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Gaspar Cassadó

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In this Catalan name, the first or paternal surname is Cassadó and the second or maternal family name is Moreu; both are generally joined by the conjunction "i".
Gaspar Cassadó i Moreu

Gaspar Cassadó i Moreu (30 September[1] or 5 October 1897[2] – 24 December 1966) was a Spanish cellist and composer of the early 20th century.

Biography

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Gaspar Cassadó i Moreu was born in Barcelona to a church musician father, Joaquim Cassadó, and began taking cello lessons at age seven. When he was nine, he played in a recital where Pablo Casals was in the audience; Casals immediately offered to teach him. The city of Barcelona awarded him a scholarship so that he could study with Casals in Paris.

In 1914 World War I broke out and his brother Agustí died a victim of an epidemic. Gaspar returned to Barcelona and began to offer concerts with the main orchestras of Spain. From 1918 he also performed in France and Italy, thanks to his friendship with Alfredo Casella. In 1920 he toured Argentina. From 1922 he began to make known his own compositions, both pieces for cello and concerts, chamber music, oratorios and a sardana. He also made transcriptions for cello.

In 1923 and thanks to the friendship with Francesco von Mendelssohn he met the singer and pianist Giulietta Gordigiani,[3] with whom he lived for more than three decades, settling in Florence. Gaspar and Giulietta created a cello and piano duo with which they toured the European stages for more than a decade, achieving great success. Giulietta Gordigiani, widow of Robert von Mendelssohn, offered him fundamental support for the development and promotion of his career, as well as an excellent piano collaboration. Great virtuosos, they reaped for years the praise of the public and the admiration of the critics. In 1940 he toured the United States and spent the years of World War II in the village of Striano with Giulietta.

His career suffered a very significant and irreparable decline in the postwar period, due mainly to a famous letter published by his former teacher Casals in the New York Times accusing him of collaboration with the fascist regimes and asking that Cassadó not be allowed to play in the allied countries. Cassadó disputed Casals' allegations, and scholars have questioned Casals' motivation. Cassadó and Casals eventually reconciled with the help of Yehudi Menuhin.[4]

Cassadó combined his solo career with his participation as a jury in international competitions. From 1946 he was professor at the Accademia Musicale Chigiana in Siena, and from 1958 at the Staatliche Hochschule für Musik in Cologne. That same year he co-founded the "Course of Spanish Music in Compostela" in Santiago de Compostela.

He was also the author of several notable musical hoaxes,[5] notably the "Toccata"[6] that he attributed to Girolamo Frescobaldi.[7]

The personal papers of Cassadó's father are preserved in the Biblioteca de Catalunya. Gaspar's own papers, along with those of his wife, the pianist Chieko Hara [jp], are preserved at the Tamagawa University Museum of Education.[8]

On the invitation of his great friend Alicia de Larrocha, with whom he had a cello-piano duo (touring extensively with him from 1956–58), Gaspar Cassadó played concerts and led frequent classes at Academia Marshall in Barcelona. The Professor of Cello chair at Academia Marshall is named after Gaspar Cassadó and held since 2018 by Professor Jacob Shaw.

Gaspar Cassadó during the first of three acclaimed tours of Southern Africa, organised by Hans Adler [2]
External audio
audio icon You may hear Gaspar Cassadó performing Johannes Brahms's Piano Trio No. 2 in C major, Op. 87 with the pianist Myra Hess and violinist Jelly D'Arani in 1935 Here on archive.org

Compositions

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Original works

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Cassadó's many transcriptions are listed below his original works.

Concertos

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This piece, like the Suite for Cello Solo, is influenced by Spanish and Oriental folk music, and Impressionism. Cassadó studied composition with Maurice Ravel, and a Ravel-influenced "carnival music" appears in the second theme of the first movement. The second movement is a theme and variations which leads directly to a pentatonic Rondo.

Solo cello works

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The Suite, like the Cello Concerto and the Piano Trio, came from one Cassadó's most prolific periods, in the mid-1920s. It consists of three dance movements: Preludio-Fantasia (a Zarabanda); Sardana; and Intermezzo e Danza Finale (a Jota). The first movement includes quotations from Zoltán Kodály's Sonata for Cello Solo, Op. 8, and the famous flute solo from Maurice Ravel's ballet Daphnis et Chloé. The sardana of the second movement is a traditional dance from Catalonia.

Solo guitar works

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  • Canción de Leonardo
  • Catalanesca
  • Dos Cantos Populares Finlandeses (Two Finnish Folk Songs)
  • Leyenda Catalana
  • Préambulo y Sardana
  • Sardana Chigiana

Works for cello and piano

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  • Allegretto Grazioso "After Schubert"
  • Archares 1954
  • Danse du diable vert (Dance of the Green Devil) for violin or cello 1926
  • La Pendule, la Fileuse et le Galant 1925
  • Lamento de Boabdil 1931
  • Minuetto "After Paderewski"
  • Morgenlied 1957
  • Partita 1935
  • Pastorale "After Couperin"
  • Rapsodia del Sur
  • Requiebros 1934
here performed by John Michel (4:43)
Problems playing this file? See media help.
  • Serenade 1925
  • Sonata in A minor 1925
  • Sonata nello stile antico spagnuolo (Sonata in an "Old Spanish Style") 1925
  • Toccata "After Frescobaldi" 1925

Chamber works

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  • Piano Trio in C major 1926/1929
  • String Quartet No. 1 in F minor 1929
  • String Quartet No. 2 in G major 1930
  • String Quartet No. 3 in C minor 1933

Transcriptions

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Concerto transcriptions

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Cassadó transformed nine of Tchaikovsky's pieces into a concerto. He used No. 18 Scene dansante (Invitation au trepak), No. 3 Tendres Reproches and No. 14 Chant Elegiaque in the first movement; No. 5 Meditation and No. 8 Dialogue in the second and No. 4 Danse Caracteristique, No. 2 Berceuse, No. 17 Passe Lointain and No. 1 Impromptu in the third. This concerto was a favorite of Cassadó's. It was published in 1940 by Edition Schott No. 3743.
Cassadó completely rewrote the Concerto for his colleague Andrés Segovia. The transcription features a solo string quartet, and trumpet fanfares make it reminiscent of Rodrigo.

Transcriptions for solo cello

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Cassadó transposed the suite to F major from its original key of E-flat major.

Transcriptions for cello and piano

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References

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  1. ^ Brasil, Cartões de Imigração, [1].
  2. ^ Spanish Civil Registry, Barcelona, 1897, register number 6684.
  3. ^ Pérez Torrecillas, Carmen (2023). Giulietta Gordigiani "La italiana de Mendelssohn. Arpegio. ISBN 978-84-15798-68-2.
  4. ^ Song, H. Rosi (17 February 2023). "Musical Legacies of the Spanish War: The Strange Case of Gaspar Cassadó". The Volunteer. Abraham Lincoln Brigade Archives. Retrieved 2 November 2024.
  5. ^ Walter Schenkman, "Cassadó's Frescobaldi: A Case of Mistaken Identity or Outright Hoax," American String Teacher 28, no. 2 (Spring 1978): 26-27.
  6. ^ Girolamo Frescobaldi (Gaspar Cassado) -Toccata on YouTube
  7. ^ Chaitkin, Nathaniel J. (2001). "Gaspar Cassadó: His Relationship with Pablo Casals and His Versatile Musical Life: Chapter 2 — Cassadó's Versatility". Cello.org. Archived from the original on 10 March 2016. Retrieved 31 March 2020.
  8. ^ Chaitkin, Nathaniel J. (2001). "Gaspar Cassadó: His Relationship with Pablo Casals and His Versatile Musical Life: Appendix A — List of Works". Cello.org. Retrieved 31 March 2020.

Further reading

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  • Gaspar Cassadó: Cellist, Composer and Transcriber, Gabrielle Kaufman, Routledge, London (2017), ISBN 9781472467157
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