His father, Joaquin, was a composer and church musician, and ran a piano store with his wife, Agustina Moreu. Gaspar began his musical training at the age of five, singing in the church chorus conducted by his father. He also began cello studies with Dionisio March, and his talent was quickly apparent. With the help of a grant from the city of Barcelona, Agustin took lessons from the great French violinist Jacques Thibaud, while Gaspar began studying with the man who would become one of the central figures in his life, fellow Catalonian Pablo Casals.
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His Requiebros, and Dance of the Green Devil are two encore pieces we cellists love to play. Joaquin, his father, was a composer and an organist. One of them was Guilhermina Suggia. Joaquin moved the family to Paris in after the city of Barcelona offered a scholarship to Gaspar for his studies. Agustin, the older son, was also very talented. The program included the Bach Fifth Suite.
He never performs the same composition twice in the same way. He fled Barcelona in self-imposed exile. Casals was recognized for his humanitarian efforts, and he had given up his illustrious career to highlight Spanish Republican ideals and to fight totalitarianism.
A contract to record with Columbia records was cancelled. The damage was done. Years later, a reunion was facilitated by a close friend of both cellists—violinist Yehudi Menuhin.
But it was not to be. In there had been extensive flooding in Florence. He died on Christmas Eve He invented a fingerboard which could be adjusted up or down to compensate for changes in bridge height, which tends to react to weather changes and can be quite troublesome to deal with.
Most cellists have two bridges—one for winter and one for summer.
Throughout his unprecedented performance career, which began in at the age of fourteen as a solo cellist playing the Dvorak Concerto and then as of principal cellist of the Budapest Opera and Philharmonic Orchestras, Janos Starker always shared his time between being an artist and teacher. Starker held positions as principal cellist of the Dallas Symphony , the Metropolitan Opera Orchestra , and the Chicago Symphony Orchestra, In , Mr. Starker came to Indiana University for one year as an Artist-in-Residence to see how things would work out with teaching at the University. A year later he was appointed a full professor, and in he was named a Distinguished Professor of Music. Starker andJoseph Gingold were the first musicians ever to receive the honor at the School of Music. Starker holds this rank to date as he continues his cello class at the Indiana University Jacobs School of Music.
Cassado, Gaspar - Suite For Cello - Universal Edition
Born in Barcelona in , he was discovered at the age of nine by a young Catalan cellist just starting out on his career, the year-old Pablo Casals, and Gaspar was accepted to study with him in Paris on a scholarship from his native city. During his long studies with Casals in Paris, he absorbed the many aesthetic crosswinds blowing through the French capital, coming to admire the spiky modernism of Stravinsky, the impressionism of Ravel, and the Spanish nationalist sentiments of Manuel Da Falla. Cervera suggests that the two presentations of the opening theme, one forte, the other piano, represent in turn Don Quixote and his beloved, Dulcinea. The second movement is a sardana, the folk dance most closely associated with the Catalonian nationalist revival of the 19th century. The sardana is a round dance accompanied by a cobla wind band comprising a high-whistling flaviol wooden fipple flute , double-reed shawms and various brass instruments. The opening, played entirely in harmonics, imitates the high whistling sound of the flaviol summoning the dancers to the town square.
Bach or Mozart. Downes began researching Pugnani for his lecture notes, and of course was unable to locate the original manuscript for the piece. Many people were outraged by the "hoax," while others claimed to have known all along that these pieces were forgeries. Kreisler was so beloved, however, that the controversy eventually died down and all was forgiven. The myth of its origin was debunked in by Walter Schenkman, a professor of piano at the University of Northern Colorado. Frescobaldi generally wrote modal works of many sections which have little or no connection between them. Schenkman further points out that its slow introduction-Allegro form is much more like Handel than Frescobaldi.