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Cassado - Suite for Cello solo (1926)

Cassado - Suite for Cello solo. You can download the PDF sheet music Cassado - Suite for Cello solo (1926) on this page.


  1. Preludio-fantasia
  2. Sardana
  3. Intermezzo and Dance

The masterpiece of the Catalan composer Gaspar Cassado, the Suite for cello composed in 1925 is well known to exponents of the instrument for its virtuoso demands. Its three movements are based on three Spanish folk dances: a slow, noble sarabande serves as a prelude; a sardana (a dance with firm roots in Catalan culture) provides the rhythm for the second movement, while the third movement clearly refers to another Spanish dance in triple time, the jota (which left its stamp, for example, on Liszt's Rhapsodie espagnole for piano and Saint-Saens'slota aragonesa for orchestra). Aside from the structural framework of the dances, the style is marked by punctuating runs typical of the zarzuela and by free imitation of various instruments; a harp and a cimbalom in the plucked and struck string families, for instance, but also wind instruments in the passages in double stops (notably in the Sardana, a dance generally played by wind Instruments such as the bagpipes).

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Instrument part: 9 pages. 1715 K



Cassado - Suite for Cello solo (Prelude-Fantasy) - Instrument part - first page
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Gaspar Cassadó was born in Barcelona on September 30, 1897, into a musical family. After the war ended, Cassadó's international career flourished. He returned to Paris to give concerts, and also began performing in Italy. Through his friend Alfredo Casella, he met composers like Ildebrando Pizzetti and Francesco Malipiero, and began a lifelong commitment to performing contemporary music. At the same time, Cassadó began his own career as a composer; in 1922, he gave the premiere of one of his first works for cello and piano, La hilandera, el reloj y el galán.7 Cassadó once modestly referred to his compositional activities as a "hobby,"8 but he obviously wanted to present himself to the public as both a performer and composer, for he included his own works on virtually every recital he gave. Cassadó's reluctance to declare himself a full-fledged composer, as well as his false attribution of some of his works to other more famous composers like Schubert and Boccherini, will be briefly examined in the second chapter of this paper. Whatever Cassadó's reasons for downplaying his compositional talent, he initially became known internationally as much through his own works as for his outstanding cello playing.
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