For today's public, who might not always know Pablo Casals by more than his name: who was he in reality, as a musician, but also as a man?
Bernard Meillat: Casals' life is worthy of a novel: a little boy born in a small Catalan village, who only discovered the cello at the age of eleven, grew up to become not only the greatest cellist of his time but also a symbol of humanism. Beyond his long career, his recordings (including the Bach Suites, the Dvořák Cello Concerto, and numerous chamber music works, in trio with pianist Alfred Cortot and violinist Jacques Thibaud or at the Prades Festival) remain essential references and sources of inspiration to this day. Throughout his life, from the early years of the 20th century when he spoke out for Dreyfus, he has fought against injustice, and for peace and democracy. In 1945, he stepped away from his career in protest against the Allies' decision to maintain Franco's dictatorship in Spain. He was awarded the United Nations Peace Medal and was nominated for the Nobel Prize. The secret of his success and longevity lay in his immense love for music and life, his appreciation for simplicity, and a capacity for wonder that never waned, even in his final days.
Casals is often described as the man who “invented” the modern cello: in what way was his approach to the instrument and to music revolutionary?
Thanks to his characteristic blend of intuition and logic, Casals profoundly changed cello technique. Instead of the customary practice of sliding the left hand along the fingerboard, it seemed natural to him to use the extension of the hand and fingers. This gave him greater agility and much more accurate intonation. In bowing, Casals discarded the unnecessary constraints that were common at the time, such as locking the elbow joint or constantly using the full length of the bow. Casals detested the cult of beauty for beauty’s sake. A large, systematic vibrato quickly seemed monotonous and inexpressive to him. The need to vary and master vibrato was the most important lesson Casals taught all string players: a technical lesson, as it is very difficult to achieve, and a lesson in humility, as vanity in sound fades must give way to the music itself.
What distinguishes Pablo Casals from the other great cellists of his time, and why does he remain an essential reference point a century later?
Technical ease and impeccable accuracy opened up new horizons for cellists. Thanks to Casals, the instrument established itself as a solo instrument in its own right, equal to the piano and the violin, despite its limited concerto repertoire. Casals shares with Furtwängler the rare privilege of remaining an “indispensable reference”. Even the surge of “Baroque specialists” has not rendered his interpretation of Bach's Cello Suites obsolete. And Harnoncourt stated that his favourite recording of Mozart's 40th Symphony was Casals'. Casals was often asked about the balance between intuition and intelligence in musical interpretation. The French philosopher Bergson had discussed this at length with him. Casals trusted his intuition, but never stopped questioning and searching. Regarding the interpretation of Bach, Casals said: 'We are only emerging from the stage of tentative exploration. The best advice is to deliberately set aside prejudices and get as close as possible to what this music communicates and inspires in us.’ His interpretations never ceased to evolve, and he was convinced, at the age of 90, that he would continue to make progress in his understanding of the works.
Did Pablo Casals harbour a desire to pass on his art to young musicians at certain points in his career?
He began teaching at an early age. In 1896, when he was not yet twenty, he became a teacher at the Barcelona School of Music. Even as his career flourished spectacularly, he continued to give lessons to young cellists. Guilhermina Suggia and Gaspar Cassado were among his most famous pupils. Between the two world wars, he was involved in the Ecole Normale de Musique de Paris founded by Alfred Cortot. Between 1945 and 1955, young cellists, violinists and violists from all over the world came to Prades to take lessons with him. From 1952, he gave master classes every summer in Zermatt. From 1960 onwards, he taught all over the world, in Berkeley, Marlboro, Puerto Rico, Siena, etc. His last real student was Miklos Perényi. Casals felt a duty to teach, to share his knowledge and experience. It enriched him and nourished his thinking. He often demonstrated on his cello, not hesitating to exaggerate expression to aid understanding. Teaching was a source of great joy for him!
Besides his musical career, Casals was deeply involved in ethical and political matters. How did his convictions shape his art and his relationship with music?
He often said that before being a musician, he was first and foremost a human being. He believed that when something is immoral, it is our duty to protest, adding that the more famous one is, the greater the responsibility. He was deeply shaken by the atrocities of the First World War. When peace returned, he considered it his duty to do everything in his power to prevent such horrors from happening again. Convinced that education was the best way to raise human consciousness, and that music was the universal language that enabled people to understand each other, he decided to create an orchestra in Catalonia. Eager to make music accessible to a wider audience, he encouraged the creation of the Workers’ Concert Association with numerous activities. He did not limit himself to conducting in Barcelona but toured with his orchestra in cities throughout Catalonia. Throughout his life, Casals remained deeply involved with the political and social situation of the world. He fought tirelessly for freedom and respect for the human person, without ever being bound by any partisan ideology. He protested vehemently when he was told that he was engaging in politics. What Casals was most proud of was the material and moral help he gave to his compatriots when Franco emerged victorious from the Spanish Civil War and six hundred thousand Republicans were forced to take refuge in France. In order to promote peace, Casals launched a musical crusade in 1960 with his oratorio El Pessebre (The Nativity), which he conducted more than forty times around the world, including on the other side of the Iron Curtain.
Can it be said that the friendship between Queen Elisabeth and Pablo Casals was based on shared values, such as artistic excellence, peace and respect for human dignity, and how did this manifest itself in practice?
The friendship, even the close personal bond, between Queen Elisabeth and Casals was based first and foremost on music. They had met under the auspices of Eugène Ysaÿe. Every year, the Queen attended the Prades Festival. She also went to the Puerto Rico and Marlboro Festivals, declaring to the New York Times that Marlboro was the best music school in the world. Casals, for his part, often visited her at Stuyvenberg Castle or in De Panne. The Queen seized every opportunity to play with Casals and the other musicians present. Queen Elisabeth and Casals shared many values. Casals admired the courage and dedication the Queen had shown during the First World War, her desire to improve the lives of her people, especially the most disadvantaged, and the help she had given the Jews of Belgium during the Second World War. Both were actively committed to peace and to opposing the proliferation of nuclear weapons. They shared a love of nature, a similar simplicity and an ever-curious spirit.
Can you tell us the story of Pablo Casals' Gofriller cello: how did it come into his life and why did it become ‘his’ instrument?
After playing for several years on the Gagliano presented to him by the Queen of Spain, Casals bought a cello from Matteo Goffriller in Paris in 1908, which he retained until his death. The cello suited his physique and hands so well, and he understood its expressive possibilities so deeply, that Casals never considered changing instruments. It became his closest companion! He willingly renounced the Stradivarius instruments he could have acquired, convinced that its brilliant sound and the weight of its history would prevent him from making his own voice heard.
What are the acoustic and physical characteristics of this cello, and what makes it so exceptional in the eyes of musicians and luthiers? To what extent did the instrument influence Casals's playing?
Until the 1920s, the Goffriller name was largely unknown, while Stradivarius cellos were virtually unchallenged, especially as Goffriller did not sign his final instruments. Nowadays, Goffriller cellos are highly sought after by cellists. Casals liked to say that his instrument was “capricious”! He explained that it takes time to become familiar with it, to master its possibilities, and to understand its limits. One should never push the bow too hard against the strings to produce a fortissimo: the cello would resist and fail to fail to respond as expected. It is striking that Casals never seems to force the bow to release all its power. What makes it unique is its timbre, which comes close to the human voice, with a flexibility that allows for nuances of infinite subtlety.
Lending such a legendary instrument for four years is a grand gesture: what does the Pau Casals Foundation wish to convey through this loan to the winner of the Queen Elisabeth Competition?
Upon his death, Casals left the instrument to the Pau Casals Foundation. His widow, Marta Casals, had been responsible for it until recently, and has now handed it over to the Foundation. Selling it was out of the question, as for Spaniards, and Catalans in particular, it's a national treasure! We felt that the best way to keep the cello alive was to lend it to a young musician of exceptional talent. We could have set up a committee and chosen a cellist, but considering the deep friendship between Queen Elisabeth and Casals, the prestige of the Competition and the excellence of its organisation, lending the cello to the first laureate seemed the obvious choice. The coincidence of the 150th anniversaries of Queen Elisabeth and Casals, in the very year the Competition is dedicated to the cello, would have been enough to convince us. This small coincidence brings to mind another. In Prades in 1961, Yehudi Menuhin gave four concerts at the start of the festival, playing Vivaldi's Four Seasons in the last one. What a surprise it was for the Queen and Casals when Menuhin returned to the stage accompanied by David Oïstrakh, whose arrival had only been planned for the following day. The two great violinists, both so close to the Queen and Casals, played Bach's Double Concerto in honour of their 85th birthdays! In 2026, they will be reunited once again for their 150th anniversary!
Curious to find out more about Pablo Casals? Go to the website of the Pau Casals Foundation. We thank the Queen Elisabeth Competition for letting us publish this article.
Would you like to see Casals’ historic cello in the ‘flesh’? The Pau Casals Foundation is exhibiting the instrument at Bozar from 21 to 30 May. You’ll find it – safely behind glass – in front of The 23.
The final rounds and the closing concert are completely sold out, but there are still a few tickets left for the laureates’ concert on 8 June. Book them here.
The next nocturne Bozar all over the P(a)lace on 21 May is all about the cello. Short films, performances and a DJ set showcase the power of the instrument.
