Casals The Complete Published Emi Recordings 1926 - 1955

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Casals The Complete Published Emi Recordings 1926 - 1955

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dc.contributor.other Pablo Casals es
dc.contributor.other Mieczysław Horszowski es
dc.coverage.spatial Paris - France ; London - United Kingdom es
dc.date.accessioned 2014-06-11T16:14:32Z
dc.date.available 2009
dc.date.available 2014-06-11T16:14:32Z
dc.date.copyright 2009
dc.date.issued 2014-06-11
dc.identifier.uri http://hdl.handle.net/123456789/4411
dc.description.abstract As the first modern cello virtuoso, Pablo Casals created a new appreciation of the instrument and its repertory when the concert stage was still considered the exclusive playground of the piano and violin. Casals also devoted his formidable musical skills to composition and conducting, leaving many insightful readings of the standard orchestral repertory to posterity via recordings. He is remembered today as much for his pacifism and regard for human life as for his musicianship (he once stated that "the life of a single child is worth more to me than all my music"). Casals came to his true instrument relatively late in life, having first developed some degree of skill on the piano, violin, and organ. Discovery of the cello at the age of 11 led to studies (from 1887 on) with J. Garcia at the Barcelona Municipal Music School. After a period of supporting himself playing in local cafés, Casals was granted a royal scholarship to the Madrid Conservatory in 1893, where he worked with Tomás Bretón, and later in Brussels in 1895. After a brief tenure as a cellist at the Folies-Marigny music hall in Paris, Casals returned to teach and perform in Barcelona, and joined the first of a series of notable chamber ensembles with which he would be associated: a piano trio with Belgian violinist Crickboom and well known pianist and composer Enrique Granados. In 1919 Casals founded the Orquestra Pau Casals in Barcelona. Although the project was quite successful, the outbreak of civil war in 1936 forced its dissolution. Casals, who spoke out vehemently against the Franco regime, was forced to seek refuge in the Catalan village of Prades. Following the Second World War, saddened by the lack of any definitive action against the Franco regime by major world powers, Casals elected to cease performing as an act of protest. Inspired by the Bach bicentenary celebrations of 1950 at the first annual Prades Festival, Casals came out of retirement to begin a new series of recordings and concerts. In 1956 he made a new home in Puerto Rico, where he founded the Puerto Rico Festival. Though nearing 85, he began a campaign for peace in 1962, traveling around the world to conduct performances of his oratorio El pessebre (The Manger). Casals continued to make occasional concert appearances until virtually the end of his life in 1973. Casals' impact on cello playing in the twentieth century cannot be overestimated. His radical approach to bow and finger technique produced a mechanical prowess far beyond any other cellist of the late nineteenth or early twentieth centuries. In addition, Casals was the first cellist to incorporate the kind of left-hand shifting techniques which had been employed for decades by violinists, thus allowing for far greater agility on the cello than had been previously thought possible. Always scornful of "flashy," superficial virtuosi, Casals strove tirelessly to develop and maintain the kind of intense musical concentration which he considered to be the true artist's responsibility. Casals' virtues as a composer are less unimpeachable; very little of his music was published during his life. Works such as his Hymn to the United Nations (1971), on text by W.H. Auden, and, of course, El pessebre (composed 1943-1960) did receive numerous performances, but his works received little more than cursory notice by the musical establishment. However, the steadfast devotion which so defined his performing persona is evident in such works as the Revérie for cello and piano (1896), or the much later Sonata for violin and piano, which he worked on sporadically from about 1945 to 1972. © Blair Johnston, All Music Guide es
dc.description.tableofcontents CD 4-- Cello sonata No. 4 in C Op. 102 No. 1 ; I. Andante (Allegro vivace), II. Adagio (Tempo d’andante, Allegro vivace)-- Cello sonata No. 5 in D Op. 102 No. 2 ; I. Allegro con brio, II. Adagio con molto sentimiento d’affetto, III. Allegro (Allegro fugato)-- Cello sonata No. 2 in F Op. 99 ; I. Allegro vivace, II. Adagio affectuoso, III. Allegro passionato, IV. Allegro molto-- es
dc.format.extent 68:00min es
dc.format.medium 1 CD Rom (68 min., 00 seg) : Stereo 4 3/4 plg es
dc.language.iso en_US es
dc.rights Uninorte F.m Estéreo es
dc.subject.lcc 351335677 es
dc.subject.lcsh Sonatas (Cello) es
dc.title Casals The Complete Published Emi Recordings 1926 - 1955 es
dc.title.alternative Beethoven Cello Sonatas 4 - 5 Brahms Cello sonata No. 2 es
dc.language.rfc3066 eng es
dc.rights.holder Emi Records Ltd. es
dc.identifier.classification 5099969493225 es
dc.subject.cdu Casals.01 es


Files in this item

Files Length Size Format View Description
1. I. Cello son ... dante (Allegro vivace).mp3 8:36 11.79Mb MPEG Audio mp3
2. II. Cello so ... dante, Allegro vivace).mp3 7:44 10.61Mb MPEG Audio mp3
3. I. Cello son ... . 2 - Allegro con brio.mp3 7:23 10.12Mb MPEG Audio mp3
4. II. Cello so ... sentimiento d’affetto.mp3 9:23 12.86Mb MPEG Audio mp3
5. III. Cello s ... legro (Allegro fugato).mp3 4:57 6.799Mb MPEG Audio mp3
6. I. Cello son ... p. 99 - Allegro vivace.mp3 9:28 12.98Mb MPEG Audio mp3
7. II. Cello so ... 9 - Adagio affecttuoso.mp3 8:03 11.03Mb MPEG Audio mp3
8. III. Cello s ... 9 - Allegro passionato.mp3 7:46 10.64Mb MPEG Audio mp3
9. IV. Cello so ... Op. 99 - Allegro molto.mp3 4:23 6.011Mb MPEG Audio mp3
Cello sonata No ... . 102 No. 1 - Completo.wav 16:14 163.9Mb WAV audio wav
Cello sonata No ... . 102 No. 2 - Completo.wav 21:35 217.8Mb WAV audio wav
Cello sonata No. 2 in F Op. 99 - Completo.wav 29:28 297.4Mb WAV audio wav

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