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Cassado - Requiebros for cello and piano

Cassado - Requiebros for cello and piano.  This colorful expressive composition is the unique sample of work for string instrument by the well-known virtuoso of music. This composition impresses performer by engrossing changes of phrases of soloist and piano and different character interesting characteristics.

Cassadó first came to the United States in 1928, and during this visit he received an important premiere from the New York Philharmonic. On November 8, William Mengelberg conducted the first performance of the Rapsodia Catalana, a work for orchestra based on songs and dances from Cassadó's home state. The program notes from this concert placed Cassadó in a group of prominent young Spanish composers which included Albéniz, Turina and Federico Mompou.

To view the first page of Cassado - Requiebros for cello and piano click the music sheet image.

Cello part: 3 pages. 162 K


Piano part: 11 pages. 584 K


Instrument part - First page Piano part - First page

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In Requiebros there is a repeated dotted rhythm about which, according to Manual Cervera, Cassado was particularly concerned. He didn't want a marching rhythm here. The semiquaver must be emphasised and fully played out. In all three of Cassado's recordings these rhythms are played emphasising the semiquaver; there is a clear accent and even a relaxation of tempo in these bars. On the contrary, Casals' version of this rhythm is more march-like, with a harsher accent and there is a clear tendency to overdot all the rhythms in this section, with the tempo moving forward rather than broadening through emphasis. Claret in his recordings stays somewhere in between, but also slightly overdots the dotted rhythms. Cassado's indication in the score is con suono energico, so it is easy to understand why many performers would play the section pressing forward.

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