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

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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 TABLES FIGURES CHAPTER 1. BIOGRAPHY Gaspar Cassado Cassado's Relationship with Casals 2. OVERVIEW OF THE SUITE FOR SOLO CELLO 3. ANALYSIS Preludio-Fantasia Sardana (Danza) Intermezzo e Danza Finale 4. PERFORMANCE PRACTICE 5. CONCLUSION APPENDIX: RECITAL PROGRAM BIBLIOGRAPHY 1 1 4 7 11 11 14 17 23 40 41 45 iii vi vii

TABLES TABLE 1. Form and Structure in the Preludio-Fantasia 2. Harmony in the Preludio-Fantasia 3. Form and Structure in the Sardana (Danza) 4. Harmony in the Sardana (Danza) 5. Form and Structure in the Intermezzo e Danza Finale 6. Harmony in the Intermezzo e Danza Finale 7. Comparison of Recordings Page 12 14 15 17 18 21 24

VI

FIGURES FIGURE 1. Thematic material a. Preludio-Fantasia, measures. 1-2 2. Thematic material b. Preludio-Fantasia, measures 11-12 3. Thematic material c. Preludio-Fantasia, measures 17-18 4. Thematic material a. Intermezzo e Danza Finale, measures 1-4 5. Thematic material b. Intermezzo e Danza Finale, measures 10-13 6. Thematic material c. Intermezzo e Danza Finale, measures 42-49 7. E-mode cadence. Intermezzo e Danza Finale, measures 5-6 8. Intermezzo e Danza Finale, measure 199 9. Sardana (Danza), measures 69-70 10. Sardana (Danza), measures 65-66 11. Intermezzo e Danza Finale, measures 16-17 12. Intermezzo e Danza Finale, measures 14-15 13. Intermezzo e Danza Finale, measures 18-19 14. Intermezzo e Danza Finalel, measures 94-95 15. Intermezzo e Danza Finale, measures 24-25 16. Intermezzo e Danza Finale, measures 34-35 17 Preludio-Fantasia, measures 60-63 18 Sardana (Danza), measures 1-4 vii Page 12 13 13 19 19 19 21 25 26 26 27 27 27 27 28 29 29 30

FIGURE 19 Sardana (Danza), measures 44-48 20 Sardana (Danza), measures 53-56 21 Intermezzo e Danza Finale, measures 86-87 22 Preludio-Fantasia, measures 52-55 23 Preludio-Fantasia, measure 24 24 Preludio-Fantasia, measure 27 25 Intermezzo e Danza Finale, measures 34-35 26 Intermezzo e Danza Finale, measures 154-55 27 Sardana (Danza), measures 37-38 28 Sardana (Danza), measures 83-86 29 Sardana (Danza), measures 76-77

Page 30 30 32 34 34 35 36 37 38 38 38

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. Cassado was Casals' second of three students, all of whom had close relations with Casals. 1
2

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

Chaitkin, 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.

This 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 changedfromstudent/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

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.

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. Elaine Anne Boda "Selected Violoncello Works of Gaspar Cassado" (D.M. diss., Florida State University School of Music, 1998), 16.
8 7

Ibid., 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

Ibid., 17. Ibid., 19.

10 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 andflourishesestablish 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 Appleflute),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 livelyflamencodance 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 sungfandango and the fandango grande. The sungfandango 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

12

The word fandango is also used to mean 'quarrel,' 'big fuss' or a 'brilliant 10

exploit.'

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 asflourishes,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 1 11 17 40 46 64 73 80 Section A A A A B C C C Thematic Material a (Figure 1) b (Figure 2) c (Figure 3) a

Andante
f?

3iJ s r C r E ' f i . T J^ Jr t
sostenuto

-2

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; Section 1 11 17 40 46 64 73 80 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 1 11 Section Introduction First Tirada Introit Curt Meter 6/8 21 A

44 73

Second Tirada Second Tirada

Contrapunt Llarg

2/4 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 thirtythree measures (traditionally twenty to fifty) and the second, called the llarg, has fiftyeight (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 theflaviol,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

1 11 19 31 44 53 73 81 91

Section
Introit Curt Curt Curt

Key
DMaj. DMaj. A mixolydian DMaj.

Measure of Borrowed Key

Borrowed Key

25-26 37

C# Maj. Bb Maj.

Contrapunt A mixolydian Contrapunt Llarg Llarg Llarg Dmin. GMaj. F# Maj. D Maj. 62-72 76-7 83-90 96-100 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 threefour 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 1 10 26 34 42 86 102 132 142 162 Section Intermezzo Intermezzo Intermezzo Danza Finale Danza Finale Danza Finale Danza Finale Danza Danza Danza Finale Finale Finale Finale Thematic Material a (Figure 4) b (Figure 5) a introduction to c c (Figure 6) b c a Tempo Markings Lento ma non troppo Allegretto Lento ma non troppo Allegro marcato Allegro marcato Allegro tranquillo Allegro marcato Lento ma non troppo Allegro marcato Allegro marcato Allegro risoluto Meter 31A 5/4 31A 3/4 3/4 5/4 3/4 3/4 3/4 5/4 3/4

167 Danza

13. E-mode melodies date back t o Gregorian 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 $

Pnu\f&f^
> > >

.4 2

J 9 co/i mo/to express.

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

^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

jE!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 - 6VII - 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 1 10 26 34 42 86 Section Intermezzo Intermezzo Intermezzo Danza Finale Danza Finale Danza Finale a Thematic Material a Key Harmonic Function

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

102 Danza Finale 132 Danza Finale 142 Danza Finale 162 Danza Finale 167 Danza Finale a

Transitional using relationship of third and V/I Transitional using relationship of third and V/I D min. i Dmin.

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 Denise Djokic Label Duration of PreludioFantasia
7min. 15 sec. 4 min. 30 sec. 6 min. 28 sec. 4 min. 32 sec.

Duration of Sardana (Danza)

4 min. 34 sec. 3 min. 49 sec. 3 min. 17 sec. 2 min. 39 sec.

Duration of Intermezzo e Danza Finale

6 min. 52 sec. 5 min. 7 sec. 5 min. 59 sec. 4 min. 15 sec.

Jun. 14, Endeavor 2004 Classics L.Y.S. Naxos

Daniel Aug. 5, Grosgurin 1997 Maria Kliegel Janos Starker Jan. 5, 1995

Sep. 16, Paraasus 2000

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. Afineexample 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.

199 jr

y '

JM
>

i 1 1

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

FIGURE 10. Sardana (Danza), measures 65-66. Gaspar Cassado: Suite for Solo Cello Copyright 1926 by Universal Edition A.G., Wien/UE8458

26

16

3^m
sonow

tflfffrgj

^t *<^5

m
^.-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
espress.

2,3r--_

2_

FIGURE 12. Intermezzo e Danza Finale, measures 14-15. Gaspar Cassado: Suite for Solo Cello Copyright 1926 by Universal Edition A.G., Wien/UE8458
/*

*j|jpj ffr a ^ p

i-i

FIGURE 13. Intermezzo e Danza Finale, measures 18-19. Gaspar Cassado: Suite for Solo Cello Copyright 1926 by Universal Edition A.G., Wien/UE8458

FIGURE 14. Intermezzo e Danza Finale, measures 94-95. Gaspar Cassado: Suite for Solo Cello Copyright 1926 by Universal Edition A.G., Wien/UE8458

27

nt.

calmando

FIGURE 15. Intermezzo e Danza Finale, measures 24-25. Gaspar Cassado: Suite for Solo Cello Copyright 1926 by Universal Edition A.G., Wien/UE8458

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
34

mm
njf
> >

arco

546

FIGURE 16. Intermezzo e Danza Finale, measures 34-35. Gaspar Cassado: Suite for Solo Cello Copyright 1926 by Universal Edition A.G., Wien/UE8458

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 theflaviol,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
/in
3

1 :

2 iI 22 j J : I ^ 3 2

2 9. 2 | i vi

o 9.

n i ii
P flautando

E* n

.i n

FIGURE 18. Sardana (Danza), measures 1-4. Gaspar Cassado: Suite for Solo Cello Copyright 1926 by Universal Edition A.G., Wien/UE8458

44

>

|k * o mpm.0

J t t l

> m

FIGURE 19. Sardana (Danza), measures 44-48. Gaspar Cassado: Suite for Solo Cello Copyright 1926 by Universal Edition A.G., Wien/UE8458

POCO meno (marc, il canto)

3 f.fin
^ *

-.}

p subito e moltoespress. es

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. 8694 (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

?-?

i 3

P leggiero

FIGURE 21. Intermezzo e Danza Finale, measures 86-87. Gaspar Cassado: Suite for Solo Cello Copyright 1926 by Universal Edition A.G., Wien/UE8458

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

J^ tranquillo 54

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
cresc.

1 2

largamente

r;wtfi

FIGURE 23. Preludio-Fantasia, measure 24. Gaspar Cassado. Suite for Solo Cello Copyright 1926 by Universal Edition A.G., Wien/UE8458
34

a tempo

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 aforte 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

* M i l t , j
FIGURE 25. Intermezzo e Danza Finale, measures 34-35. Gaspar Cassado: Suite for Solo Cello Copyright 1926 by Universal Edition A.G., Wien/UE8458

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 FIGURE 27. Sardana (Danza), measures 37-38. Gaspar Cassado: Suite for Solo Cello Copyright 1926 by Universal Edition A.G., Wien/UE8458

semptep semprep

__

ta^

U..J

FIGURE 28. Sardana (Danza), measures 83-86. Gaspar Cassado: Suite for Solo Cello Copyright 1926 by Universal Edition A.G., Wien/UE8458

76

burlesco

?-v

12 3 1

**

^vj

ET

FIGURE 29. Sardana (Danza), measures 76-77. Gaspar Cassado: Suite for Solo Cello Copyright 1926 by Universal Edition A.G., Wien/UE8458

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 Suitefor 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 Adagio Menuet Allegro di molto Suite for Cello Solo Preludio-Fantasia Sardana (Danza) Intermezzo e Danza Finale Le Grand Tango INTERMISSION Concerto in B minor, Op. 104 Antonin Dvorak (1841-1904) Allegro Adagio, ma non troppo Finale: Allegro moderato-andante-allegro vivo Haydn/Piatigorsky (1903-1976)

Gaspar Cassado (1897-1966)

Astor Piazzolla (1921-1992)

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 datesfroman 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. Possiblyfromthe 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 melodyfromhis song "Leave Me Alone," Op. 82 No. 1, in the second movement. Her death, shortly after hefinishedthe 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

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

. "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/catalandancing-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