Acknowledgments

Several people and institutions were instrumental in helping me to complete this paper. I had great help from overseas in assembling the first two appendices: a set of concert programs and a definitive list of works. The programs are from recitals given by Gaspar Cassadó at the Accademia Musica Chigiana in Siena, whose staff was kind enough to allow me access to its archives during my brief visit there. The list of works, which is the first to be based on Cassadó's own papers, is reproduced courtesy of the Museum of Educational Heritage at Tamagawa University in Tokyo, which maintains the collection of Cassadó's manuscripts by bequest of his widow, the Japanese pianist Chieko Hara. Though the collection is not yet open to the public, the museum's director, Dr. Takahiro Yamaguchi, graciously allowed publication of its catalog, and provided me with photocopies of several pieces.

In addition, several people helped me find out of print music and recordings by Cassadó: my former teachers Jeffrey Solow and Erling Blöndal Bengtsson, as well as Steve Kates, and especially Jeff van Osten. I would also like to thank Elaine Boda and M�nica Pag�s Santacana, not only for their excellent research on Cassad�, but also for assisting me with my own. Thanks also go to the former students of Cassadó with whom I communicated: Pablo Loerkens and Ben Zander.

Further thanks go to to my wife, Marie-France Lefebvre, for help with translating sources in French and Italian, as well as Elena Tscherny, for her assistance with materials in Spanish. Most of all, I would like to express my gratitude to the members of my dissertation committee for their patience and support, particularly the chairman, my teacher Evelyn Elsing. She has been a wonderful, inspiring presence in my life these past three years, and I am forever in her debt, not only for her great teaching, but also for her guidance in preparing this dissertation.

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