A Rhetorical Analysis Of 'Casals Suite' By Marc Migo

Casals Suite by Marc Migo Casals Suite by Marc Migó utilizes several techniques that are rather innovative in respects to time, including, but not limited to, an atmospheric sound achieved by false harmonics, suspended time vs. active time, approximation of the duration of notes, lengthy cadenzas for the performers and many more. This piece is written for violin, cello, and piano and consists of 5 movements that are connected to one another. Since the movements move seamlessly from one to the next, the audience and listeners lose the concept of time and begin to feel confused as to which movement is currently playing. Another factor that plays into the audience confusion of time is the fact the motif seen in Figure 1 repeats several times

Bach’s Cello Suite No.1 in G Major, a very important work for Pablo Casals and all cellists. Since the violin and piano are tacet for most of the piece, time disappears for these musicians as they have now become listeners instead of performers. Due to the moderate tempo, this movement begins with a feeling of suspended time and creates an atmospheric and relaxed feeling, although it transitions throughout the movement to a feeling of active time as the tempo accelerates along with the energy. A technique that Migo uses which is very innovative in respect to time, is letting the performer approximate how long a note or phrase should last. As seen in Figure 1, Migó writes ca.5” in measure 20 in all 3 instruments parts. This means that the note should be circa 5 seconds long, however the musicians approximate in the performance how long they think it should last. Because of this uncertainty in timing, the duration of these notes and phrases are always different in every rehearsal and performance. After the cello’s 3 minute solo, the violin enters with a low A that is held over for the last 5 bars of the movement and into the second movement. Since the first and second movement do not have a distinct beginning and end, the audience has already lost the concept

This movement is marked lontano – meaning in the distance – and begins with violin and cello marked with no vibrato and sul tasto. These markings are creating a sorrowful atmosphere that feels very still and faraway. The piano remains silent until measure 35, leaving the violin and cello to a duet where they react to one another. Throughout the movement, Migó uses commas at the end of phrases to indicate a breath should be taken in order for the movement to flow and not sound rushed. As we reach the development, a sense of urgency begins to develop and the piano finally joins at measure 35, however this does not last long. After a piercing fortissimo, the dynamics begin to drop again and the violin and cello continue their duet without the piano at measure 43. As expected, this movement is once again connected to the succeeding movement with a tied over note, leaving the audience completely