Casals, Pablo (actually, Pau Carlos Salvador Defilló)
Casals, Pablo (actually, Pau Carlos Salvador Defilló)
great Spanish cellist; b. Vendrell, Catalonia, Dec. 29, 1876; d. San Juan, Puerto Rico, Oct. 22, 1973. Legend has it, supported by Casals himself, that he was conceived when Brahms began his B-flat Major Quartet, of which Casals owned the original MS, and that he was born when Brahms completed its composition. This legend is rendered moot by the fact that the quartet in question was completed and performed before Casals was even born. But even the ascertainable facts of the life of Casals make it a glorious tale. His father, the parish organist and choirmaster in Vendrell, gave Casals instruction in piano, violin, and organ. When Casals was 11, he first heard the cello performed by a group of traveling musicians, and decided to study the instrument. In 1888 his mother took him to Barcelona, where he enrolled in the Escuela Municipal de Música. There he studied cello with José García, theory with José Rodoreda, and piano with Joaquín Malats and Francisco Costa Llobera. His progress as a cellist was nothing short of prodigious, and he was able to give a solo recital in Barcelona at the age of 14, on Feb. 23, 1891; he graduated with honors in 1893. Albéniz, who heard him play in a café trio, gave him a letter of introduction to Count Morphy, the private secretary to María Cristina, the Queen Regent, in Madrid. Casals was asked to play at informal concerts in the palace, and was granted a royal stipend for composition study with Tomás Bretón. In 1893 he entered the Cons, de Música y Declamación in Madrid, where he attended chamber music classes of Jésus de Monasterio. He also played in the newly organized Quartet Soc. there (1894–95). In 1895 he went to Paris and, deprived of his stipend from Spain, earned a living by playing second cello in the theater orch. of the Folies Marigny. He decided to return to Spain, where he received, in 1896, an appointment to the faculty of the Escuela Municipal de Música in Barcelona; he was also principal cellist in the orch. of the Gran Teatro del Liceo. In 1897 he appeared as soloist with the Madrid Sym. Orch., and was awarded the Order of Carlos III from the Queen. His career as a cello virtuoso was then assured. In 1899 he played at the Crystal Palace in London, and later for Queen Victoria at her summer residence at Cowes, Isle of Wight. On Nov. 12, 1899, he appeared as a soloist at a prestigious Lamoureux Concert in Paris, and played with Lam-oureux again on Dec. 17, 1899, obtaining exceptional success with both the public and the press. He toured Spain and the Netherlands with the pianist Harold Bauer (1900–1901); then made his first tour of the U.S. (1901–2). In 1903 he made a grand tour of South America. On Jan. 15, 1904, he was invited to play at the White House for President Theodore Roosevelt. In 1906 he became associated with the talented young Portuguese cellist Guilhermina Suggia, who studied with him and began to appear in concerts as Mme. P. Casals-Suggia, although they were not legally married. Their liaison was dissolved in 1912; in 1914 Casals married the American socialite and singer Susan Metcalfe; they were separated in 1928, but did not divorce until 1957. Continuing his brilliant career, Casals organized, in Paris, a concert trio with the pianist Cortot and the violinist Thibaud; they played concerts together until 1937. Casals also became interested in conducting, and in 1919 he organized, in Barcelona, the Orquesta Pau Casals and led its first concert on Oct. 13, 1920. With the outbreak of the Spanish Civil War in 1936, the Orquesta Pau Casals ceased its activities. Casals was an ardent supporter of the Spanish Republican government, and after its defeat vowed never to return to Spain until democracy was restored. He settled in the French village of Prades, on the Spanish frontier; between 1939 and 1942 he made sporadic appearances as a cellist in the unoccupied zone of southern France and in Switzerland. So fierce was his opposition to the Franco regime in Spain that he declined to appear in countries that recognized the totalitarian Spanish government, making an exception when he took part in a concert of chamber music in the White House on Nov. 13, 1961, at the invitation of President John F. Kennedy, whom he admired. In 1950 he resumed his career as conductor and cellist at the Prades Festival, organized in commemoration of the bicentennial of the death of Bach; he continued leading the Prades Festivals until 1966. He made his permanent residence in 1956, when he settled in San Juan, Puerto Rico (his mother was born there when the island was still under Spanish rule). In 1957 an annual Festival Casals was inaugurated there. During all these years, he developed energetic activities as a pedagogue, leading master classes in Switzerland, Italy, Berkeley, Calif., and Marlboro, Vt., some of which were televised. Casals was also a composer; perhaps his most effective work is La sardana, for an ensemble of cellos, which he composed in 1926. His oratorio El pessebre (The Manger) was performed for the first time in Acapulco, Mexico, on Dec. 17, 1960. One of his last compositions was the Himno a las Naciones Unidas (Hymn of the United Nations); he conducted its first performance in a special concert at the United Nations on Oct. 24, 1971, two months before his 95th birthday. On Aug. 3, 1957, at the age of 80, Casals married his young pupil Marta Montañez; following his death, she married the pianist Eugene Istomin, on Feb. 15, 1975. Casals did not live to see the liberation of Spain from the Franco dictatorship, but he was posthumously honored by the Spanish government of King Juan Carlos I, which issued in 1976 a commemorative postage stamp in honor of his 100thbirthday.
L. Littlehales, P. G (N.Y., 1929; rev. ed., 1948); A. Conte, La Légende de P C.(Perpignan, 1950); J. Corredor, Conversations with C.(London, 1956); A. Seiler, G (Olten, 1956); P. and A. Kahn, Joys and Sorrows: Reflections by P. C. as Told to Albert E. Kahn (N.Y., 1970); H. Kirk, P. G A Biography (N.Y., 1974); D. Blum, C. and the Art of Interpretation (London, 1977); J. Lloyd Webber, éd., Song of the Birds: Sayings, Stories, and Impressions of P. C.(London, 1985); J. Corredor, P. C. (Barcelona, 1991); J. Hargrove, P. G: Cellist of Conscience (Chicago, 1991); R. Baldock, P. C. (London, 1992); H. Garza, P. C. (N.Y., 1993); D. Goodnough, P. G: Cellist for the World (Springfield, N.J., 1997).
—Nicolas Slonimsky/Laura Kuhn/Dennis McIntire
"Casals, Pablo (actually, Pau Carlos Salvador Defilló)." Baker’s Biographical Dictionary of Musicians. . Encyclopedia.com. 25 Apr. 2019 <https://www.encyclopedia.com>.
"Casals, Pablo (actually, Pau Carlos Salvador Defilló)." Baker’s Biographical Dictionary of Musicians. . Encyclopedia.com. (April 25, 2019). https://www.encyclopedia.com/arts/dictionaries-thesauruses-pictures-and-press-releases/casals-pablo-actually-pau-carlos-salvador-defillo
"Casals, Pablo (actually, Pau Carlos Salvador Defilló)." Baker’s Biographical Dictionary of Musicians. . Retrieved April 25, 2019 from Encyclopedia.com: https://www.encyclopedia.com/arts/dictionaries-thesauruses-pictures-and-press-releases/casals-pablo-actually-pau-carlos-salvador-defillo
Encyclopedia.com gives you the ability to cite reference entries and articles according to common styles from the Modern Language Association (MLA), The Chicago Manual of Style, and the American Psychological Association (APA).
Within the “Cite this article” tool, pick a style to see how all available information looks when formatted according to that style. Then, copy and paste the text into your bibliography or works cited list.
Because each style has its own formatting nuances that evolve over time and not all information is available for every reference entry or article, Encyclopedia.com cannot guarantee each citation it generates. Therefore, it’s best to use Encyclopedia.com citations as a starting point before checking the style against your school or publication’s requirements and the most-recent information available at these sites:
Modern Language Association
The Chicago Manual of Style
American Psychological Association
- Most online reference entries and articles do not have page numbers. Therefore, that information is unavailable for most Encyclopedia.com content. However, the date of retrieval is often important. Refer to each style’s convention regarding the best way to format page numbers and retrieval dates.
- In addition to the MLA, Chicago, and APA styles, your school, university, publication, or institution may have its own requirements for citations. Therefore, be sure to refer to those guidelines when editing your bibliography or works cited list.