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Example 8b Cassado, Concerto in A minor, 3™ movement, mm. 1-24. Example 8a. Schubert, Arpeggione Sonata, 3™ movement,mm. 72-95. beginning.

Figure 16 Example 8b Cassado, Concerto in A minor, 3™ movement, mm. 1-24. Example 8a. Schubert, Arpeggione Sonata, 3™ movement,mm. 72-95. beginning.

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Table of Contents
Table of Contents
Example 1a. Franz Schubert, Arpeggione Sonata D. 821.,1S* movement,mm.1-18, the more convenient tenor clef. measures are the same material in the cello part. In terms of notation, Schubert writes the
Example 1a. Franz Schubert, Arpeggione Sonata D. 821.,1S* movement,mm.1-18, the more convenient tenor clef. measures are the same material in the cello part. In terms of notation, Schubert writes the
Example 1b. Gaspar Cassado, Concerto in A minor, 1** movement,mm. 1-22. Schubert introduces the second theme in measure 53 (see example 2a), which appears in
Example 1b. Gaspar Cassado, Concerto in A minor, 1** movement,mm. 1-22. Schubert introduces the second theme in measure 53 (see example 2a), which appears in
Example 2a. Schubert, Arpeggione Sonata, 1%* movement, mm. 53-63.
Example 2a. Schubert, Arpeggione Sonata, 1%* movement, mm. 53-63.
Example 2b. Cassado, Concerto in A minor, 1° movement, mm.78-88.
Example 2b. Cassado, Concerto in A minor, 1° movement, mm.78-88.
Example 3b. Cassado, Concerto in A minor, 1 movement,mm. 53-63. Example 3a. Schubert, Arpeggione Sonata, 1%* movement, mm. 31-38
Example 3b. Cassado, Concerto in A minor, 1 movement,mm. 53-63. Example 3a. Schubert, Arpeggione Sonata, 1%* movement, mm. 31-38
Bars 89-99 in Schubert’s Sonata (example 4a) contains the same thematic material as
Bars 89-99 in Schubert’s Sonata (example 4a) contains the same thematic material as
Example 4b. Cassado, Concerto in A minor, 1%*movement,mm.120-130. Example 4a. Schubert, Arpeggione Sonata, 1%* movement, mm. 89-99. anticipation. bowing than any of the Schubert editions. In bar 130 he marks a calando which creates more
Example 4b. Cassado, Concerto in A minor, 1%*movement,mm.120-130. Example 4a. Schubert, Arpeggione Sonata, 1%* movement, mm. 89-99. anticipation. bowing than any of the Schubert editions. In bar 130 he marks a calando which creates more
Measures 200-207 (example 5a) of the first movement of Schubert’s Sonata is borrowed in very last chord, which is voiced differently. In Schubert’s case the ending of the movement
Measures 200-207 (example 5a) of the first movement of Schubert’s Sonata is borrowed in very last chord, which is voiced differently. In Schubert’s case the ending of the movement
Example 5a. Schubert, Arpeggione Sonata, 1S‘ movement, mm. 200-207. Cassado’s live recording the audience bursts into enthusiastic applause after the ending of
Example 5a. Schubert, Arpeggione Sonata, 1S‘ movement, mm. 200-207. Cassado’s live recording the audience bursts into enthusiastic applause after the ending of
Example 6a. Schubert, Arpeggione Sonata, 2’ movement, mm. 1-39 34. Cassado, Halle Tradition.
Example 6a. Schubert, Arpeggione Sonata, 2’ movement, mm. 1-39 34. Cassado, Halle Tradition.
Example 6b. Cassado, Concerto in A minor, 2°‘ movement, mm. 1-36. Measures 47-72 are very similar in both pieces, except measure 55, which is marked
Example 6b. Cassado, Concerto in A minor, 2°‘ movement, mm. 1-36. Measures 47-72 are very similar in both pieces, except measure 55, which is marked
Example 7a. Schubert, Arpeggione Sonata, 2"? movement, mm. 41-71. Example 7b. Cassado, Concerto in A minor, 2°‘ movement, mm. 41-71.
Example 7a. Schubert, Arpeggione Sonata, 2"? movement, mm. 41-71. Example 7b. Cassado, Concerto in A minor, 2°‘ movement, mm. 41-71.
2-64, (examples 9a and 9b), Cassado adds arpeggiated chords and double stops to the
2-64, (examples 9a and 9b), Cassado adds arpeggiated chords and double stops to the
Example 9b. Cassado, Concerto in A minor, 3% movement, mm. 46-89. Example 9a. Schubert, Arpeggione Sonata, 3™ movement, mm. 123-135.
Example 9b. Cassado, Concerto in A minor, 3% movement, mm. 46-89. Example 9a. Schubert, Arpeggione Sonata, 3™ movement, mm. 123-135.
The entire “C” section of the Rondo form consists of the same thematic material in both third 224), rubato (measures 232), espressivo (measure 233) since he writes out the repeated
The entire “C” section of the Rondo form consists of the same thematic material in both third 224), rubato (measures 232), espressivo (measure 233) since he writes out the repeated
Example 10a. Schubert, Arpeggione Sonata, 3™ movement,mm. 270-314. Example 10b. Cassado, Concerto in A minor, 3™ movement, mm. 216-297.
Example 10a. Schubert, Arpeggione Sonata, 3™ movement,mm. 270-314. Example 10b. Cassado, Concerto in A minor, 3™ movement, mm. 216-297.
Example 11a. Cassado, Concerto in A minor, 1% movement, mm. 18-33. Example 11b. Schubert, Arpeggione Sonata, 1‘ movement, mm.22-23. Cassado introduces a “new” second theme in measure 65 (example 12b) in the first
Example 11a. Cassado, Concerto in A minor, 1% movement, mm. 18-33. Example 11b. Schubert, Arpeggione Sonata, 1‘ movement, mm.22-23. Cassado introduces a “new” second theme in measure 65 (example 12b) in the first
Measures 33-54 of Cassado’s Concerto first movement is a great example of the use of
Measures 33-54 of Cassado’s Concerto first movement is a great example of the use of
Example 13. Cassado, Concerto in A minor, 1S movement, mm. 32-50. In measures 134-139 of the first movement (example 14) Cassado throws in a musical
Example 13. Cassado, Concerto in A minor, 1S movement, mm. 32-50. In measures 134-139 of the first movement (example 14) Cassado throws in a musical
The largest and most original section of the entire concerto is the cadenza (example 15) Example 14. Cassado, Concerto in A minor, 1S movement, mm. 134-139. in the first movement which serves as a bridge from the development section to the
The largest and most original section of the entire concerto is the cadenza (example 15) Example 14. Cassado, Concerto in A minor, 1S movement, mm. 134-139. in the first movement which serves as a bridge from the development section to the
Example 15. Cassado, Concerto in A minor, 1%*movement, cadenza. Measures 156-167 of the Concerto’s first movement is a good example of how
Example 15. Cassado, Concerto in A minor, 1%*movement, cadenza. Measures 156-167 of the Concerto’s first movement is a good example of how
exposition. 66 a” in measure 167 the orchestra plays the dramatic version of motive “a” again just like in th
exposition. 66 a” in measure 167 the orchestra plays the dramatic version of motive “a” again just like in th
Despite the fact that the second movement of the concerto is very similar to the sonata’s the emphasis on the “ arpeggione effect” again. capable of playing Cassado’s tempo. These passages and the chords in measure 241 manifest narked “‘g” is in the cello part (example 18a), in Cassado’s piece the cello is tacet and the
Despite the fact that the second movement of the concerto is very similar to the sonata’s the emphasis on the “ arpeggione effect” again. capable of playing Cassado’s tempo. These passages and the chords in measure 241 manifest narked “‘g” is in the cello part (example 18a), in Cassado’s piece the cello is tacet and the
Example 20a. Schubert, Arpeggione Sonata, 3“ movement, mm. 323-337. accompaniment of the orchestra. have not projected over an orchestra and would not have been idiomatic as a bowed
Example 20a. Schubert, Arpeggione Sonata, 3“ movement, mm. 323-337. accompaniment of the orchestra. have not projected over an orchestra and would not have been idiomatic as a bowed
Example 21. Cassado, Concerto in A minor, 3“ movement, mm. 389-437. Cassado’s cello technique and inventions chord at the end guarantees a blockbuster ending for the concerto and it is quite contrasting new, added material and a paraphrase of the themes of the previous sections of the movement.
Example 21. Cassado, Concerto in A minor, 3“ movement, mm. 389-437. Cassado’s cello technique and inventions chord at the end guarantees a blockbuster ending for the concerto and it is quite contrasting new, added material and a paraphrase of the themes of the previous sections of the movement.
Cassado’s writing in the Concerto expands the possibilities of range and virtuosity of the cello repertoire grew immensely with pieces that constitute most of the standard repertoire
Cassado’s writing in the Concerto expands the possibilities of range and virtuosity of the cello repertoire grew immensely with pieces that constitute most of the standard repertoire
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