THE steps by which a great artist has achieved fame and fortune are always of the highest interest to the music student, as well as the general musical reader. This is the story of a man, who, from a humble beginning in a provincial city in Spain, became the greatest cellist of his generation, because, as he says, he studies the art of music thoroughly, as well as the technic of his instrument.
Of actual ‘cello lessons under a teacher, he enjoyed but four years, from the age of twelve to sixteen years. These four years instruction gave him a thorough command of the technic and resources of his instrument – all the rest he worked out himself. How well he did this work is evident from the esteem in which he is held by his eminent confreres in the world of music. Of him Ysaÿe has said: “He is the greatest interpretative artist I have ever heard,” Fritz Kreisler, the violinist, says: “He is the greatest musician who has ever drawn a bow.” Josef Hofmann, eminent pianist, says: “When the Russians speak of Casals, they speak of him as a God.”
Pablo Casals enjoyed from his babyhood the “manysided musical intercourse” which Robert Schumann recommends as so necessary to the growing artist, in his Rules for Young Musi cians. His boyhood added one more to the list of eminent musicians who sang as choir boys in their early youth. At the age of five he sang in the local church at his native city of Vendrell, in Spain, where his father was organist and choirmaster. The mystic swell of the organ, and the melodious chant of the voices, rising to the fretted arches of the roof of the church, and the stately ceremonials of the mass, filled his boyish soul with an undying love for music which bore golden fruit later on.
At five, he commenced the study of the violin, and piano, and gradually added theory, harmony, counterpoint, and composition as he grew older. By the time he was twelve, he was already a good violinist, pianist, and had added a wind instrument – the flute to his studies. At this age his theoretical and composition studies were also well advanced.
A Fine Beginning
In an interview for THE ETUDE, obtained by the editor of the violin department, Mr. Casals said of his career: “I was born in Vendrell, in Spain. My father was organist and choirmaster of the local church. I took to music almost as soon as I could walk, and at five, began to sing in the choir and studied the piano, violin and flute, besides beginning theoretical studies in music. I was considered something of a prodigy on the violin, and by the time I was twelve, I had acquired enough technic to play several concertos. I suppose I would have been a violinist, but the fates decided otherwise, for when I was eleven, an event happened which made me forsake the violin for the ‘cello. That event was when I heard García, a very good cellist of Barcelo na, play several solos. I was overwhelmed. it was a revelation to me. If was like a case of love at first sight. I fell violently in love with the ‘cello. It was what the French call a coup de fondre. I felt that here was the instrument which realized all my ideals.
“At twelve, I moved to Barcelona to study the ‘cello with García. I started on a halfsized ‘cello, my previous practice of the violin, piano, flute and my theoretical studies stood me in great stead.
I was already a musician, although a young one, and I consequently made very rapid progress. I studied in Barcelona four years in all, and during that time I suppose my actual practice on the ‘cello would amount to four hours daily.
“Most artists have had many masters on their chosen instrument, but I had only the one ‘cello teacher, Jose García, and four years lessons in all. At the age of sixteen, I had conquered the fundamental technic of the ‘cello, and after that age depended on myself entirely.
“About this time my playing attracted the attention of Queen Christina of Spain, and she conferred a decoration on me and also granted me a pension, so that I could go to Madrid for further development in my profession. The age of seventeen found me in Madrid where I remained for two years, but took no ‘cello lessons. I played the ‘cello parts in the chamber music organization of which the eminent violinist and musician, Monasterio, was the head. This did much to broaden me and perfect my style.
“The Secretary to the Queen, who looked after my pension then suggested that I go to Brussels to see Gavaerts, a famous and influential musical authority there. In Barcelona and Madrid I had devoted much time to composition and theoretical studies, and I took many of my compositions along to show to Gavaerts. After inspecting them he said: ‘Young man, you seem to have studied theory, harmony, counterpoint, composition and all branches of the musical art thoroughly. You know the technic of your art, and your work shows great talent for composition. I should advise you to go to Paris, hear all the music you can, write industriously and introduce your compositions wherever possible. I think you will succeed.”
“I followed this advice, set out for Paris, and settled down to composition. Unfortunately I had not gained the formal consent of the Secretary for leaving Brussels and going to Paris, and when he heard of it, he considered it a case of rebellion against his authority and induced the Queen to withdraw my pension. This left me stranded in Paris with my mother and two brothers, who had come to the French capital to be with me. As I was not yet known in Paris, we decid ed that there was nothing to do but return to Spain, and after many hardships succeeded in returning to Barcelona. Upon reaching that city a meeting with the secretary followed, and after I had explained matters to him, a complete reconciliation followed and I was re stored to royal favor. For the next three years I remained in Barcelona, practising my profession. I filled the position of first ‘cello in the symphony orchestra, and the orchestra of the grand opera, and gave lessons on the ‘cello.
“At twenty two, I returned to Paris, and here followed the first really great event of my career. I had an introduction to play for Lamoureux, the director of the famous orchestra concerts. He liked my playing and engaged me to play a ‘cello concerto with the orchestra at the next concert. I played, and it proved to be a sensational debut. I awoke the next morning to find myself famous. Engagements poured in, and since that day, I have never known what it was to be without a choice of many engagements, if not in one country, in another. Since that time I have been on the go, visiting and playing in every civilized country in the world. My life has been a succession of concert tours.”
Is the ‘Cello More Difficult than the Violin
“How would you compare the violin and the ‘cello in point of difficulty?” Mr. Casals was asked.
“If one would play pieces of any difficulty in an artistic manner, the ‘cello is much more difficult than the violin,” was his reply. “Cello playing has all the difficulties of violin play ing, and many difficulties which are peculiarly its ‘own. The ‘cello calls for much greater strength and more vitality on the part of the player, as the strings offer more resistance. The left hand technic presents many difficulties not found in violin playing. The strings are larger, and require much pressure to press them to the fingerboard to ensure a perfect tone. Then in the lower positions it is required to skip a finger in making whole tone intervals in many passages, instead of using consecutive fingers as would be done on the violin. The stretches are much, great er on the ‘cello, which adds to the labor of playing it. The distance for the intervals are greater, making perfect intonation more difficult. Then in the ‘thumb’ positions on the ‘cello, the left thumb must be withdrawn entirely from the neck of the instrument and placed directly on the string required where it acts as a moveable nut. To get the thumb exactly in the right place is very difficult. In the case of the violin the thumb is never entirely with drawn from contact with the neck or the side of the violin.
“The control of the bow is much more difficult in ‘cello playing, since the ‘cello is held in a vertical position. This being the case the strings offer no support to the bow, which must be supported and kept at all times in playing position by the thumb and fingers. The violin is held in a horizontal position, and the strings offer a support for the bow a great deal of the time. This is an important help in many kinds of difficult bowing.”
“What advice would you offer to the student who wishes to become a first rate ‘cellist?” I asked.
“The boy who is destined for the profession,” said Mr. Casals, “should be strong, sturdy and healthy, since it requires much strength to play the ‘cello. He should have a perfect ear and good all round musical talent, otherwise he could not possibly make a success on this instrument. He should have a hand large enough to make the stretches required in ‘cello playing. People with very small hands have no business with the ‘cello. Abnormally large hands again are not required, since extraordinarily long fingers are only in the way. A normal hand, with fingers long enough to make the stretches on a normally sized ‘cello, is all that is required. The actual start on the ‘cello should not be made at an extremely early age – 10 or 11 years is soon enough. However, I should strongly advise the future ‘cellist to commence his studies in music as early as five or six years of age.
“Let him take up the study of the piano and the violin, and theoretical studies. I consider it absolutely necessary that every musical student should study the piano, since that instrument is complete in itself, string and wind instruments are not. The piano player gets the musical picture complete, and not simply part of it, as is the case with other instruments. The study of the violin is also valuable because the problems of violin playing are very similar to those of ‘cello playing. Theory, harmony, counterpoint, etc. can be added as fast as the young pupil is able to comprehend them.
“The average pupil of ten, usually requires a halfsize ‘cello, and the change to a large instrument can be made as the pupil grows.
“I consider the largest sized ‘cellos too large for even an adult player. The length of the body of the largest sized ‘cello is from 75 to 76 centimeters. The body of the Bergonzi ‘cello I use in my own playing is only 73 centimeters. I find that I can play it much more effectively than the largest sized instruments. Strange to say, my playing seems to have as much volume and brilliance on the smaller instrument as on the larger.”
“What are the finest toned ‘cellos in existence?”
“Those of Stradivarius and the other Cremona makers. These great men made violins for the most part, but most of them also made some ‘cellos. The ‘cello I use in my concerts was made by Carlo Bergonzi, at Cremona. Bergonzi was the greatest pupil of Stradivari us, and his violins and ‘cellos are of the highest quality, and are constantly increasing in value. This Bergonzi ‘cello is valued at $20,000.”
“Which do you consider the world’s greatest ‘cello?”
“The Mendelssohn Stradivarius. This great ‘cello is one of the masterpieces of Antonious Stradivarius. It is owned by the Mendelssohns the famous bankers of Berlin. The family are descendants of the Mendelssohn family of which the famous composer, Felix Mendels sohn Bartholdy, was a member. One of the Mendelssohns is a ‘cello pupil of mine, who takes lessons when I am in Europe anywhere near Berlin. I have thus had ample opportu nities of studying this great instrument. This ‘cello originally belonged to Signor Piatti, the famous London ‘cellist, and at his death, some years ago, the ‘cello was bought from his wid ow by the Mendelssohns. It is one of the high est priced stringed instruments in the world, if not the most valuable of all. On one occasion I offered 150,000 marks for the ‘cello, at the time when the German mark was at full value. This would be in the neighborhood of $37,000 Ameri can money. My offer was refused however.”
“What about new ‘cellos?”
“I have played on some new instruments in Europe made by modern makers, which were of fairly good tone. I however prefer the old ‘cellos made by the makers of Cremona to all others. These great men had the genius and inspiration which enabled them to attain the ideal tone in their violins and ‘cellos, and their instruments have never been equalled or even approached.”
“How do you hold the bow?”
“The bow should be held as shown in the picture which accompanies this article, which shows it very clearly. The thumb is held against the stick opposite the second and third fingers, as in vi olin playing (as illustrated in Courvoisier’s Violin Technic.) I do not bend my thumb outwards though, so that the root of the thumb nail touches the edge of the hair of the bow, as is the case in holding the violin bow but hold it straighter.
“In bowing, the edge of the hair (with the stick of the bow inclined away from the bridge) is used at times, and at others the entire surface of the hair is kept on the string. It takes great strength and the full surface of the hair to produce a full and resonant tone on the C and G strings, but on the D and A strings and when producing lighter tones, the stick can be inclined away from the fingerboard and the edge of the hair used.”
“What of the position of the left hand?”
“In regard, to the position of the left hand there is some difference of opinion. The Brussels school has a position of the left hand very similar to that used by a violin player, that is, the neck of the ‘cello is grasped between the finger and thumb. I do not approve of this position as the stretching capacity is less and as it throws the second finger too far forward on the fingerboard in making semitones. The position which I use, and which I think is the best, is where the ball of the thumb is held against the neck on the underside, as shown in the picture. The hand is held well out from the neck, with fingers at almost right angles to the neck and resting with their tips on the strings. This is the position which the best teachers and the leading ‘cellists use. In Paris some of the teachers use a position which is somewhat of a compromise between these two positions.”
“How about the use of stretching machines and devices for stretching the fingers, which have come into use during the past few years?”
“Positively not. I am strongly against the use of any mechanical stretching machines. The use of these machines has become quite a fad in Europe within the past few years, but I think they are quite unnecessary and do more harm than good. The ‘cello student can get all the stretching necessary in playing good technical exercises on the ‘cello directly, without the manipulation of his hand by machinery. I do not approve of these stretching devices for the hand of the violinist either.”
“What are the best ‘cello bows?”
“Those made by Tourte, who also made the best violin bows. Tourte, you know, was a genius. He is called the Stradivarius of the bow. His ‘cello bows have the same supreme qualities as his violin bows, for balance, elasticity, correct weight and all other points of excellence. They command the highest price of any ‘cello bows.”
“What of great teachers?”
“There are a number of great teachers of ‘cello. Two of the greatest are Julius Klengel, of Leipzig, Germany, and Diran Alexanian, of Paris. Alexanian has just completed a ‘Cello School for students which will soon be avail able, and which I consider the greatest of all educational works for the ‘cello. It is not yet on the American market.”
“How about practice?”
“At first two hours daily will be enough for the young student, but as the pupil progresses he can increase this to four hours, but as it is very fatiguing to practice the ‘cello, the practice should be divided into short periods of an hour or less. Four hours practice should be enough for any one.”
“How about strings?”
“I do not adhere to any particular brand of strings. I buy good strings wherever I can find them. I do not actually insist on the C and G being wound with pure silver wire, copper wire will do if the winding is done evenly. The workmanship of the strings is the main thing. They must be perfectly true and produce a fine tone. Really first rate strings are sometimes difficult to procure. Any good violin rosin will do for the ‘cello. Patent pegs of any kind are an abomination. Ordinary pegs which have been fitted, by a skilled instrument maker are the best. The best case for the ‘cello is one like I use – made of papier maché. It is light, strong, and offers good protection. I carry my own instrument with me everywhere, as I would not care to trust it to be sent by express. I do not know what it is to have an accident with it. Cloth bags which are so much in use, are of little protection to the ‘cello, either against accidents, or against atmospheric changes. A strong light case of papier maché is the best.”
“Can you give a message to the violin and ‘cello students of America?”
“Tell them to become really good musicians, to study, not their own instrument alone, but the piano as well. Also the theoretical part of music, theory, harmony, counterpoint, fugue, composition. Listen to as much good music as possible, and gain a broad and thorough knowledge of the art of music. The student who confines himself solely to the study of his own instrument has a onesided education at best, and will never get very far.”
Pablo Casals, with Editor Robert Braine