CASSADO SUITE FOR SOLO CELLO PDF

Prelude Cello Suite No. Inthere were few recordings of these works — I believe Casals and possibly Starker were the only other recorded options — so at that time, this was a better choice than it is now, when virtually every cellist of any fame has recorded them. Amazon Giveaway allows you to run promotional giveaways in order to create buzz, reward your audience, and attract new followers and customers. I play it a lot for background music.

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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. Kindler completed his version in , and it was performed quite frequently. In an article in Notes in September , Charles L. Cudworth, a music librarian, noted that this caused Kindler considerable embarrassment.

Burk included the following in his notes: Mr. The score bore the title Toccata and the name of Frescobaldi, and was presumably a copy originally written for organ solo. In the s, arrangements of Baroque and Classical pieces still reflected a nineteenth-century Romantic approach, and questions of authenticity and performance practice were rarely discussed.

In fact, in his article on the Kreisler hoax, Olin Downes suggested that musicology was partly to blame The reason why the Kreisler pieces were not investigated sooner is simple. They were in almost all cases compositions in small forms, used between larger compositions or as features of the last group on violin programs. Nobody paid them special attention or deemed the matter momentous enough to sift thoroughly.

It is a commentary, and not altogether a flattering one, on the manner in which all sorts of facts which should be promptly questioned are allowed to pass in this field.

The Muffat is authentic, originally written for harpsichord. It was undoubtedly to the great advantage of the compositions that they did not bear his name as composer.

For it is unfortunately true that there is a great deal in a name. Neither the public, the press, nor Mr. Kreisler has hoaxed us rather handsomely.

Has not the principal harm, if any, been done to the feelings of the hoaxed? Most of these are of well-known works by composers like Bach, Chopin and Debussy, and there is therefore no question of their authenticity.

He also arranged various pieces for cello and orchestra, two of which have already been mentioned the Arpeggione arrangement and the Weber Clarinet Concerto , but which also include a concerto version of the Bach G minor sonata for viola da gamba and harpsichord, as well as a minute concerto for cello and full orchestra based on piano music by Tchaikovsky. He also arranged music for other combinations of instruments as well, including an arrangement for guitar and orchestra of a Boccherini cello concerto, and a setting of the famous Bach-Gounod Ave Maria for solo violin, four cellos, organ and harp.

He also wrote a piano concerto and several works for orchestra, including the previously mentioned Rapsodia Catalana, which enjoyed a good deal of success. Elaine Boda has written excellent analyses of these works in her dissertation; there is no need to duplicate her work here.

Nevertheless, a few words about one of the lesser-known pieces are appropriate. The Lamento is a short piece of the highest caliber; it deserves to be heard much more frequently. He was also an inventor, constantly tinkering with his instrument and bow to find ways to produce more sound, as well as play more comfortably. The resulting sound was much larger than usual and proved especially useful in projecting over an orchestra, but it also had its drawbacks; the tone was somewhat brittle and metallic.

Rodrigo described the performance: Nevertheless, a very disagreeable suprise awaited Joaquin. Joaquin complained bitterly about seeing his work mutilated. In this context, his willingness to perpetuate the myth of the Frescobaldi Toccata even when questioned directly about it makes sense. Performers had much more leeway in the 19th and early 20th centuries, and this had both good and bad results. On the one hand, there were incidents like that involving the Rodrigo Concerto. Though the work of people like Cudworth and Schenkman is necessary and important, the pieces they expose as forgeries should not be discarded.

These pieces also have great musicological value, as they give a good idea of Baroque and Classical performance practice in the early 20th century.

Programs like these would be unthinkable today, and that is not all to the good. The mixture of sonatas and short pieces which used to be the norm allowed all the works on a program to be considered on their own merits, and the lighter works provided needed contrast from the bigger, more substantial ones. The short pieces also showed a side of the performer less often displayed today, a sense of humor.

Chaitkin, Olin Downes, Olin Downes on Music, ed. Charles L. Schenkman,

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