Gaspar Cassadó was a noted Catalan cellist and composer during the first half of the twentieth century. His compositions include a number of musical hoaxes, but also some works of real distinction -- and it's a pity that his music has not achieved wider currency.
One work of real significance is his Suite per Violoncello, composed in 1926. The music contains brief quotations from two significant influences, Kodaly's Sonata for Solo Cello and the famous flute solo from Ravel's Daphnis et Chloe. Loudest of all, though, is the sound of the traditional Spanish and Catalan dance forms which lie at the foundation of the work. Like Bach's famous suites for the same instrument, Cassadó has taken the dances as a point of departure to create music of real stature and subtlety which goes far beyond its dance roots.
This 17-minute work in three movements opens with a Preludio-Fantasia which -- as its name suggests -- opens with improvisatory material suggestive of a Bach prelude gone to the Mediterranean. This movement eventually merges into a zarabanda, a Spanish sarabande, and includes much lyrical writing on the lower strings. This is where the solo cello character of the music is most idiomatic; low writing such as this would be in danger of being swamped in a work for cello and piano.
The second movement is a Sardana, a duple-time Catalan dance with a merry, jovial character. The folk-like character of the dance is emphasized by the frequent use of double-stops, giving the music an earthy, rustic feeling. A contrasting middle section, a trio if you like, moves to a more lyrical melody for a few moments, before the dance resumes. The movement ends with a rapid flourish.
The third movement of the suite is entitled Intermezzo -- Danza finale and is effectively a double movement linked together. The Intermezzo proper is another exploratory section with (to my ears) a slightly sad, almost mournful feeling. The music then launches briskly into the Danza finale, a proud and lively jota in triple time, with inset slower cadenza sections. The build-up to the abrupt final chords is again earthed by double stops low in the instrument's range, and the last notes plunge unexpectedly downwards.
On a splendid new recording from the Canadian ensemble, the Cheng²Duo, this Suite is accompanied by a later work, Requiebros for cello and piano, written in the 1930s. The title can be translated into English as either "flirtations" or "compliments," probably with both meanings implied. It's wise not to read too much into the title -- the music is an entertaining, lively dance, of popular folk-like character, and does no more than hint at the atmosphere conjured by the title. It's the sort of piece made to order to serve as a lively encore at the end of a recital -- and may well have been written with that purpose in mind.
The recordings of these works, by the way, come as part of a spectacular, energetic anthology of Spanish music from the early years of the twentieth century. It's issued on the Audite label and can be downloaded from that source.
One work of real significance is his Suite per Violoncello, composed in 1926. The music contains brief quotations from two significant influences, Kodaly's Sonata for Solo Cello and the famous flute solo from Ravel's Daphnis et Chloe. Loudest of all, though, is the sound of the traditional Spanish and Catalan dance forms which lie at the foundation of the work. Like Bach's famous suites for the same instrument, Cassadó has taken the dances as a point of departure to create music of real stature and subtlety which goes far beyond its dance roots.
This 17-minute work in three movements opens with a Preludio-Fantasia which -- as its name suggests -- opens with improvisatory material suggestive of a Bach prelude gone to the Mediterranean. This movement eventually merges into a zarabanda, a Spanish sarabande, and includes much lyrical writing on the lower strings. This is where the solo cello character of the music is most idiomatic; low writing such as this would be in danger of being swamped in a work for cello and piano.
The second movement is a Sardana, a duple-time Catalan dance with a merry, jovial character. The folk-like character of the dance is emphasized by the frequent use of double-stops, giving the music an earthy, rustic feeling. A contrasting middle section, a trio if you like, moves to a more lyrical melody for a few moments, before the dance resumes. The movement ends with a rapid flourish.
The third movement of the suite is entitled Intermezzo -- Danza finale and is effectively a double movement linked together. The Intermezzo proper is another exploratory section with (to my ears) a slightly sad, almost mournful feeling. The music then launches briskly into the Danza finale, a proud and lively jota in triple time, with inset slower cadenza sections. The build-up to the abrupt final chords is again earthed by double stops low in the instrument's range, and the last notes plunge unexpectedly downwards.
On a splendid new recording from the Canadian ensemble, the Cheng²Duo, this Suite is accompanied by a later work, Requiebros for cello and piano, written in the 1930s. The title can be translated into English as either "flirtations" or "compliments," probably with both meanings implied. It's wise not to read too much into the title -- the music is an entertaining, lively dance, of popular folk-like character, and does no more than hint at the atmosphere conjured by the title. It's the sort of piece made to order to serve as a lively encore at the end of a recital -- and may well have been written with that purpose in mind.
The recordings of these works, by the way, come as part of a spectacular, energetic anthology of Spanish music from the early years of the twentieth century. It's issued on the Audite label and can be downloaded from that source.
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