accomplished pianist. She was a

widow by this time and a relationship ensued in which they performed together,

Cassado playing the Piatti. Eventually, the Piatti was returned to Francesco, the

rightful heir to the cello.6

Even though Cassado claimed to identify more with his Spanish heritage than

that of Catalonia,7 his music reflects the 'grave and austere'8 characters of Catalonian

heritage and his compositions are "imbued with Spanish and particularly Catalonian

intonations and rhythms; they feature expressiveness and vividness of content, clear

5"to Francesco von Mendelssohn with affection and deep friendship"

Carlos Prieto, The Adventures of a Cello (Austin: University of Texas Press, 2008,62-5.

7Elaine Anne Boda "Selected Violoncello Works of Gaspar Cassado" (D.M. diss., Florida State University School of Music, 1998), 16.

8Ibid., 16. 7

form, a wealth of melody, colorful harmony and mastery of polyphony."9 The Suite

for Solo Cello "reflects the Catalan background with the use of folk and dance

melodies throughout the piece."10

The Suite for Solo Cello is written in three movements:11 Preludio-Fantasia,

Sardana (Danza), and Intermezzo e Danza Finale. Like a baroque suite, it is a set of

dance movements introduced by a prelude. All three movements of the piece require

well-developed musicianship and demand technical prowess and agility. Cassado

exploits many aspects of the instrument including its entire five octave range,

technical thumb-position passages, timbral effects of harmonics, double stops, chords,

grace notes and embellishments in order to imitate and reproduce the characteristics of

traditional Spanish music. Written in keys corresponding to the open strings, the

resulting natural resonance provides a full, vibrant tone and a brilliant sound.

Cassado's accomplishments as a performing cellist are apparent in his idiomatic

writing and the exploration of various timbres achieved through an assortment of

techniques, such that the instrument never appears limited.

The first movement, Preludio-Fantasia, introduces the setting and genre of the

piece. The least metrically metered movement of the suite, it leaves room for fantasy

9Ibid., 17.

10Ibid., 19.

n"[The suite] is in three movements - or five, depending on how you count. Since its model is probably the Bach Suites, I go for the larger number. The dance movements are based on Spanish dances." David W. Moore, "Cassado: Solo Cello Suite; Delplace: Variations in G; Kodaly: Solo Cello Sonata." Entertainment Record Guide 69, no. 6 (November/December 2006): 86.

8

while Spanish modes and flourishes establish nationality and flair typical of music

from this region. Even though it is not a dance movement, the recurring emphasis on

the second beat is reminiscent of the Sarabande, a dance of Spanish origin.

The second movement is titled Sardana {Danza). A Sardana is a traditional

dance originating in northern Catalonia, the music for which is played by a band called

a cob la. The cobla consists often wind instruments (five of which are native), a bass,

and a tambori (a small drum). Relatively slow, the Sardana is danced in a circle

holding hands. It begins with a free introduction in six-eight meter called an Introit,

traditionally played by aflaviol (a small Apple flute), and has two main dance parts in

two-four time called tiradas: the curt (short) and the llarg (long). In modern

choreography (since the end of the nineteenth century), the curt (usually twenty to

fifty measures long) is a two-bar pattern dance with the hands held low. The llarg

(usually fifty to one-hundred measures long) is in four-bar patterns, the hands are held

high, and it can become quite lively. The tiradas may be repeated in varying

succession to determine the length of the dance, often with a two-measure break called

a contrapunt inserted between repetitions of the llarg. The second movement follows

this form, imitating the full sound of the cobla by frequent use of double stops and

thumb position.

The third movement, Intermezzo e Danza Finale, has its roots in the fandango.

The fandango is a lively flamenco dance in triple meter, usually accompanied by

guitars and castanets or handclapping. It is a main folk dance of Portugal in which

two dancers face each other and take turns to demonstrate whose agile and light

9

footwork is more eye-catching. There are a variety of forms of fandango dating back

to the eighteenth century. Cassado incorporates characteristics of two of these forms

in his composition: the sung fandango and the fandango grande. The sung fandango

traditionally begins with a slow introduction followed by verses in which the music is

repeated with different, octosyllabic lyrics. The fandango grande usually begins

slowly and gradually increases in tempo. The third movement begins with a slow

introduction followed by several sections eventually increasing in tempo to a grand

finale.12

12The word fandango is also used to mean 'quarrel,' 'big fuss' or a 'brilliant exploit.'

10

CHAPTER 3

ANALYSIS

Preludio-Fantasia

Cassado achieves balance and form in the Preludio-Fantasia of his Suite for

Cello Solo by manipulating the functions of thematic material. Modal harmony

supports the form while Spanish flair is integrated through idiomatic writing

reminiscent of traditional Spanish guitar music.

The form and structure of this movement is in three sections (see Table 1).

The first section (A) functions as an introduction in which all three thematic materials

{a, b, and c) are introduced, and in which the c material is developed. The second

section (B) is a quasi cadenza and is built solely on b material. The final section (C) is

a restatement of all materials in reverse order. In each section the function of the

different thematic materials is manipulated to create structure.

The a material functions as a musical signal, introducing the piece and

concluding both the A section and the end of the movement. The c material is

dominant in the A section and functions as the development, moving through many

distant key areas. The b material is the framework of the B section. Here, Cassado

employs techniques such as flourishes, harmonics, mode changes, and arpeggiated

chords to introduce new timbres and to embellish on a simple musical unit. The

11

length of each of the three thematic materials is balanced throughout the piece:

(a=30m., b=3lm., c=32m.).

TABLE 1. Form and Structure in the Preludio-Fantasia

Measure Section Thematic Material

1

11

17

40

46

64

73

80

A

A

A

A

B

C

C

C

a (Figure 1)

b (Figure 2)

c (Figure 3)

a

Andante f? 2 4

3i 4 - 2 2

J s r C r E ' f i . T J t J ^ r r sostenuto

FIGURE 1. Thematic material a. Preludio-Fantasia, measures 1-2. Gaspar Cassado: Suite for Solo Cello © Copyright 1926 by Universal Edition A.G., Wien/UE8458

12

a tempo

P dolce

FIGURE 2. Thematic material b. Preludio-Fantasia, measures 11-12. Gaspar Cassado: Suite for Solo Cello © Copyright 1926 by Universal Edition A.G., Wien/UE8458

Poco piu mosso

FIGURE 3. Thematic material c. Preludio-Fantasia, measures 17-18. Gaspar Cassado: Suite for Solo Cello © Copyright 1926 by Universal Edition A.G., Wien/UE8458

Cassadd's use of tonic-based modal harmony (see Table 2) has traditional,

functional relationships: the piece is in D minor and the other most commonly visited

key areas are the dominant (A), and the subdominant (G). The development of the b

material begins on the dominant and moves through distant key areas. The cadenza is

based on the outline of a diminished chord and is unstable. True to the Spanish

essence of the piece, ornaments, modes with emphasis on the second scale degree,

guitar-like arpeggiated chords, and parallel chords with a pedal tone are particularly

reminiscent of his native culture. His writing, which reflects his accomplishments as a

performing cellist and his native heritage, results in a composition balanced in

traditional harmony and stable structure with the essence of Spanish culture. 13

TABLE 2. Harmony in the Preludio-Fantasia

Measure

1

11

17

40

46

64

73

80

; Section

A

A

A

A

B

C

C

C

Thematic Material

a

b

c

a

b

c

b

a

Tonic/ Key Center

Dmin.

Gmin.

A Maj.

Amin.

Gdim.

DMaj.

Gmin.

Dmin.

Other Key Notes

C

A

BMCey shifts

G

diminished chord

Eb

A

C

Sardana (Danza)

The second movement follows the essence of the traditional structure of the

Sardana. Cassado employs extensive use of thumb position to add counterpoint and

harmonic self-accompaniment. Although for the most part he follows traditional key

relationships, his temporary use of parallel modulations to neighboring half steps are

typical of his writing and use of harmony.

14

TABLE 3. Form and Structure in the Sardana (Danza)

Measure Section Meter

1 Introduction Introit 6/8

11 First Tirada Curt 21 A

44 Second Tirada Contrapunt 2/4

73 Second Tirada Llarg 2/4

The structure of the second movement (see Table 3), is established by sections

and meter, which distinctly follow the traditional structure of the Sardana, a dance

consisting of two sections called tiradas. The first tirada, called the curt, has thirty-

three measures (traditionally twenty to fifty) and the second, called the llarg, has fifty-

eight (traditionally fifty to one-hundred). Contradicting tradition, Cassado has

extended the contrapunt, the introduction to the llarg, to twenty-nine measures

(traditionally only two measures). Contrasting both the curt and the llarg texturally

and harmonically, it clearly separates these sections and functions as transitional

material. Cassado follows the tradition of two-bar patterns in the curt, but breaks with

tradition in the llarg, where he alternates between three- and two-bar patterns. Both

the curt and the llarg follow a call and response structure demonstrated by dynamics

in the curt and by range in the llarg.

Cassado's writing for the solo cello reflects the instrumentation of the

traditional dance by use of range, chords, and contrapuntal writing. The introit, or

15

introduction, played in the high range of the cello using many harmonics, imitates the

timbre of the flaviol, a small fipple flute. The following curts and llargs have

continuous double stops creating resonance in order to imitate the full sound of the

cobla, a band of 10 wind instruments, a bass and a tambori (a small drum). The

contrapunt begins with perfect intervals, imitating the brass, then transitions to a

single melody with a percussive accompaniment. All aspects of the solo cello are

fully exploited demonstrating all ends of the spectrum from high harmonics to a solo,

melancholy single melody line, to full resonance and rhythm of a band.

Harmonically, this movement clearly establishes D Major, a naturally resonant

key on the cello (see Table 4). Structurally staying within traditional harmonic

relationships of tonic, dominant, and relative keys, Cassado temporarily borrows

secondary tonics, or neighboring keys, by shifting the tonic up or down a half step.

Employing a substantial number of double stops and open fifths, most easily played in

thumb position, the key center is defined by the perfect fifth barred across two strings.

The harmonic movement of the key center is achieved by simply moving the

handposition to a parallel position on the cello and establishing a new tonic. It is

almost as if the cello technique and idiomatic layout of the cello dictate the borrowed

harmonic key movement.

16

TABLE 4. Harmony in the Sardana (Danza)

Measure Section Key Measure of Borrowed Key

Borrowed Key

1

11

19

31

44

53

73

81

91

Introit

Curt

Curt

Curt

Contrapunt

Contrapunt

Llarg

Llarg

Llarg

DMaj.

DMaj.

A mixolydian

DMaj.

A mixolydian

Dmin.

GMaj.

F# Maj.

D Maj.

25-26

37

62-72

76-7

83-90

96-100

C# Maj.

Bb Maj.

Transition using chromatic bass movement

V/GMaj.

V/F# Maj.

Bb Maj.

In this movement, Cassado has taken the traditional dance structure,

instrumentation, and character of the Sardana and applied it to the solo cello. By use

of range, double stops, and contrapuntal writing, he has exploited the techniques

available to achieve timbral contrast and character that would be traditionally provided

by an eleven-piece band.

Intermezzo e Danza Finale

The final movement is structured after the fandango. Written in traditional

modes of Spanish music, the root movement of the harmonic key areas reflects

traditional harmony.

17

The movement begins with a slow introduction followed by a dance in three-

four time, which builds to a grand finale. The movement includes the main

characteristics of a fandango: a slow introduction followed by verses building to a

grand finale; the triple meter, long-short-short-long rhythm of castanets; and the

cadential progression i- bVLI-bVl-V based on the e-mode13 melodies typical of Spain.

TABLE 5. Form and Structure in the Intermezzo e Danza Finale

Measure Section Thematic Material Tempo Markings Meter

1 Intermezzo

10 Intermezzo

26 Intermezzo

a (Figure 4)

b (Figure 5)

a

34 Danza Finale introduction to c

42 Danza Finale c (Figure 6)

86 Danza Finale b

102 Danza Finale c

132 Danza Finale

142 Danza Finale

162 Danza Finale

167 Danza Finale

a

Lento ma non troppo 31 A

Allegretto 5/4

Lento ma non troppo 31 A

Allegro marcato 3/4

Allegro marcato 3/4

Allegro tranquillo 5/4

Allegro marcato 3/4

Lento ma non troppo 3/4

Allegro marcato 3/4

Allegro marcato 5/4

Allegro risoluto 3/4

13. E-mode melodies date back to Gregor ian chant where the chant moves around the note e, always returning to that tone center. Tt is the same as the Phrygian church mode but with a major V.

18

Lento ma non troppo

mr 4

> > > .4 2 £

$ Pnu\f&f^£ J9 co/i mo/to express. 0

FIGURE 4. Thematic material a. Intermezzo eDanza Finale, measures 1-4. Gaspar Cassado: Suite for Solo Cello © Copyright 1926 by Universal Edition A.G., Wien/UE8458

Allegretto truiqnfllo r— —̂ _ ^itmm^m^

n Jtsemplice

FIGURE 5. Thematic material b. Intermezzo e Danza Finale, measures 10-13. Gaspar Cassado: Suite for Solo Cello © Copyright 1926 by Universal Edition A.G., Wien/UE8458

a tempo n i

yjE!FfifE!FfijE!FfifLffi/™"rMEFWB J9 man:, ma leggiero

FIGURE 6. Thematic material c. Intermezzo e Danza Finale, measures 42-49. Gaspar Cassado: Suite for Solo Cello © Copyright 1926 by Universal Edition A.G., Wien/UE8458

The thematic materials of this movement provide the structure (see Table 5).

The slow introduction, marked lento ma non troppo, is a cadenza, which ends with the

famous Spanish parallel chord cadence and introduces the b melody in five-four time.

19

Marked semplice, this melody is reminiscent of a folk tune or the beginning of a

fugue. The introduction concludes as it began with the same lento ma non troppo and

parallel chord cadence.

The Danza is introduced with clear rhythm and chords. The tune that follows

(thematic material c) is based on this rhythm. The rest of the movement alternates

between c material and the material from the introduction. Each time familiar material

returns, it is varied in texture, key, accompaniment, or register.

The root movement and key relationships in this movement are based in

functional traditional harmony, often using the relationship of a third to move between

key centers or basing larger sections in the dominant of the upcoming key of the tune

(see Table 6). The majority of the movement {Danza) is in D minor, with an

introduction in the dominant A major. The Intermezzo is in the relative minor (B

minor) with a prelude and postlude in F# phrygian.

Cassado also uses traditional methods of moving between key centers such as

modulation by common tone, sequencing, and establishing a dominant before arriving

in the new key area. An example of this is measures 72-86. Cassado moves from D

minor to A minor by moving to F (the third of D minor) and then using a German

sixth chord to move to E, the dominant of A minor.

Cassado's use of harmony in the third movement is clearly Spanish. Much of

the movement is written based on e-mode melodies. The root movement of the

cadence: I - 6 VII - bVl - V comes directly from this mode (see Figure 7). This

cadence signals the end of a section.

20

TABLE 6. Harmony in the Intermezzo e Danza Finale

Measure Section Thematic Material Key Harmonic Function

1 Intermezzo

10 Intermezzo

26 Intermezzo

34 Danza Finale

42 Danza Finale

86 Danza Finale

102 Danza Finale

132 Danza Finale

142 Danza Finale

162 Danza Finale

a

a

a

F# Phrygian

B melodic min.

F# Phrygian

AMaj.

Dmin.

A min.

A min.

v/B min.

i

v/B min.

V/Dmin

i

v/Dmin

i

Transitional using relationship of third and V/I

Transitional using relationship of third and V/I

D min. i

167 Danza Finale Dmin.

m *

FIGURE 7. E-mode cadence. Intermezzo e Danza Finale, measures 5-6. Gaspar Cassado: Suite for Solo Cello © Copyright 1926 by Universal Edition A.G., Wien/UE8458

21

Written by a cellist, the finale's key centers often lie idiomatically on the cello.

Mostly using keys related to the open strings, maximum resonance and brilliance is

achieved. To achieve the guitar-like effect of strummed chords, quadruple stops are

not uncommon.

22

CHAPTER 4

PERFORMANCE PRACTICE

Cassado did not record the Suite for Solo Cello himself, which leaves a margin

for interpretational differences in performance and various options on how to execute

specific passages in the work. Published in 1926, Cassado's original editorial

markings are in the score. It was not uncommon during Cassado's time to take

liberties in performance, making each performance very subjective and personal,

varying greatly from one to the next.

Cassado's markings clearly indicate specifics such as when to arpeggiate a

chord or how to voice polyphonic sections. In studying the piece however, certain

technical aspects are particularly worth noting: voicing and articulation of duet

passages, the arpeggiation of certain chords and the logistics of hand positions for

chord progressions, extensive use of thumb position, harmonics (both false and

natural), and imitation of instrumentation. The technique applied to playing the cello

for this piece is quite different from the technique required to play the standard

repertoire, where the cello mostly assumes a single melody line.

Interpretational variations are explicit in various performances of the Suite for

Solo Cello. The recordings on table 7 reflect some of these variations.

23

TABLE 7. Comparison of Recordings

Performer Date Recorded

Label Duration of Preludio-Fantasia

Duration of Sardana (Danza)

Duration of Intermezzo e

Danza Finale

Denise Jun. 14, Endeavor Djokic 2004 Classics

Daniel Aug. 5, Grosgurin 1997

Maria Kliegel

Jan. 5, 1995

L.Y.S.

Naxos

Janos Sep. 16, Paraasus Starker 2000

7min. 15 sec.

4 min. 30 sec.

6 min. 28 sec.

4 min. 32 sec.

4 min. 34 sec.

3 min. 49 sec.

3 min. 17 sec.

2 min. 39 sec.

6 min. 52 sec.

5 min. 7 sec.

5 min. 59 sec.

4 min. 15 sec.

Following the model of a baroque suite, the Suite for Solo Cello is a collection

of dance movements preceded by a prelude. Titled Preludio-Fantasia, the first

movement allows for the most variation of tempo, which is clearly shown in durations

of the performances. While all of the performances use rubato to emphasize and shape

the music, which is typical of solo instrumental music, Maria Kliegel's performance

potentially transgresses the boundaries of time to the extent that the rhythm is unclear.

This is a more romantic interpretation than the others.

Traditional dance movements generally consist of clear sections marked with

repeats. This is true of the second movement, and a variation in the number of repeats

taken in each performance is to be anticipated. Djokic and Grosgurin take both

repeats as marked, but Kliegel and Starker take only the first repeat.

24

In baroque performance, it was common practice to add embellishments,

displaying technical agility and good taste. The Suite for Solo Cello, written in the

twentieth century, has the expected embellishments already written into the score.

Nonetheless, each cellist makes slight changes to the score in order to offer an

individual interpretation. A fine example of this is the treatment of the last note of the

third movement. It is written as a double stop eighth note preceded by a double stop

grace note (see Figure 8). This comes at the end of a crescendo, an accelerando, and is

marked.^^ As written, the last note would be quite short. Djokic is the only cellist

who finishes the piece as marked. Kliegel plays a long last chord, then glissandos up

to harmonics, and Grosgurin and Starker both play a long last chord followed by a D

chord played pizzicato (D, A, D, A). Each cellist stays within the character of the

piece, finishing on a grandiose D chord, but also adding personal flair and bravado.

V 199 jr „

y •' JM i 11 >

FIGURE 8. Intermezzo e Danza Finale, measure 199. Gaspar Cassado: Suite for Solo Cello © Copyright 1926 by Universal Edition A.G., Wien/UE8458

According to analysis by the author, there are a few possible note discrepancies

in the score, none of which are reflected in the recordings. If mm. 69-70 in the second

movement (see Figure 9) are sequential to mm. 65-66 (see Figure 10), then the second

25

note of m. 70 should be an F sharp. Similarly, if mm. 16-17 in the third movement

(see Figure 11) are sequential to mm. 14-15 (see Figure 12), then the G sharp in m. 15

ought to be a G natural. Additionally, the octave displacement found in the parallel

passages in m. 18 (see Figure 13) and later in m. 94 (see Figure 14) should also occur

in m. 24-5 (see Figure 15), so the first three notes of m. 25 could be played in a

different octave, as Starker does.

FIGURE 9. Sardana (Danza), measures 69-70. Gaspar Cassado: Suite for Solo Cello © Copyright 1926 by Universal Edition A.G., Wien/UE8458


26

16 3

3^m tflfffrgj m sonow

^t *<^5 ^.-j

FIGURE 11. Intermezzo e Danza Finale, measures 16-17. Gaspar Cassado: Suite for Solo Cello © Copyright 1926 by Universal Edition A.G., Wien/UE8458

teibiT-3-1 2,3r--_ 2_

espress. ——


/* i - i • !*j|jpjjffr a^p



27

nt.

calmando


Each of the movements reflects characteristics of Spanish music traditionally

played on other instruments. The most common instrument is the guitar, represented

by the numerous chords found throughout the piece. The score clearly indicates when

these chords are to be arpeggiated, strummed, or sounded simultaneously, including

whether to break a chord on or before the beat. In the third movement, the chords

beginning in m. 34 (see Figure 16) are not to be arpeggiated, as they represent the

rhythmical strumming of the guitar and the castanets of the fandango. Emphasizing

clear root movement, the chords that follow are broken on the beat, bass note first,

with the others following (sounded simultaneously) on the second beat. The

rhythmical breaking of the chords on the beats becomes a structural part of the meter.

In Kliegel's recording, this passage is played pizzicato to further emphasize the

representative instruments and she proceeds arco again only in m. 42. She repeats this

in the similar passages from m. 72 to the downbeat of m. 82 and m. 150 to the

downbeat of m. 158.

28

Allegro marcato arco H

34 njf > > mm 546 m


The pattern found in the first movement m. 60-63 (see Figure 17) and in the

last movement m. 54-57 and again m. 179-186 is imitative of arpeggiated guitar

chords. In Janos Starker's recording, the passage in the first movement is played off

the string, giving it the clear note separation that imitates the articulation of the guitar.

FIGURE 17. Preludio-Fantasia, measures 60-63. Gaspar Cassado: Suite for Solo Cello © Copyright 1926 by Universal Edition A.G., Wien/UE8458

The second movement imitates the sound of the cobla and its many different

wind instruments: the opening introduction represents the flaviol, a small fipple flute

(see Figure 18); m. 44 imitates the sound of the brass of the cobla (see Figure 19); and 29

m. 53 is a solo melody with an accompaniment imitative of the tambori, a small drum

(see Figure 20). In order to produce these different sounds on the cello, careful

consideration of the placement, weight, and speed of the bow are absolutely crucial.

Allegro giosto 3 1 3 2 I 2 J I 3 2 | 9 . / i n j : f 2 i 2 j : ^ 2 i vi

o 9.

E±* £ n . i n n i ii

P flautando


44 > |k * o mpm.0 m J t t l > m .


POCO meno (marc, il canto)

•3 f.—fin } — - . }

^ • * » • / p subito e molto es espress.

ff FIGURE 20. Sardana (Danza), measures 53-56. Gaspar Cassado: Suite for Solo Cello © Copyright 1926 by Universal Edition A.G., Wien/UE8458

30

The introduction, played mostly with harmonics in the very high register,

requires a bow close to the bridge with enough weight to make the clear and direct

sound of a small flute, but enough speed to have the breath of a simple wind

instrument without the harsh sound of a trumpet. Both Starker and Djokic develop

their sound within individual notes more so than a simple flute could and Kliegel lacks

the resonance of the harmonics. Grosgurin handles the balance well, and his clarity

and resonance reflect the original instrumentation.

While imitating the brass instruments in m. 44, the accents, brilliance and

rhythmic clarity of the passage of perfect fourths and fifths are achieved by placing the

grace notes before the beat and carefully balancing the left hand for the double stops.

Playing a sequence of perfect fifths is not typical of the classically trained left hand,

and in order to produce the required weight, the thumb is used as a counterweight by

taking it off the neck in order to pull with the full weight of the arm, facilitating the

barring of the chords with the fingers. The bow needs a heavy accent and then a

release of the string allowing it to ring. While Djokic, Kliegel, and Grosgurin all

manage ample resonance, Kliegel achieves the most brilliance in her sound and

Grosgurin the most rhythmic clarity.

Changing character quite suddenly from the brass fanfare of m. 44, m. 53 is

intended to sound like a duet between two different instruments. A single melody on

the A string marked molto espressivo requires a very even bow speed to shape the

phrase, while, at the same time imitating the tambori, beating a dry, percussive rhythm

on the D string. Kliegel makes this more pronounced by playing the ostinato rhythm

31

of eighth-eighth-quarter with left hand pizzicato. A similar passage occurs in m. 86-

94 (see Figure 21) of the third movement except the melody line is not sustained.

Here the accompaniment is single eighth notes under the quarters of the leggiero

melody. Again, the bow must produce a staccato line of accompaniment under the

shape and phrase of the melody in order to make the passage sound like two different

instruments.

Allegro tranquillo 3 i ? 9 4 ? 2 ?-? H i 3

P leggiero


Multi-voice writing like these two passages ensures that the Suite is never

lacking in melody and accompaniment. Another technique used by Cassado is to

accompany a melody with an arpeggiated chord, again imitating the sound of the

guitar. The difficulty here is ensuring that the melody line remains continuous and not

broken or lost. In m. 11 of the first movement (see Figure 2), the melody note A is

actually sustained for two and a half beats while the accompanying chord is to be

arpeggiated before returning to the A on beat two. In m. 18 (see Figure 3), Cassado

32

writes marc, il canto, meaning to mark or bring out the melody line. The arpeggiated

chords should sound like a second instrument and although it is necessary to leave the

melody note temporarily in order to play the accompaniment, it is always important to

return to the same dynamic level, so the perception to the listener is that the melody

continues without any break. In each of the recordings, the melody is clear, but the

speed, voicing, and balance of the grace note arpeggiated chords to the melody varies

greatly. Each recording is individual in its interpretation.

When the thematic material of m. 11 returns in m. 52 (see Figure 22), it is

written using both false and natural harmonics in the neck area of the cello. Care must

be taken with regard to bow placement and speed to ensure that all the harmonics

speak cleanly. The natural harmonics of this passage may sound slightly flat, due to

the physics of the overtone series, but as they are an effect, this is not problematic.

The rhythm here is also notated differently. The accompaniment is explicitly drawn

out and more prominent than in the beginning. This makes it easier to play the

harmonics with confidence and good tone and demonstrates the understanding a cellist

would bring to composition.

33

a tempo V

J^ tranquillo

54

I ̂ 4 tf

4

FIGURE 22. Preludio-Fantasia, measures 52-55. Gaspar Cassado: Suite for Solo Cello © Copyright 1926 by Universal Edition A.G., Wien/UE8458

Another example of a melody with chordal accompaniment begins in m. 24 of

the first movement (see Figure 23). Here, the melody note of the chord is not played

on the highest string, so the bow must break the chord around the middle string,

coming back (or never leaving) the melody note. In m. 27 (see Figure 24), the top

note of the first chord belongs to the melody line C-B-C-D#. This is easy to misplay,

as the chord leaves the open A string sounding last, while the melody note is in a more

muted position on a less bright string. Grosgurin voices the melody as it lies

idiomatically on the cello: A-B-C-D#.

24

^ ^

^ urf_ si

1 2 largamente

r;wt£fi cresc.

FIGURE 23. Preludio-Fantasia, measure 24. Gaspar Cassado. Suite for Solo Cello © Copyright 1926 by Universal Edition A.G., Wien/UE8458

34

a tempo

p FIGURE 24. Preludio-Fantasia, measure 27. Gaspar Cassado: Suite for Solo Cello © Copyright 1926 by Universal Edition A.G., Wien/UE8458

Subito dynamics are used to emphasize different voices, which are a prominent

feature of the second movement. When executing subito dynamics, it is possible to

make the change suddenly without taking any additional time, or to add a slight breath

in order for the air to clear of the last dynamic. The latter option can be more dramatic

if timed correctly, but the change in dynamic must be sudden, without fading into or

out of the last dynamic. In this, Djokic and Grosgurin's recordings are the most

compelling. They take time before each change, making them clearly pronounced and

separated. Likewise, Kliegel's dynamics are clear, but they are less pronounced as she

takes less time. Starker has the least dynamic contrast, not always reaching the level

of a real piano after a forte passage.

Barring and playing all of the parallel chords in this work requires a strong left

hand and a different vocabulary of weight distribution and balance in the hand than

usual. Mostly it is important to concentrate on good stoppage in order to achieve

resonance. When playing all the notes of a chord simultaneously, moving the bow

closer to the fingerboard where the curvature between the strings is less pronounced is

necessary as well as using enough bow speed in order to avoid crunching. In passages

such as m. 34 of the third movement (see Figure 25), where the stopped strings are

35

almost half the length of the open strings, clean stoppage and bow speed are vital in

getting the stopped notes to resonate anywhere near the amount of the open string, and

in keeping the open string from squeaking because the bow is proportionally too close

to the fingerboard.

Allegro marcato

* Mi l t , «j


In the passage starting at m. 154 of the third movement (see Figure 26), the use

of harmonics in the chords facilitates the left hand and balances the resonance of the

stopped strings to the open strings. The idea of balance in the left hand here is a

particularly gratifying technique in the cellist's repertoire: m. 154, bar the bottom two

notes with the first finger; m. 155, move the bar up lA step and balance the hand to

play a D harmonic in the chord on beat two; beat three, move the bar up a whole step

and shift the balance to play it as a harmonic, fingering only the E on the D string.

The idea of a solid bar followed by a solid bar with a harmonic then by a harmonic bar

with a solid finger requires thinking laterally across the cello, which is something only

a cellist would have written.

36

IV fl ^~ 3 >

FIGURE 26. Intermezzo eDanza Finale, measures 154-55. Caspar Cassado: Suite for Solo Cello © Copyright 1926 by Universal Edition A.G., Wien/UE8458

Cassado's use of thumb position in the Suite is extensive. It is used to play

parallel passages in different keys or registers simply by relocating the hand to a

different position. Examples abound in the second movement such as between

measures 37 and 38 (see Figure 27), and measures 83-4 and 85-6 (see Figure 28). Use

of the thumb as indicated for the fifths in m. 84 and 86, requires careful balance of the

arm. The thumb is placed on the top two strings with the first finger next to the thumb

for the bottom note. Use of the thumb in the low register in m. 76-7 (see Figure 29)

and again in m. 81 of the second movement presents a specific technical challenge

beyond the necessity of heavy and clean finger work for acoustic clarity. The shape of

the fingerboard, having an angle to the C string, provides better purchase when

fingering single note passages. This angle of the fingerboard, however, inhibits the

thumb from fully stopping both strings simultaneously. Starker simply leaves out the

double stops in these passages.

37

m/^tl^rfhl^ pp


semptep __ ta^ U..J m

semprep


76

** ^vj

burlesco ?-v 1 2 3 1

ET


The challenge in these thumb position passages, beyond accuracy of thumb

placement for pitch, is one of resonance. While the piece is written mainly in keys

that resonate freely with the open strings, passages that are moved up a half step no

longer resonate as easily, so the timbre becomes noticeably altered. Not only does it

protrude harmonically, but acoustically as well, creating a different character.

38

The Suite for Solo Cello is a technically demanding work. Gaspar Cassado

taught technique through music, and this piece requires just that. The structure of the

work is traditional and uncomplicated, but the variety of character, color and

expression that the music requires is unlimited. Each of the four recordings offers

individual characterizations of the piece; each interpretation is personal and unique.

39

CHAPTER 5

CONCLUSION

The Suite for Solo Cello would have received wider recognition had Cassado's

career not been stunted by the repercussions of Casals' political undertakings. Written

by a man who had intimate knowledge of the cello and its potential, it is a technically

challenging work, but was also written idiomatically, and is therefore very accessible.

A demanding piece that highlights all aspects of an accomplished cellist's musical and

technical vocabulary at the instrument, it is an asset to any advanced cellist's

repertoire. It is a work of high caliber and is worthy of the acknowledgement due any

composition of the standard cello repertoire.

40

APPENDIX

RECITAL PROGRAM

41

THE BOB COLE CONSERVATORY PRESENTS

DAWN SEWARD

IN A GRADUATE CELLO RECITAL

Saturday, December 12,2009,4:00 p.m. Daniel Recital Hall

Bob Cole Conservatory of Music California State University, Long Beach

Long Beach, California

42

PROGRAM

Divertimento in D Major Haydn/Piatigorsky (1903-1976) Adagio Menuet Allegro di molto

Suite for Cello Solo Gaspar Cassado (1897-1966) Preludio-Fantasia Sardana (Danza) Intermezzo e Danza Finale

Le Grand Tango Astor Piazzolla (1921-1992)

INTERMISSION

Concerto in B minor, Op. 104 Antonin Dvorak (1841-1904) Allegro Adagio, ma non troppo Finale: Allegro moderato-andante-allegro vivo

This recital is in partial fulfillment of the Masters of Music degree in Cello Performance at the Bob Cole Conservatory at

California State University, Long Beach.

43

NOTES

Haydn/Piatigorsky (1903-1976) Divertimento in D Major The origin of the Divertimento is unclear. It dates from an era when virtuoso

performers often wrote pieces in the style of a known composer, calling it a transcription in order to gain audience appeal. Whether this piece was once an original work of Haydn is questionable. Possibly from the baryton trios, it is not a direct transcription: each movement comes from a different work and is not directly transcribed. It is likely that Piatigorsky simply wrote in the style of Haydn and came up with this delightful piece in D Major.

Gaspar Cassado (1897-1966), Suite for Solo Cello Known mostly for his transcriptions (some of which are probably original works and

not transcriptions at all), Cassado was a Catalonian cellist who contributed greatly to the cello literature. Following the structure of a baroque suite, the Suite for Solo Cello consists of a prelude and two dance movements. The second movement Sardana is a traditional dance specific to Catalonia and the last movement is a fandango. Although written idiomatically for the cello, the suite is technically complex in order to imitate the instrumentation and character of traditional Spanish music. From the numerous guitar chords to the passionate flair and embellishments, the piece never has a dull moment.

Astor Piazzolla (1921-1992), Le Grand Tango A native of Argentina, Piazzolla learned to play the bandoneon (an Argentinean

instrument similar to the accordion) at an early age. As a virtuoso musician, he became the leader and arranger of major ensembles before a desire for wider expression drove him to study classical music and composition. He won a grant to study in Paris with Nadia Boulanger, who recognized his talent and passion for Argentinean tango and told him, "Astor, your classical pieces are well written, but the true Piazzolla is here, never leave it behind." He returned to Argentina and developed his own unique style, fusing the structure of classical composition with jazz and tango. Le Grand Tango (1982), written for the classical ensemble of cello and piano, is driven by the varying moods and passionate vitality of the tango.

Antonin Dvor&k (1841-1904), Cello Concerto in B minor, op. 104 Dvorak's cello concerto is perhaps the most popular concerto of the cello literature.

Brahms is noted for saying, "Why on earth didn't I know that one could write a cello concerto like this? Had I known, I would have written one long ago." Dvorak's opinion differed: "The cello is a beautiful instrument, but its place is in the orchestra and in chamber music. As a solo instrument it isn't much good ... I have ... written a cello concerto, but am sorry to this day that 1 did so, and 1 never intend to write another."

The Cello Concerto, Op. 104 was written between November 8, 1894 and February 9, 1895, when Dvorak was Director of the National Conservatory of Music in New York. His New World Symphony, the American String Quartet, and the String Quintet also date from this period. The concerto was his last composition on a symphonic scale.

It was not, however, his first cello concerto. In 1924 he had written one for the love of his life, Josefina, but when she refused his proposal of marriage, this concerto was left unorchestrated. Josefina was very ill while he was composing Op. 104 and Dvorak included her favorite melody from his song "Leave Me Alone," Op. 82 No. 1, in the second movement. Her death, shortly after he finished the composition in 1895, led Dvorak to include a coda to the third movement, referencing this melody again, as a heartfelt tribute.

44

BIBLIOGRAPHY

45

BIBLIOGRAPHY

Anderson, Robert. "Cassado (Moreu), Gaspar." In New Grove Dictionary of Musicians.2d ed,. Vol. 5,242. New York: Macmillan Publishers Limited, 2001.

Boda, Elaine Anne. "Selected Violoncello Works of Gaspar Cassado." D.M. diss., Florida State University School of Music, 1998.

Bonastre, Francesc. "Cassado i Moreu, Gaspar." In Musik in Geschichte und Gegenwart. 2ded., Vol. 4,374-5. Kassel: Baerenreiter.

Bruil, Rudolf A. "Gaspar Cassado (1897-1966)." The Remington Site.

http://soundfountain.org/rem/remcassado.html (accessed May 11,2009).

Casals, Pablo. "Mail Pouch: Protest by Casals." New York Times, March 6,1949.

Cassado, Gaspar. Suite per Violoncello. Vienna: Universal Edition 8458,1926.

. Requiebros. Ensayo ASIN B0004SR24 Audio CD, April 2000.

Chaitkin, Nathaniel Jacob. "Gaspar Cassado: His Relationship with Pablo Casals and his Versatile Musical Life." DMA diss., University of Maryland, College Park, 2001.

Djokic, Denise. Folklore. Endeavour Classics ASIN B0009ML2KG. Audio CD, June 2005.

Enforex. "History of Spanish Dance." Enforex: Spanish in the Spanish World. http://www.enforex.com/culture/spanish-dance-history.html (accessed July 1, 2009).

. "Traditional Spanish Dances." Enforex: Spanish in the Spanish World. http://www.enforex.com/culture/spanish-dance-history.html (accessed July 1, 2009).

Fernandez-Cid, Antonio. Musicos quefueron nuestros amigos. Madrid: Editora Nacional, 1967.

"Gaspar Cassado." Musical Times 108, no. 1488 (February 1967): 161.

46

http://soundfountain.org/rem/remcassado.html

http://www.enforex.com/culture/spanish-dance-history.html

http://www.enforex.com/culture/spanish-dance-history.html

Grosgurin, Daniel. Cassado: Pieces Favorites. L. Y.S. ASIN B00000G40O. Audio CD. June 14, 2005.

Hiley, David. Western Plainchant: a Handbook. New York: Oxford University Press, 1993.

Internet Cello Society. "Gaspar Cassado." http://www.cello.org/cnc/cassado.htm (accessed May 3,2009).

Kinney, Gordon James. "Musical Literature for Unaccompanied Violoncello." PhD diss., Florida State University, 1962.

Kliegel, Maria. Le Grand Tango Dances. Naxos ASIN B0000013YB. Audio CD. January 19,1995.

Lehman. "Karen Buranskas, Cello: Hindemith, Crumb, Stevens, Cassado." Entertainment Record Guide 71, no. 5 (September/October 2008): 207-8.

. "Cassado: Solo Cello Suite; Cello Sonata; Sonata Nello Stile Antico Spagnuolo; Danse; Lamento; Requiebros." American Record Guide 57, no. 4 (July/August 1994): 89.

McClure, Mac. "Composers: Gaspar Cassado." Mac McClure http://www.macmcclure.com/compositors/cassado/bioeng.html (accessed May 3,2009)

Moore, David W. "Cassado: Cello Pieces." American Record Guide 62, no. 1 (January/February 1999): 98.

. "Cassado: Requiebros; Sonata in Old Spanish Style; Solo Cello Suite; Serenade; Dance of the Green Devil; Arrangements." American Record Guide 63, no. 5 (September/October 2000): 123.

. "Cassado: Solo Cello Suite; Delplace: Variations in G; Kodaly: Solo Cello Sonata." Entertainment Record Guide 69, no. 6 (November/December 2006): 86.

. "Dances." American Record Guide 70, no. 3 (May/June 2007): 189.

. "Janos Starker Then and Now." American Record Guide 58, no. 2 (March/April 1995): 234.

47

http://www.cello.org/cnc/cassado.htm

http://www.macmcclure.com/compositors/cassado/bioeng.html

. "Kodaly: Solo Cello Sonata; Cassado: Suite; Mayazumi: Bunraku (Music)."

American Record Guide 66, no. 5 (September/October 2003): 129.

. "Spanish Cello." American Record Guide 69, no. 2 (March/April 2006): 205.

Potter, Tully. "War Wounded." Strad 114 (June 2003): 606-7.

Prieto, Carlos. The Adventures of a Cello. Austin: University of Texas Press, 2008

Rodicio, Emilio Casares and Antonio Fernandez-Cid. "Cassado Moreu, Gaspar." In Diccionario de la Musica Espanola e Hispanoamericana. Vol. 3, 316-7. Sociedad General de Antores Y Editores, 1999.

Slonimsky, Nicolas, Laura Kuhn, and Dennis Mclntire. "Cassado (Moreu), Gaspar." In Baker's Biographical Dictionary of Musicians. Centennial ed., Vol. 1, 598. New York: Schirmer Books, 2001.

Starker, Janos. The Road to Cello Playing. Parnassus ASIN B000001Z51. Audio CD September 16,2000.

Talbot, Joanne. "Cassado: Dance of the Green Devil; Suite for Cello; Sonate 'dans le style Espagnol ancien'; Lamento de Boabdil; Requiebros." Strad 108, no. 1291 (November 1997): 1261.

Turner, Romilly. "Sardana Dancing: Catalan Cultural Dance." Tourist Guide Barcelona, http://www.barcelona-tourist-guide.corn/en/general/catalan-dancing-sardanahtml (accessed July 1,2009).

Wallace, Helen. "Moral Majority." Musical Times 134, no. 1799 (January 1993): 22-3.

Wikipedia. "Sardana." Wikipedia: the Free Encyclopedia. http://en.wikipedia.org/wiki/Sardana (accessed July 1,2009).

. "Fandango." Wikipedia: the Free Encyclopedia. http://en.wikipedia.org/wiki/Fandango (accessed August 8,2009).

48

http://www.barcelona-tourist-guide.corn/en/general/catalan-

http://en.wikipedia.org/wiki/Sardana

http://en.wikipedia.org/wiki/Fandango

Cassado

Documents

Transcript of Cassado