LATIN CELLO DUOS
It seems that the word huapango comes from the náhuatl cuauhpanco that literally means over the wood platform; or, it could be a deformation of the word fandango that refers to the parties in which is played the huasteco son.
A few years ago some of Samuel Maynez’s manuscripts came to our hands during a Cello pedagogy course in Mexico D.C. Back in Europe, we very much liked those manuscripts and weasked Samuel to keep on sending us his music. It was the beginning of a bounding and exciting musical relationship.
When performing his music, both in Europe and Mexico, we had a great feedback from the audience. People were smiling after the concerts and that encouraged us to play and share Maynez’s music.
This CD has the triple attraction of being an audio, video and a set of 12 music sheets.
El cant dels Ocells
Integral Per Violoncel i Piano
Gaspar Cassadó was born in Barcelona on September 30th 1897. He was the son of composer and organ player Joaquín Cassadó, who was also choirmaster of La Merced church in Barcelona. His first violoncello teacher was Dionisio March and later he continued his studies in Paris with Pau Casals. He became well-known as a soloist playing with pianist Arthur Rubinstein. In 1914 he played for the first time in the Palau of Catalan music.
Gaspar Cassadó played regularly around Europe, standing out as one of the best violoncello players of his times. He also went on tour with the pianist Alicia de Larrocha. By the end of his life, Gaspar Cassadó played alongside his wife, Japanese pianist Chieko Hara, and as a trio he played with Menuhin and Kentner. He passed away on December 24th 1966. Cassadó filled his work with lyricism, and the features of his time, with Hispanic traditional reflexes and postromantic expressiveness, just like Albéniz and Granados learned to do with the keys of the piano.
This compilation of his work for violoncello and piano, which is introduced for the first time, constitutes an essential contribution to the spreading of Cassadó’s artistic legacy allowing at the same time to recover his most unknown work. The assembly with the piano in all his work has a remarkable balance and refinement. It is worth stressing the difficulty and the dense texture of the Sonata, creating a perfect dialogue between the two instruments and deserving a top rank in the repertoire of chamber music for violoncello and piano duo.
Iñaki Etxepare and his violoncello bring back the value of Gaspar Cassadó’s music with the enthusiastic participation of the pianist Ludovica Mosca.
Recorded at Albert Moraleda Studios, 2009.