U UNI V E RSI T Y O F C IN C INN A T I

Date: 5/21/2009

I, Moisés Ruiz de Gauna , hereby submit this original work as part of the requirements for the degree of:

Doctor of Musical Arts in Piano Performance

It is entitled:

Federico Mompou and The Piano: a Performer's Guide

Student Signature: Moisés Ruiz de Gauna

This work and its defense approved by:

Committee Chair: Miguel A. Roig-Francolí Frank Weinstock

Kenneth Griffiths

Approval of the electronic document:

I have reviewed the Thesis/Dissertation in its final electronic format and certify that it is an accurate copy of the document reviewed and approved by the committee.

Committee Chair signature: Miguel A. Roig-Francolí Federico Mompou and The Piano: a Performer’s Guide

A doctoral document submitted to the

Division of Graduate Studies and Research of the University of Cincinnati

in partial fulfillment of the

requirements for the degree of

DOCTOR OF MUSICAL ARTS

in the Keyboard Division of the College-Conservatory of Music

21 May 2009

by

Moisés Ruiz de Gauna 358 Shiloh Street Apt#9 Cincinnati, OH 45220 [email protected]

Título Superior de Piano, Padre Antonio Soler Conservatory, 2001 Postgraduate Certificate, Liszt Academy of Budapest, 2002 Fulbright Grantee, 2002-2004 M.M., Eastman School of Music, 2004

Committee Chair: Dr. Miguel A. Roig-Francolí

Committee Member: Mr. Frank Weinstock

Committee Member: Mr. Kenneth Griffiths

ABSTRACT

This document seeks to provide a comprehensive performer’s guide to the piano works of Federico Mompou, a composer generally neglected in worldwide studies and performances. Furthermore, it also seeks to solve the problem of language isolation of the main sources of study, and to bring out the importance of Mompou’s own recording of his complete piano works. Chapter 1 consists of a biographical sketch of the composer in relation to the historical and artistic events in Spain and Europe, and more importantly, to Mompou’s own writings in the Spanish and Catalan languages—translations and commentaries in English are provided. Chapter 2 is devoted to Mompou’s attempt to write a piano treatise in 1913 “Study of Feeling,” which develops the main traits of the composers’s playing, and to its connection to his 1974 recording of his complete piano works. Chapter 3 includes a survey of Mompou’s complete piano works, with special emphasis on his sources of inspiration. Chapter 4 explores in detail the sources of

Mompou’s Twelve Preludes, which are representative of the composer’s style.

2

To my parents ≈≈≈≈≈≈≈≈≈≈

3 “To know is to fall into the abyss, not to know is the abyss.” —Rafael Ruiz de Gauna

4 ACKNOWLEDGEMENTS

Special thanks to Miguel Ángel Roig-Francolí, for all his help and time while advising and editing this document.

Special thanks to Frank Weinstock, for his mentorship and musicianship.

Special thanks to Kenneth Griffiths for his encouragement on writing on this topic, and for his mentorship.

Special thanks to a true artist, Sonia Rodríguez Bermejo, who first introduced me to the music of Mompou through a collaborative performance of Combat del Somni.

Special thanks to my beloved parents, who have made possible for me to have a life in music. Their artistic and intellectual abilities are unsurpassed to my knowledge.

5 CONTENTS

ABSTRACT 2

ACKNOWLEDGEMENTS 5

CONTENTS 6

LIST OF MUSICAL EXAMPLES 7

LIST OF FIGURES 9

INTRODUCTION 11

CHAPTER

1. Biography and Aesthetics Through Mompou’s 15 Writings

2. Mompou Plays Mompou 28

3. A Survey of the Complete Music: Sources of 49 Inspiration

4. The Twelve Preludes 77

CONCLUSION 93

BIBLIOGRAPHY 94

APPENDICES

1. Camí del Art, Recomenzar, Intuitividad, 96 El Momento Actual

2. Estudi del Sentiment 103

3. Música Callada 112

4. Canciones y Danzas 114

6 LIST OF MUSICAL EXAMPLES

1.1. Magic Chants 19

2.1. Música Callada, Book II, XV, Long Hairpin, 34

2.2. Música Callada, Book II, XV, Short Hairpin 35

2.3. Canción y Danza No. 4, mm. 3-4 46

2.4. Canción y Danza No. 4, mm. 5-6 46

2.5. Canción y Danza No. 4, Initial PointAcceleration Movement 47

2.6. Canción y Danza No. 4, Initial PointContinuation 47

2.7. Canción y Danza No. 4, Limit PointDelay and Overlap 48

2.8. Canción y Danza No.4, Rest PointDelay 48

2.9. Canción y Danza No.4, Phrase of Passion, mm. 9-12 48

3.1. Dansa 54

3.2. L’ermita 55

3.3. El Pastor 55

3.4. El Pastor 56

3.5. Scriabin, Prelude for the Left Hand, Op. 9 #1 68

3.6. Variations on a theme by Chopin, Variation V 68

3.7. Variations on a theme by Chopin, Variation VII 69

3.8. Schumann, Symphonic Etudes, Etude No. 9 70

3.9. Variations on a theme by Chopin, Variation X 70

3.10. Chopin, Fantasie Impromptu, Op.66 70

3.11. Canción y Danza No. 3, Sardana 73

7 3.12. Canción No. 12 73

3.13. Danza No. 12 74

4.1. Prelude I, mm. 1-2 77

4.2. Prelude I, mm. 11-12 77

4.3. Prelude II, “Street Market Screams” 78

4.4. Prelude II, mm. 1-4 79

4.5. Prelude III, mm. 1-2 80

4.6. Prelude IV, mm. 1-4 81

4.7. Prelude V, Section A-Melodic Character 81

4.8. Prelude V, Section B-Rhythmic Character, use of drone bass 82

4.9. Prelude V, Return of Section A-Melody without modifications 82

4.10. Prelude VI, Five-Note Cell 83

4.11. Prelude VI 83

4.12. Prelude VII 84

4.13. Prelude VII 85

4.14. Prelude VIII 86

4.15. Prelude IX, Section A 86

4.16. Prelude IX, Section B 87

4.17. Prelude X, Metallic Chord 87

4.18 Prelude XI, First Version 88

4.19 Prelude XI, Ossia Version 89

4.20. Prelude XII, Section B, mm. 15-17 89

4.21. Prelude XII, Return of Section A, mm. 27-29 90

8 LIST OF FIGURES

1.1. Manuscript of Metallic Chord 16

1.2. Solitude and Path to Art 17

1.3. Mompou’s Compositional Routine 21

1.4. Música Callada 24

1.5. Intuitivity 25

1.6. Restart 27

2.1. Study of Feeling 30

2.2. Piano Sonority’s 3-step 32

2.3. Types of Phrases/Feelings 36

2.4. Division of a Work 37

2.5. Phrase of Passion’s Process 38

2.6. Movement of the Notes 39

2.7. Delay of Second of Order 40

2.8. Slur Sign Meaning 42

2.9. Order of the Delay Sign 42

2.10. Sensitive Note 43

2.11. Phrase of Passion’s Complete Process 44

3.1. Mompou and Satie 50

3.2. Mompou’s Sources of Inspiration 51

3.3. Música Callada, First Book, I-IX 64

3.4. Música Callada, Second Book, X-XVI 64

9 3.5. Música Callada, Third Book, XVII-XXI 65

3.6. Música Callada, Fourth Book, XXII-XXVIII 65

3.7. Variations on a Theme by Chopin 71

3.8. Canciones y Danzas 75

4.1. Prelude IX, Manuscript’s Dedication 86

4.2. Twelve Preludes 91

10 INTRODUCTION

Federico Mompou has received little attention by scholars, performers and audiences outside Spain. If Spain’s music is generally neglected, widely ignored in music history books, and vaguely mentioned in piano-related articles nowadays, it is mainly because the country suffered from great isolation during its military dictatorship from 1939 to 1975. Moreover, the common and fallacious saying that Spain’s best music was written by French composers has regrettably motivated no interest among international performers and artists. In spite of Mompou’s studies in Paris, his early love for the music of Fauré, and his disregard for Germanic-style musical development, he is a composer that undoubtedly achieved a unique and personal approach to composition.

Therefore, as an advocate of Spanish music, I wish to embark on a critical and analytical discussion of Federico Mompou’s piano works, addressed to the performer.

There are several important facts that need to be addressed in any study of

Mompou: the importance of his own writings (which are in the Spanish and Catalan languages) to understand his aesthetics and pianistic approach, the importance of his own recording of his complete piano works, and the importance of the piano as the main tool for his compositional process. In consequence, it is my aim to provide a comprehensive performer’s guide to Mompou’s piano music, which, in my opinion, has not yet been achieved by the available books and dissertations.

Pursuing research on Mompou is rather challenging because of the dearth of scholarship on the composer. Tomás Marco’s Historia de la Música Española, vol. 6,

11 Siglo XX, provides a short four-page essay on his life, works, and visions.1 This reference is very basic but serves as a starting point for any preliminary interest in the composer. On the other hand, the New Grove Dictionary’s entry is anythingbut complete, lacking depth and content. Apart from the translation into English of Marco’s book, only a disappointing total of two books dealing with Mompou are available in

English—Richard Paine’s Hispanic Traditions in Twentieth-Century Catalan Music, which contains a concise but remarkable study,2 and Wilfrid Mellers’ Le Jardin

Retrouvé.3 Perhaps more disappointing is the number of books published in Spanish that focus on Mompou: less than ten, one of which is a translation of Vladimir Jankélévitch’s book La Présence Lointaine: Albéniz, Séverac, Mompou.4

On the other hand, some of the books in Spanish offer us outstanding information regarding his biography, and most importantly, his reflections on music and life. Without a doubt, Clara Janés’ Federico Mompou : Vida, textos y documentos (life, texts, and documents) is essential for any performer or scholar interested in the composer. This source allows us to understand his life and works in detail. Moreover, we can examine his original documents and read several writings, letters and articles (from Mompou and other artists) that guide us through the understanding of the composer’s style.5 Another

1 Tomás Marco, Historia de la música española/6 Siglo XX (Madrid: Alianza Editorial, 1983), 82-6. 2 Richard Paine, Hispanic Traditions in Twentieth-Century Catalan Music (New York: Garland, 1989), 62-116. 3 Wilfrid Mellers, Le Jardin Retrouvé, The music of Frederic Mompou (York: The Fairfax Press, 1987). 4 Vladimir Jankélévitch, La Présence Lointaine: Albéniz, Séverac, Mompou (Barcelona: Ediciones del Bronce, 1999), 155-70. 5 Clara Janés, Federico Mompou: Vida, textos y documentos (Madrid: Fundación Banco Exterior, 1987).

12 essential source in Spanish is Antonio Iglesias’ Federico Mompou (su obra para piano). 6

This book surveys all the works for piano solo in a rather superficial fashion; however, it includes countless anecdotes and hints to the music, as told by Mompou himself, that will provide vital information for this document.

There are few dissertations devoted to the piano works of Mompou, but none of them is addressed to the performer. Thus, two of them are on Mompou’s four piano books of Música Callada: Anna Zalkind’s “Federico Mompou’s Música Callada” (also published as a book) 7, and Eric MacDonald Daub’s “The Música Callada of Federico

Mompou.”8 One is devoted to the Canciones y Danzas for piano solo, Christine Jean

Bendell’s “Federico Mompou: An Analytical and Stylistic Study of the Canciones y

Danzas.”9 Morover, Jennifer Lee Hamill’s The Development of Compositional Style in the Piano Music of Federico Mompou10 suggests a Beethovenian three-period compositional development in Mompou’s piano music that is more convenient than accurate.

Certainly, the most complete of all is Daub’s dissertation. It includes a good biography along with a survey of Mompou’s writings and works. In addition, it offers a fine theoretical analysis of Mompou’s four books of Música Callada. However, the

6 Antonio Iglesias, Federico Mompou, su obra para piano (Madrid: Editorial El Puerto, 1976). 7 Ann Zalkind, A Study of Catalan Composer Federico’s Mompou Música Callada (New York: The Edwin Mellen Press, Ltd., 2002). 8 Daub, Eric McDonald, “The Música Callada of Federico Mompou.” D.M.A. thesis., University of Texas Austin, 1997. 9 Bendell, Christine Jean, “Federico Mompou: An Analytical and Stylistic Study of the Canciones y Danzas For Piano.” D.M.A. thesis, University of Northern Colorado, 1983. 10 Hamill, Jennifer Lee, “The development of compositional style in the piano music of Federico Mompou.” D.M.A. thesis, University of Washington, 1991.

13 author should have taken more advantage of the importance of Mompou’s writings not only for the musicologist but for the performer, since they contain suggestions on how to play the piano and his works. Moreover, he could also have incorporated a discussion of

Mompou’s recording of his piano works and not just simply mention the existence of such medium.

I have come to the conclusion that there is no dissertation or book that discusses in detail Mompou’s writings, his theories about piano playing, and his own recording of the complete piano works. Nonetheless, the dissertations provide good theoretical analyses of many of the works, thus I will not include this approach in my document.

It is my hope that by making available Mompou’s aesthetics in English, providing a study of his piano treatise, and offer a complete guide to the sources of inspiration to his complete piano music, I will be able to help all the pianists and musicians, no matter where they are from, to approach his music with stylistic conviction.

14 CHAPTER I Biography and Aesthetics Through Mompou’s Writings

Barri de Platja (1893-1914)

Federico Mompou Dencausse was born on April 16th of 1893 in Barcelona, Spain.

Son of Frederic Mompou i Motmany and Josefina Dencausse i Cominal, his mother was of French origin and her family owned a bell foundry in Barcelona. He began to study piano in 1908 with Pedro Serra at Barcelona’s Conservatory, and gave his first public recital at the age of fifteen with works of Mozart, Schubert, Grieg and Mendelssohn.

The discovery of his vocation as a composer is related to a recital of Gabriel

Fauré and Marguerite Long in 1910 in Barcelona. The performance of Fauré’s Piano

Quintet Op. 89 made such a strong impact on Mompou that soon after this event he started composing his first piano sketches or papelitos. Among these first sketches we can find what Mompou called his “metallic chord” or Barri de Platja, literally “beach neighborhood.” This first musical discovery is an authentic and genuine remembrance of his youth. It not only portrays the metallic resonances of his family’s bell foundry, but the sounds and colors from the neighborhoods and suburbs of the industrial Barcelona, his walks by the sea, by the harbor and the mountains. In a text written in 1910, Mompou expresses the extreme importance of this chord:

15 Barri de Platja, 1910

This chord is all my music. I hear a strange harmony when I listen to distant noises. It is on a beach facing the sea mixing with a mysterious noise of iron and work.....The factories spread over it [a humble worker neighborhood] black smoke…like the dirty water that comes down from the city and gets caught between the sand and the large boulders....Four miserable shacks nailed on the wet sand, seem fearful of the sea that threatens them....It is getting dark! Work calms down...A hot wind passes by bringing me naively wild songs…boys and girls poorly dressed who roll and dance together around the fire...at night ... the factories are left in silence…while the sea prays an eternal plea to ensure the eternal repose of all things, that concern of the dream….11

Figure 1.1. Manuscript of “Metallic Chord”

11 Mompou: “Aquest acord és tota la meva música. Sento una harmonia estranya escoltant els sorolls llunyans. És sobre una platja davant del mar que barreja el seu ritme suau amb un misteriós soroll de ferro I de treball…Les fàbriques escampen sobre d’ell [un barri humil de treballadors] el fum negre…com l’aigua bruta que de la ciutat baixa lenta I queda estancada entre la sorra I grans blocs de pedra…Quatre miserables barraques clavades sobre la sorra humida, semblen temeroses del mar que les amenaca…Es fa fosc! El treball calma…Passa un vent calent que em porta uns cants ingenuamente salvatges…nois i noies pobrament vestits que fan rotllo i ballent tot voltant el foc…de nit!...les fàbriques queden abandonades en el silenci…mentre el mar resa una eterna oració vetllant el repòs de totes les coses, aquella inquietud del somni….” Janés, 436-37.

16 SOLITUDE AND PATH TO ART

After graduating from Barcelona’s Conservatory in 1911, Mompou moved to

Paris to study with Fauré with a recommendation letter of Enrique Granados. However, his shyness stopped him from introducing himself to Fauré, and he finally studied piano privately with Ferdinand Motte-Lacroix (pupil of Isidor Philipp), and harmony with

Marcel Samuel-Rousseau. While Mompou established a strong relationship with his piano teacher Motte-Lacroix, he was never satisfied with his academic study of harmony with Samuel-Rosseau, full of restrictions and limitations—Samuel-Rosseau was against

Mompou’s sensitive and intuitive talent in search of pure sonorities.

Solitude and Path to Art (1914-1921)

The outbreak of World War I in 1914 forced Mompou to go back to Barcelona. During this time in Spain, he began reconsidering his compositional philosophy. This period was not only of great creative activity but also of extreme importance since he was able to start sketching his personal aesthetics of composition. The main traits of this period, found in his texts, are:

Figure 1.2. Solitude and Path to Art

17

I. Search for Silence

II. Simplicity of Emotion

Primitive Forms III. Return to

IV. Restart [in art] Thus, in his poem “Solitude” from 1917, Mompou expresses his intense longing for truth in composition and life, by means of nature, love, and silence through solitude. What is more, this poem already previews the aesthetic of his work “Silent Music.”

…La mort beneeix la unió …Death blessed the union de l’ànima amb el silenci of soul with silence Dorm i reposa el meu cor Sleep and rest of my heart L’eternitat et canta i bressa The eternity sings and rocks you L’últim amor12 The last love

In a further text from 1919 titled “Path TO Art”, Mompou is more explicit with his aesthetic goals. He requests simplicity above all in both music and life. Accordingly, in order to achieve this simplicity, one must return to the primitive13 forms. What is more, in this text we find for the first time the word “Restart,” which will evolve into a complete aesthetic statement by the same name in 1970: “I feel music as simple as the mountain’s path…Simplicity of strong emotion…Our modern art is a return to the primitive…No, it is not going back, it is to "restart." In art, simplicity and complexity have currently inspired a restart.”14

With the publication of his “Magic Chants” in 1920, his aesthetic views are crystallized. In Example 1.1, we find extreme simplicity with the absence of metronome markings, and the lack of a time signature.

12 Mompou: “Jo sento la música senzilla com el camí de muntanya…Simplicitat de forta emoció…Nostre modern en l’art és el retorn al primitiu. No, no és retorn, és ‘recomençar’. En l’art, senzillesa i complicació actualment han inspirat un recomençament.” Quoted in http://www.fredericmompou.net/ 13 In this case, “primitive” implies an imitation of Ancient times where the means and intentions where more basic and uncomplicated. 14 http://www.fredericmompou.net/

18

Example 1.1. “Magic Chants”

Success and Crisis (1921-1941)

From 1920 to 1936, the city of Barcelona lived one of its most important artistic periods. This period emerged from the nineteenth-century literary movement called

Renaixença. The source for this Renaissance was the publication in 1833 of a poem by

Buenaventura Carles Aribau named “The Country.”15 The purpose of the movement was the recovery of the history and the growing power of the liberal bourgeoisie, particularly in Barcelona, from the decline it experienced during the sixteenth and seventeenth centuries. In addition, the nationalistic and regional ideas of Felipe Pedrell, and the fact that Wagner’s music was completely idolized in Barcelona during the nineteenth-century, helped to create an artistic atmosphere than combined, at the same time, both nationalistic and European features.

Nonetheless, it was Ferdinand Motte-Lacroix, his piano teacher, who made the first move to promote Mompou’s music in the Erard Hall of Paris in 1921. The program included Mompou’s “Four Catalan Songs,” “Magic Chants,” and “Children Scenes.” An

15 http://www.uoc.edu/lletra/moviments/renaixença/index.html

19 enthusiastic article written in 1921 for Le Temps by the critic Émile Vuillermoz gave

Mompou his consecration as a composer. Vuillermoz pointed out the artistic excellence of Mompou as a composer and the possible misunderstandings that his particular style could produce among audiences and performers:

Here is a musician of quality. One of those artists who transform everything they touch, and create spells and magical evocations of the easiest and most usual elements....Federico Mompou is a poet of the piano....His technique seems infantile to an ignorant reader. No bar lines, no harmony, no cadences .... Some pages may be dictated with a few words, without music paper and writing conventions....Never the ideal of simplicity, purity, clarity and conciseness…has been better served.16

The following year, Motte-Lacroix performed yet again several works by Mompou in

Barcelona; though this was Mompou’s first contact with the Spanish audience, it was another success. Having his reputation established, Mompou fixed residency in Paris from 1923 to 1941.

During the summers of 1927 and 1928 he traveled to Dinard, a French town close to the sea, full of English tourists from the gulf of Saint-Malo. In a letter to his friend

Manuel Blancafort, Mompou described his daily composition routine based on three main points that predict his text from 1960, “Intuitivity”:

16 Vuillermoz: “He aquí un músico de calidad. Uno de esos artistas que transforman todo lo que tellos tocan y que sacan sortilegios y evocaciones mágicas de los elementos más sencillos y más usuales….Federico Mompou es un poeta del piano….Su técnica parece infantil a un lector ignorante. Nada de barras de separación, nada de armonía, nada de cadencias….Ciertas páginas pueden dictarse con algunas palabras, sin papel de música y sin convenciones de escritura….Nunca el ideal de simplicidad, de pureza, de concision y de claridad…ha sido servida mejor,” quoted in Janés, 364-65.

20 COMPOSITIONAL ROUTINE

Figure 1.3. Mompou’s Compositional Routine

At nine a.m. I have breakfast after reading the newspaper (of course!). Then wash, shave, two hours of music. Food, reading, letters (Ah! shame on you!), walk, two hours of music. Dinner (now things get more complicated), lay down, exercises of concentration for the imagination (first step towards mastering the will power) followed by other more complicated experiments….These days I have felt closely my friend the music, which speaks to us and dictates to me delicious things, but never tells me what: I stay silent and write down everything I can without asking…they are delicious things indeed!17

Unfortunately, after 1930, Mompou began a long period of compositional silence and hesitations. In another letter to Manuel Blancafort, Mompou explained the reasons for his crisis:

I am desperate, and I think we are in such an interesting era that producing any music is not worthy. Everybody argues….I am better sitting at my balcony watching humanity than sitting at the piano. I hear too many screams from the streets and they are not any longer children’s scenes.18

In 1931, he became a member of the ephemeral Independent Group of Catalan

Composers (C.I.C)19. Not even with the support of the most important composers of

Barcelona, was he able to continue pursuing composition during this period.

17 Janés, 160. 18 http://www.fredericmompou.net/ 19 The C.I.C was an extremely heterogeneous group of composers such as Joan i Gibert Camins, Baltasar Samper, Ricard Lamote de Grignon, Manuel Blancafort, Robert

21

I. Exercises for Imagination

II. Silence

III. Inspiration World War II, The Present Moment and Carmen Bravo (1941-1957)

The difficult situation of World War II brought Mompou back to Barcelona in

September of 1941. Soon after his arrival he was called to judge a piano competition. At this event he met one of the contestants, the young pianist Carmen Bravo, with whom he fell deeply in love. Thanks to this relationship, Mompou was able to resume composition in 1942.

Four years later, he wrote an important text named “The Present Moment.” In this text, Mompou gives his opinion about the musical situation in Europe one year after the atrocities of World War II. He does not understand how music has not been more influenced by the brilliance of painters such as Pablo Picasso and his later style. composers such as Stravinsky or Schoenberg: “I think Schoenberg dares—perhaps a little embarrassed—to sing like an innocent little bird. This is a good sign.”20 Instead, he is surprised that the works of composers like Paul Hindemith and his work Ludus Tonalis have prevailed.

More interesting, Mompou considers of importance composers such as the Swiss

Heinrich Sutermeister, Werner Egk (a disciple of Carl Orff) and Frank Lothka.

Moreover, Mompou believes that the music of Carl Orff, Manuel de Falla, Maurice Ravel and Benjamin Britten survived the trend of the post-war era not based on the heart but on artificial highbrow manipulations.

Gerhard, Agusta Grau, Eduard Toldrà and Federico Mompou. It was formed with the idea of promoting Catalan music for the Catalan public. 20 Mompou: “Creo que Schönberg se atreve —quizás un poco avergonzado— a cantar como un inocente pajarito. Esto es un buen signo.” Quoted in http://fredericmompou.net/

22 Let’s say, by the way, that this "every day" music, referred to by Cocteau at the time, was not a fight against the cerebral power that would dominate until the present time, but simply a reaction to French Impressionism, against the vague shapes, mists, colors and perfumes, precise lines and clear light. It is, I believe, at the present moment, when the felicitous phrase of Cocteau takes on its true value, taken as a return to lyricism and expressionism, as a reaction against the pure cerebral procedure. In this sense we can observe that the present Spanish music remains on the right track.21

Música Callada, Intuitividad and Recomenzar (1957- 1987)

On May 17th 1952, Mompou was invited to join the Royal Academy of Arts of

Sant Jordi, Barcelona. It was during his acceptance speech that he spoke about his

Música Callada, one of the most important works in the Spanish piano literature. This speech is indispensable for any scholar or performer of Mompou, because it not only tells us about the inspirational sources for the work, but it also guides us through Mompou’s inner thoughts about music and his personal evolution as a composer.

There are three main points addressed by Mompou that summarize the aesthetics of

Música Callada:

21 Mompou: “Digamos, de paso, que esta música «de todos los días», a la que se refería Cocteau en aquel momento, no era la lucha contra la fuerza cerebral que iba a dominar hasta el presente momento, sino simplemente reacción contra el impresionismo francés, oponiendo a las formas vagas, neblinas, colores y perfumes, líneas precisas y luz clara. Es, creo yo, en el momento actual, cuando la feliz expresión de Cocteau adquiere su verdadero valor, tomado como retorno al lirismo y al expresionismo, en reacción contra el cerebralismo puro. En este sentido podemos observar que la actual música española sigue por caminos bien orientados.” Quoted in http://fredericmompou.net/

23 Música Callada

Figure 1.4. Música Callada

This music has no air or light. It is a weak heartbeat. One cannot ask of it to reach beyond a few millimeters in space, but instead to penetrate the depths of our soul, and the most secret regions of our spirit. This music is quiet because its hearing is internal. Contention and reservation. Its emotion is secret and only takes shape in its sound echoes under the great vault of our cold loneliness….Among my own identity signs, I will state that the primitive organum appears in my music since my first harmonic attempts—a form of accompaniment which was the starting point of the polyphony in the ninth century. Thus, I revalue the intervals of fourths and fifths with their consecutive series, so discredited and outdated for several centuries. I have the belief that the use of the organum takes its origin in much more distant times to the above, and possibly to the origins of music. I would confirm the fact that the interval of the fifth is the one that appears most often in the inflection of the voice in language.22

22 Mompou: “Esta música no tiene aire ni luz. Es un débil latir de corazón. No se le pide llegar más allá de unos milímetros en el espacio, pero sí la misión de penetrar en las grandes profundidades de nuestra alma y las regiones más secretas de nuestro espíritu. Esta música es callada porque su audición es interna. Contención y reserva. Su emoción es secreta y solamente toma forma sonora en sus resonancias bajo la gran bóveda fría de nuestra soledad….Entre mis propios signos afirmaré en primer lugar el caso curiosísimo que, desde mis primeros intentos armónicos, aparece en mi música el primitivo «organum», forma de acompañamiento que fue punto de partida de la polifonía en el siglo IX. Revalorizo de esta forma los intervalos de quinta y cuarta con sus series consecutivas tan desprestigiadas y en desuso durante varios siglos. Tengo la creencia de que el empleo del «organum» toma su origen en épocas mucho más lejanas a la anteriormente citada y posiblemente en los orígenes mismos de la música. Lo confirmaría el hecho de que el intervalo de quinta es el que aparece con mayor frecuencia en la inflexión de la voz en el lenguaje.” Quoted in Janés, 322-24.

24

I. Internal Hearing

II. Calmness of Emotion

Contention and Reservation

Organum II. Use of

Fourths and Intervals of Fifths INTUITIVITY

In 1957, Mompou married Carmen Bravo in Barcelona and found his emotional serenity. In 1960, Mompou explains his compositional process with the text “Intuitivity.”

There are five main concepts that summarize the points of this essay:

Figure 1.5. Intuitivity

For Mompou, the “gift” refers to a state of quasi-divine inspiration where music making flows through the composer without any resistance. For this, the composer must allow intuition to emerge and create without letting the intellect interfere. Nevertheless,

Mompou states that he does not possess the gift of inner hearing, thus he composes at the piano—a statement of humility that sets him apart from composers such as Mozart or

Beethoven. Furthermore, Mompou constantly looks for a synthesis in his themes by a modus operandi that completely avoids developmental procedures. He subtracts material rather than adding it.

I have come to the conclusion that music cannot be an intellectual product of men; or that men’s contribution to musical creation is minimal…I believe in the “gift,” which is hardly acquired, but only given to us…I enjoy deleting, removing anything that I consider unnecessary or superfluous until I stick with the

25

I. Belief in "Gift"

II. Intuition

III. Use of Piano

IV. Reworking of Themes

Simpliication

V. Synthesis essentials. So I'm happy [...] The music concentrates and absorbs me so that nothing that happens around me comes to bother me.23

In 1970, Mompou produces one of his most important aesthetic texts based on his

1920 proclamation of a “restart in art.” For him, the pioneers of this aesthetic movement were the French painter Henri Rosseau and the composer Erik Satie. To avoid confusion,

Mompou clearly affirms that “Restart” should not imply for the artist to go back but to move forward. It means to start over from our present time by finding a balance between the musical heritage of past centuries and the sensibility of the present time. As a result, the desire for simplicity takes him to an instinct of return to primitive sources:

Primitive instinct…to search for the most expressive music with the least amount of resources, to avoid any kind of development, in which the subject appears stripped of all artifice, always in search of a pure music…Aesthetic creed of which I have been speaking from my youth and early writings, and that I have always been faithful to until this present moment in which the flow of contemporary art seems to give me the reason.24

For Mompou music should be in constant renovation according to the intimate feeling of the composer. There are six main features of the “Restart” aesthetic:

23 Mompou: “He llegado a la convicción de que la música no puede ser producto intelectual humano, o que su aportación de la obras creadas en este sentido es mínimo…Creyendo, ante todo, en el don (o sea, en la gracia) el cual no se adquiere pues sólo se nos concede…Yo disfruto suprimiendo, eliminando todo aquello que considero innecesario o superfluo hasta que me quedo con lo esencial,” quoted in http://www.fredericmompou.net/ 24 Mompou: “Instinto primitivo…Búsqueda de una máxima expresión con un mínimo de medios, con el propósito de evitar toda clase de desarrollo en lo que aparece el tema despojado de todo artificio en busca de una música pura…credo estético del que vengo hablando desde mis primeros escritos de juventud y a los que he sido fiel siempre hasta la actualidad en la que la corriente de arte contemporáneo parece querer darme la razón.” Quoted in http://www.fredericmompou.net/

26 RESTART

Figure 1.6. Restart

In the following years, Mompou received several awards in Spain and France that gave him a significant international reputation. In 1975, the Spanish label Ensayo released an edition of the recording of the complete solo piano music with the composer at the piano. In 1983, he received an homage concert at Lincoln Center of New York.

He died on June 30th, 1987, from respiratory failure.

27

I. Simplicity

Precise Lines II. Clear and

III. Ease of Emotions

IV. Pure and Sonorities Naked

V. Disregard for Developmental Procedures

VI. Search for Essential

Nothing is Missing

Nothing is Left out CHAPTER II Mompou Plays Mompou

Mompou and the piano remained inseparable during his entire life. Like Frederic

Chopin, Mompou composed mainly for and at the piano. His catalogue of works includes several settings for voice and piano, and a reduced body of pieces for choir, orchestra, voice and orchestra, ballet, guitar and organ. Thanks to Mompou’s 1974 recording of his complete piano works for the Spanish label Ensayo (now also available as a reprint on the label Brilliant Classics), we are able to listen to Mompou’s unique piano playing and understand many of his stylistic features that otherwise would be very easily misinterpreted. Without a doubt, performers should feel fortunate to have such a unique medium available since not all twentieth-century composers left us with recordings of their own works.

This recording received a special tribute in 1975 at the IRCA (International

Record Critics Award), organized by the magazine High Fidelity in Berlin. This distinction had only been awarded some years earlier, in 1953 and posthumously, to

Wilhem Furtwängler’s recording of Wagner’s Tetralogy at the RAI’s studios. The

Spanish composer Xavier Montsalvatge points out the significance of Mompou’s unique recording:

…we have no previous instances of such discographic event in our country; we can listen to the complete pianistic output of a great national composer […] through a delicate and expressive effusion of an extraordinary pianist, magical, who has only put his hands on the keyboard to cultivate his own music since his early youth. First, he “discovers music” to himself before writing it, with very thin calligrams, onto the staff paper. Afterwards, he offers it to an audience. Still,

28 Mompou did not allow this self-confession to be broadcast—only, at times, during his mature years.25

The particular performance practices of Mompou’s playing in this recording need to be understood by both performers and listeners. Without a doubt, he was a master of sound and rubato, thus making his playing style inimitable for most. For instance,

Mompou would frequently not align both hands while playing, thus creating a particular timing and sonorous effect. This performance practice can be associated without difficulty to the use of rubato in the Romantic era—indeed, Mompou revered Chopin’s music. Camille Saint-Saëns has provided one of the best descriptions of the beauties and dangers of rubato; this statement can surely serve as a word of warning for today’s performers of Chopin’s and Mompou’s music:

I have learned the true secret of Tempo Rubato, already advocated by Mozart, necessary even with Sebastian Bach, indispensable in the music of Chopin. Ah! This tempo rubato—what errors are committed in its name! for there is true and the false, as in jewels. In the true rubato, the accompaniment remains undisturbed while the melody floats capriciously, rushes or retards, sooner or later to find again the support of the accompaniment. This manner of playing is very difficult, requiring a complete independence of the two hands; and when some cannot achieve this, they give the illusion to themselves and to others by playing the melody in time and dislocating the accompaniment in order to make it fall at the wrong time; or else—and this is the worst of all—they are content to play the two hands one after

25 Montsalvatge: “... la importancia que reviste este alarde discográfico del que no sabemos haya precedentes en nuestro país; toda la producción pianística de un gran compositor nacional la podemos escuchar […] a través de la delicada efusión expresiva de un pianista extraordinario, mágico, que desde su primera juventud sólo ha puesto las manos en el teclado para que aflorara su propia música, para “descubrírsela”a sí mismo antes de fijarla como finísimos caligramas en el papel pautado, y para ofrecerla al oyente, aunque esta auto confesión, Mompou no haya accedido a prodigarla —y aún relativamente— si no al llegar a los años de madurez.” Quoted in http://www.fredericmopou.net

29 Study of Feeling

the other. It would be a hundred times better to play everything evenly in time and the two hands together, but then they would not have the “artistic air”….26

It is significant that Mompou only used the word rubato once, in his first Piano

Prelude from 1927—Chopin marked the word rubato in fourteen different compositions.27

In order to understand this fact, and the pecularities of his recording, we must examine

Mompou’s unpublished piano treatise written during the summer of 1913. This treatise received the name of “Study of Feeling.”28 Unjustly, it has been completely ignored. It not only provides essential clues for a proper listening of his recording, but, what is more, to a proper performance of his music. There are three main points addressed in his treatise:

Figure 2.1. Study of Feeling

26 Camille Saint-Saëns, “Quelques mots sur l’exécution des oeuvres de Chopin,” Le Courier musical, 13/10 (1910), 386-7; quoted in Richard Hudson, Stolen Time The History of Tempo Rubato (Oxford, Claredon Press, 1994), 195. 27 Hudson, 175. 28 In the manuscript the composer crosses out this title. Instead, Mompou writes above it L’Expressio, “The Expression.”

30

I. Timing and Performance Sound in

Written Indications Dynamics and II. Meaning of

Musical Notation III. Emotion and Timing and Sound in Performance

In his text “For the Interpretation at the Piano,” Mompou explains that timing in interpretation is based on the performer’s sensitivity, simplicity of emotions, and listening abilities: “to interpret is to move each sensitive note from its metronomic place: it is a floating movement over the rigor of the pulse thus obeying our sensitivity.”29

For him, the connection of the notes is of outmost importance. To achieve this connection, he encourages the performer to listen “note by note” within a phrase, and not

“phrase by phrase,” without worrying about metric rigidity. It is important to note that he does not speak of physical connection but of acoustical connection. Indeed, for Mompou, the constant movement of body and head of many performers shows a lack of artistry. At the end, it is inspiration (and the ears) that will lead the performer to listen to the connecting notes, thus outlining the main purpose of interpretation: to create the most suitable sonorities by means of simplicity of movements and emotions.

Mompou makes clear in his text “Sound” that, in a first-class interpretation, all sounds should be connected30—an assertion that does not really add anything new to his previous text. However, the most important detail to be understood by performers is that they should listen carefully to the decay of sound of every note so that, from it, an acoustical link can be created with the following note. Furthermore, Mompou holds an interesting and revealing theory about sound in piano playing. For him, the secret of sonority lies in the space between two sounds. However, this space has a three-step course instead of just one of direct decay.

29 Mompou: “Interpretar és desplaçar cada nota sensible del seu lloc metronòmic: moviment flotant sobre el rigor del compàs i obeint a la nostra sensibilitat.” Quoted in Janés, 275. 30 Janés, 280.

31 Piano Sonority

Figure 2.2. Piano Sonority’s 3-step

Indeed, anyone who holds knowledge of the mechanism of the keyboard knows that once the hammer has hit the string, it retracts instantly. The finger will not get anything else, or the pressure of the arm, or that ridiculous rotary movement of the fingertip. However, I can say, against the opinion of many, that there is a possibility of elongating, of clarifying this tone, but by a natural process, which is: a note does not exactly give its greatest intensity or beauty when it is first played. Moreover, it does not achieve its highest vibration at the initial hit of the hammer on the string. It happens that from this initial vibration mixed with the resonance, it starts to walk a course that ascends, reaches a peak and descends. These are nuances that one needs to grasp. In this small space, between two sounds, lies the secret of sound.31

31 Mompou: “Efectivamente, todo conocedor del mecanismo del teclado sabe que una vez el martillo ha golpeado la cuerda, aquel retrocede al instante. El dedo no logrará ya nada, ni con la presión del brazo, ni con aquel ridículo movimiento de rotación de la yema del dedo. Sin embargo, yo puedo afirmar contra la opinión de muchos que existe una posibilidad de perdurar, de matizar esta sonoridad, pero, por un procedimiento natural, que es el siguiente: no es precisamente en el primer momento de haber sido pulsada una nota cuando su emisión de sonido da la mayor intensidad o belleza, no es en el golpe inicial del martillo sobre la cuerda cuando ésta emite su máxima vibración. Sucede que a partir de este golpe inicial la vibración mezclada con la resonancia empieza a recorrer un curso que asciende, llega a un punto máximo y desciende. Son estos matices los que hay que saber aprovechar. En este reducido espacio entre dos sonidos se oculta el secreto de la sonoridad.” Quoted in http://www.fredericmompou.net/

32

1. Ascent

2. Peak

3. Descent Meaning of Dynamics and Written Indications

Both dynamics and written indications are very important aspects of Mompou’s music. In his text “written indications,” the composer expresses his discomfort with the universal use of Italian for music notation: “It would be a joy for me to see deleted these signs written in Italian (not to offend the language), that for many years have been providing a good service and that, having become aged from creeping on music notebooks, have already become the most useless means of expression…music nowadays needs something more than: Adagio, Andante or Vivace.”32 Indeed, Mompou does not use common musical indications in his “Study of Feeling”—even though he makes use of them in some of his works. For instance, in his treatise, forte and piano are labeled as strong and flow, whereas crescendo and decrescendo are labeled as increase and decrease. By doing so, Mompou wants to be more specific about the emotional content of dynamics rather than their acoustical volume. Accordingly, Mompou is an advocate of intensity in dynamic interpretation, no matter the level of sonority required. For instance, he associates forte with an emotion of greatness and magnificence. More importantly, he defines piano as smooth and delicate but never weak.

These points are in consonance with Daniel Gottlob Türk’s Klavierschule and his views on notation and interpretation of dynamic indications:

[In addition to studying and learning to apply] the expression of every feeling and passion in the most careful way,…I also consider…indispensable to express…

32 Mompou: “Seria un goig per mí, veure suprimides aquestes indicacións escrites en idioma italiá (no per ofendre l’idioma), que de tants anys han vingut prestant el seu bon servei i que actualment envellides d’arrocegarse sobre els cuaderns de música, ja han esdevingut el medi més inutil per expresarse…perqué la música necessita ja quelcom més que: Adagio, Andante ó Vivace.” Quoted in Janés, 318-19.

33 I) the appropiate degree of loudness and softness, 2) the detaching, sustaining, and 33 118 slurring of notes, 3) the correct tempo.

XV As mentioned in his text “Increase and Decrease,” Mompou is very meticulous when marking a hairpin in his music. He warns performers of the danger of hairpin

I-ento - plalnttf misinterpretation by means of poor use of pedal and exaggeration of dynamics.34 Again,

simplicity plays a main role as well as a “note by note” approach. Hence, Mompou

PIATY0 makes distinction between a short hairpin and a long hairpin. For him, a long hairpin

implies an audible increase or decrease in dynamics, whereas a short one indicates an

almost imperceptible change of dynamics. Furthermore, he completely rejects the

exaggerated interpretation of most performers when playing opposite direction hairpins.

Example 2.1. Long Hairpin in Música Callada, Book II, XV, mm. 11-12

33 Daniel Gottlob Türk, School of Clavier Playing, trans. and ed. Raymond Haggh (Lincoln: University of Nebraska Press, 1982), xxiii; quoted in Sandra Rosenblum, Performance Practices in Classical Period, 57. 34 Janés, 286.

34

rlt. rnolto espr.

=--#-- -"-.---/ 118 XV

I-ento - plalnttf

PIATY0

Example 2.2. Short Hairpin in Música Callada, Book II, XV, mm. 21-22

Emotion and Musical Notation

Phrases rlt. rnolto espr. In an attempt to bring performers closer to his emotional world, Mompou

developed a relatively complicated method. In it, he tried to explain in detail how to

identify and interpret the different feelings (also refered by Mompou as phrases) of his

music. Consequently, he claims that there are two types of emotions=--#-- or phrases. The-"-.---/

first one is associated with passion and the feeling of pain in a short period of time,

whereas the second one is associated with purity and a feeling of sadness in a long period

of time.

35 FEELING OF PASSION = PAIN

Figure 2.3. Types of Phrases/Feelings

Mompou made further subdivisions of the feelings within a work. Thus, he explains that the phrase of passion is already a point of emotion, so it can only be divided into sensitive note/s. On the other hand, the phrase of purity can contain several points of emotion that can produce, at the same time, sensitive note/s.

36

Cry

Cry of Pain

Life's Suffering

Short Moment of Intense Pain

FEELING OF SADNESS PURITY=

Soft Complaint

Sad Story

Long Moment of Sadness WORK

Q G.l z FI H = f{ = F{ a r{ A. E' & GI Q

Figure 2.4. Division of a Work

In the phrases of purity, Mompou used brackets to mark the points of emotion.

.trr t Fl' .Ft : q .Ff 'c.c +tt; FliJ ?n td a r{ l|r .r{ .d r{ A t. POO vI vl l-l c> E t, 6lA. O tr ct g{r.{ 5.rl ,*l 9rr: doo.do a Aaa ! .o . 'ct .rl Fl rda) & a tr@ . coo cll o+ O'd ooo o d d'o uic oo o E -*,-FJ

On the other hand, to mark the sensitive notes within a phrase of emotion,rtO he used - + rO ro' h| r{',+ <,tr '.'l .ro 'Fl r{ ,a +t ti6l cc {l-. 6a aa o o n Cd t 9t 50 op dEt) E.Flt. tO.rl Y,l. d.) Er O 6l r.l g 54E oo t..d tO oE-tr l-t @o ooa C-rO 'E C0 -.ql' ot ao Fl E .ool 3{O t 6f t(, tt ulo o .a. r QO +l-rl S.t 'r{ Vl +' .x !.r- aa +t O C| Ct. fi'8. o, X , . ,tr o+, C,(' ! d dt -. I t' - .(a +t tt .- ! p1 or signs. Moreover, thet L phrase of passion has three points: initial, limit, and rest. It is t O O f. "

marked by Mompou with the following sign:

<,. +r rd+tt {r'o Fl 3.*3"E FIF. {lC{OOO O d 3.' d.rt F dd3.OO 3..O (!.At{Ot{ G'O d frnc{ L o (t The initial point (1), the least important of all, increases, L tt, in intensity to the limit point (2), '5 -t r(D. r .A r ', r{ {, +tOr{3{O..1 Q .d {r .O -- . ! n a O Eo g 4l Of.frd O-.d\: t d;-(aP':! d. d.tr *,' LOAE (rl-{r (a_ C!-'Ol OOtra'l { .,@,o rlD..rl 'rl.'e{'F ,tr.- rFJ-dl +t {r FICO r{ d .t{ 6l t O E- C t O:aO

considered of utmost importance, the most delicate to interpret, and the most sensitive(t'd.Xfudt of A: c 0rOtFl' p'6 u) oo O cr 6to o:' od 't -r'l ..O -1r'rr ta !o .do +t'.o 'olJ. r{ +t E +r. o F- ,.ll, ftct 6.t =: 6 Ft A o L olic > rl' .':

all. At the end, the limit point decreases to the rest point (3). ^Fl .il {, rr' d.o- +t .Fl-t {D! d C 6l t rt rt t O 3r S... o+t'5 uCo o o o ..:. . 6l o\ 3. O. C CL"*l r ro .(i

37 6l o\ (\ (\ o\

Feeling of Passion = Emotion Point of

Sensitive Note/s

Feeling of Purity

Points of Emotion

Sensitive Note/s PHRASE OF PASSION Short Period of Time

Figure 2.5. Phrase of Passion’s Process

Movements of Notes

Another interesting aspect of Mompou’s “Study of Feeling” is his explanation of the different movements35 that a note can make within a phrase. This performance practice is related to agogic accentuation of notes of the Classical Period. According to

Rosenblum, agogic is “a term adapted from the Greek ‘agoge,’ or ‘tempo,’ by Hugo

Riemann, who introduced it into the musical vocabulary to designate deviations from strict tempo necessary for expressive musical performance.”36 Moreover, Türk depicts this practice as “lingering on the notes”:

Another means of accentuation [in addition to dynamic accents] that is used more seldom and with great care…The speaker not only places more emphasis on the more important syllables and the like, but he also lingers somewhat on them.37

According to Mompou, a note can make four different movements:

35 In this case, movement refers to the timing in the attack of the notes. 36 Rosenblum, 365. 37 Türk, Klavierschule, 338; quoted in Rosenblum, Performance Practices, 159.

38

1. Initial Point

2. Limit Point

Sensitive Most

3. Rest Point MOVEMENTS OF THE NOTES

Figure 2.6. Movements of the Notes

The acceleration movement is found in the initial point of a phrase of passion, and it is not of significance in a good interpretation. If used, the notes should almost retain their full value. In addition, it should be interpreted in a simple manner, with no exaggerations. In opposition, the delay38 movement is of utmost importance for a sensitive performance. Mompou clearly states in his treatise: “more sensitivity, more delay.”39 There are two types of delay in his works: one of first order (found less often within a work,) and another of second order (found more often and of less importance).

The delay of second order is marked in a score in three different ways:

38 In Mompou’s music, “delay” implies Türk´s “lingering on the notes.” 39 Mompou: “Més sensibilitat, més retrás,” quoted in Janés, 309.

39

Acceleration

Delay

True medium of expression

Overlapping

Overholding Delay and DELAY OF SECOND ORDER

Figure 2.7. Delay of Second Order

Slur Sign

Mompou’s notation of slurs is mostly neglected by performers, who usually think that it does not convey the meaning of his music. However, there is much confusion about what slurs mean in Mompou, and how they should be performed. During the

Romantic period, the use of long slurs that embraced several measures became standard.

This aesthetic approach was more appropriate to Chopin’s or Liszt’s notation. On the other hand, Classical Period composers such as Mozart or Beethoven used slurs as means of accentuation, directly derived from string instruments’ bowings. Sandra Rosenblum writes about Leopold Mozart’s Violinschule view on slurs:

L. Mozart was more emphatic about the effect of slurs on accentuation…The first note of a group of “two, three, four and even more [slurred notes] must be somewhat more strongly stressed, but the remainder of the slur on to it quite smoothly and more and more quietly.40

40 Leopold Mozart, A Treatise on the Fundamental Principles of Violin Playing, trans. Edith Knocker, 2d ed. (London: Oxford, 1951), 123-124; quoted in Rosenblum, Performance Practices, 159.

40

Slur sign

Several Notes Group of

Two‐note Slur

R.‐‐‐‐‐‐‐‐‐‐‐‐‐‐

Phrase of Decay

R.G‐‐‐‐‐‐‐‐‐‐‐‐

Majestuosity Phrase of Likewise, Charles Rosen gives basic rules for the interpretation of slurs on the piano:

I. The first note under a slur has a slight emphasis (it may be considered the minimal form of accent). II. The last note under a slur is not emphasized or accented, but played lightly. In fact, the last note is, for the most part although not always, to be played somewhat shorter than written.41

Thus, we can infer that a slur implies both legato and accentuation in piano playing; however, this fact does not completely apply to Mompou’s music. As a matter of fact, it is rather unusual that Mompou uses the legato sign as a delay sign.

Nevertheless, he comments: “The slur sign…which we also use as a sign of delay, although this does not cancel the intention it represents.”42

Mompou considers that this sign represents a “small detachment coming to represent a sigh, a breathing. This is the real intention of the legato: unleash, breathe, and not join sonorities.”43 For these reasons, the performer should consider that a slur should carry a small amount of delay, and a touch that does not overlap the sonorities but that instead allows them to have their own acoustical space within a phrase.

41 Charles Rosen, Beethoven’s Piano Sonatas (New Haven, Yale University Press, 2002), 14. 42 Mompou: “El signe lligat…, que nosaltres utilizém també per signe de retrás, no per aixó hem suprimit l’intenció que representa.” Quoted in Janés, 303. 43 Mompou: “uns petits deslligats que venen a representar el sospir, la respiració. Aquesta es la veritable intenció del signe lligat: deslligar, respirar, I no unir sonoritats.” Quoted in Janés, 303-04.

41 Unleash

Figure 2.8. Slur Sign Meaning

Delay

In Mompou’s music, the common ritardando sign is almost always printed as

R.------. It represents what Mompou calls the “Phrase of Decay,” in relation to timing within a phrase. Moreover, he uses R.G.------to indicate what he calls the

“Phrase of Majestuosity,” in relation to a musical phrase that requires both sound and timing of emotional grandeur. Nevertheless, Mompou provided a hierarchy for the delay signs in his treatise, which will surely help performers figure out the approach to use in each case:

Figure 2.9. Order of the Delay Sign

42

Detachment

Sigh

Breath

Slur Sign

ORDER OF THE DELAY SIGN

1. Delayed note over a Point of Emotion

2. Delayed Note of First Order

of Majestuosity Decay‐‐Phrase 3. Phrase of

Second Order 4. Delay of SENSITIVE NOTE ‐ +

Sensitive Notes

The use of sensitive notes by Mompou has a direct association with Franz Liszt’s playing. As reported by Liszt’s pupil, Carl Lachmund, his playing always included an unmistakable lingering on a particular note within a phrase:

On this ocassion [performance of Liszt’s Consolation No. 6 in E major] we received an important insight into the Lisztian rubato—that is, the subtle variations of tempo and expression within the free declamation, which are entirely different from Chopin’s rubato of hastening and lingering. The Liszt rubato is more like a sudden, light suspension of the rhythm on this or that significant note, so that by this means the phrasing is clearly and convincingly brought out. In his playing Liszt seemed to pay little attention to a steady beat, and yet neither the aesthetic symmetry nor the rhythm was disturbed.44

Thus, in Mompou’s performances we find a connection with the Lisztian rubato, where a significant note, the sensitive note, brings two movements at once: delay and overlap.45 This poses a problem for the performer since it is difficult to know when to make use of one or the other. Moreover, the composer labels, in his treatise, the overlap movement also as “delay and overlap” thus creating a further dilemma for the performer.

Figure 2.10 Sensitive Note

44 Carl V. Lachmund, Mein Leben mit Franz Liszt: Aus dem Tagebuch eines Liszt- Schülers (Eschwege: G. E. Schroeder-Verlag, 1970), 62; quoted in Hudson, 263. 45 Overlap as in “extending beyond its value.”

43

Delay

Overlap

Overlap Delay & PHRASE OF PASSION

Fortunately, in his text “When a Note is Delayed or Overlapped” he finally labels the overlap movement as “delay and overlap,” and clarifies that a note is delayed and overlapped “when it carries within itself the continuation of sensibility. It is only delayed when the sensibility ends with it.”46

To summarize, according to Mompou, in order to connect a phrase of passion with the different movements of the sensitive notes, one has to accelerate from the initial point to the limit point, delay and overlap the sensitive notes at the limit point, and delay at the resting point.47

Figure 2.11. Phrase of Passion’s Complete Process

46 Janés, 314. 47 Ibid., 311-313.

44

1.INITIAL POINT • ACCELERATE

2.LIMIT POINT • DELAY AND OVERLAP

3.RESTING POINT • DELAY 31 31 a madame la Princess Bassiano a madame la Princess Bassiano 31 31 CANCIONYa madame la Princess Bassiano DANZANo.4a madame la PrincessCANCIONY Bassiano DANZANo.4 CANCIONY CANCIONYDANZANo.4 FEDERICODANZANo.4MOMPOU FEDERICOMOMPOU FEDERICOMOMPOU FEDERICOMOMPOU

Canción y Danza No. 4

In the composer’sp aoecdauceur recording of this Song and Dance, we are able to listen to pmany aoecdauceur p aoecdauceur p aoecdauceur of the performance practices explained in his “Study of Feeling.” What is more, we can listen to a practical application of Mompou’s views. Even though this work includes metronomic markings for both the Song and the Dance, there is great rhythmic flexibility in the recording. For instance, the outlining of the phrases in the Song section is clear and precise but always with a subtle degree of rubato that makes the work sound as if

tttt tttt improvised while recording. This effect is created, at times, by the ascending tttt tttt ta) r\_zl I I l\--zl ta) r\_zl I I l\--zl arpeggiation from left to right hand of the accompanying chords at measures 1, 3, 4, 5, 7, ta) r\_zl I Ita) r\_zl l\--zl I I l\--zl 8, 9, 10, and 11. This arpeggiation brings out the melodic line withl-l more clarity. l-l ^,1 e.l^,1 e.l ^,1 ^,1 l-l l-l Furthermore, it facilitates the performer’s task since Mompoue.l usually inserts the melodice.l \--i \--i line within large chords.\--i48 On the other hand, Mompou avoids\--i this arpeggiation at the resolution of the phrases (measure 12) thus providing closure to the section.

Mompou’s touch is in agreement with the principles stated in his “Study of

Feeling.” The melodic line always has a sense of breathing between the notes by a ret,- - ret,- - ret,- - ret,- - minimal level of detachment, which is always supported by the use of the resonance pedal. His voicing is, at all times, transparent, and the singing tone of his touch is full but sensitive, responsive to the colors implied by the harmonic changes.

In the printed score published by Unión Musical Española, Mompou warns performers about his notational practices by making sure that they are able to distinguish El signe A. equival a un petit retardant. El signe A. equival a un petit retardant. betweenEl signe A.El signe equivaland a. equivalunThus, petit for aretardant. unMompouEl retardant signe A. m6s equivalimplies accenrunt a smallun petit delay retardant. Elwhereas signe equival a un retardant m6s accenrunt El signe equival a un retardantEl m6ssigne accenrunt equival a un retardant m6s accenrunt implies a more pronounced delay. Indeed, he observes these markings carefully in his

1929 by Federico Mompou - Union Musical Ediciones, S.L., Madrid 1929 by Federico Mompou - Union Musical Ediciones, S.L., Madrid 48 @ {Espaia}. @ {Espaia}. @ 1929 by FedericoMompouAll Rishts Mompou Reserved. had - UnionextremelyInternational Musical long Ediciones,Coowieht@ 1929hands, S.L., bySecured. Federico Madridso this Mompou{Espaia}. practice - Union is, Musicalwithout Ediciones, Alla doubt,Rishts S.L., Reserved. Madrid {Espaia}.International Coowieht Secured. intentionalAll Rishts Reserved. by theInternational composer. Coowieht Secured.All Rishts Reserved.International Coowieht Secured.

45 31 a madame la Princess Bassiano CANCIONY DANZANo.4 FEDERICOMOMPOU

31 a madame la Princess Bassiano 31 a madamep aoecdauceur la Princess Bassiano CANCIONY DANZANo.4CANCIONY DANZANo.4 FEDERICOMOMPOU FEDERICOMOMPOU

recording. In measure 4, the amount of delay is almost imperceptible.

tttt p aoecdauceur p aoecdauceur ta) r\_zl I I l\--zl

l-l ^,1 e.l Example 2.3. Canción y Danza No. 4, mm. 3-4 \--i

On the other hand, the delay in measure 6 is more articulate and deliberate.

tttt tttt ret,- - ta) r\_zl I I l\--zl ta) r\_zl I I l\--zl

l-l ^,1 e.l l-l ^,1 e.l \--i \--i

Example 2.4. Canción y Danza No. 4, mm. 5-6

El signe A. equival a un petit retardant. It is important to note that the sensitiveEl signe note, , isequival above athe un slur retardant in measure m6s 4, accenrunt

implying almost no delay;ret,- -however, in measure 6 the sensitive note is below the slur— ret,- -

more delay. @ 1929 by Federico Mompou - Union Musical Ediciones, S.L., Madrid {Espaia}. All Rishts Reserved.International Coowieht Secured. In measures 9-12, we can listen to Mompou’s way of performing the movement

of notes in relationship with the three-step process of a phrase of passion. Thus, in

measure 9, Mompou accelerates the accompanying eighth notes of the right hand in this

way beginning the Initial Point of the phrase of passion. El signe A. equival a un petit retardant. El signe A. equival a un petit retardant. El signe equival a un retardant m6s accenrunt El signe equival a un retardant m6s accenrunt

46

@ 1929 by Federico Mompou - Union Musical Ediciones, S.L., Madrid {Espaia}. - All Rishts Reserved.International Coowieht Secured. @ 1929 by Federico Mompou Union Musical Ediciones, S.L., Madrid {Espaia}. All Rishts Reserved.International Coowieht Secured. 31 a madame la Princess Bassiano CANCIONY DANZANo.4 FEDERICOMOMPOU

p aoecdauceur

31 a madame la Princess Bassiano

CANCIONY DANZANo.4 tttt

ta) r\_zl I I FEDERICOl\--zl MOMPOU

l-l ^,1 e.l

\--i p aoecdauceur

ret,- -

tttt

ta) r\_zl I I l\--zl

l-l ^,1 e.l Example 2.5. Initial PointAcceleration movement El signe A. equival a un petit retardant. \--i El signe equival a un retardant m6s accenrunt

Measure 10 serves as a bridge to the Limit Point of the phrase; Mompou still moves the

tempo slightly forward. @ 1929 by Federico Mompou - Union Musical Ediciones, S.L., Madrid {Espaia}. All Rishts Reserved.International Coowieht Secured. ret,- -

El signe A. equival a un petit retardant.Example 2.6. Initial Point continuation El signe equival a un retardant m6s accenrunt

In measure 11, we arrive at the Limit Point. The composer slows down the tempo and

@ 1929 by Federico Mompou - Union Musical Ediciones, S.L., Madrid {Espaia}. All Rishts Reserved.International Coowieht Secured.brings out the sensitive notes, E-C-E. In this case, the first two notes carry both an effect

of delay and overlapping since the sensibility of the phrase does not end with them. On

the other hand, the last sensitive note, E, is a delayed note.

47 31 a madame la Princess Bassiano CANCIONY DANZANo.4 FEDERICOMOMPOU

p aoecdauceur 31 a madame la Princess Bassiano CANCIONY DANZANo.4 FEDERICOMOMPOU

tttt

ta) r\_zl I I l\--zl

l-l ^,1 e.l p aoecdauceur \--i

31 a madame la Princess Bassiano

CANCIONYret,- - DANZANo.4 FEDERICOMOMPOU

tttt

ta) r\_zl I I l\--zl

El signe A. equival a un petit retardant. Example 2.7. Limit PointDelay and Overlap p aoecdauceur El signe equival a un retardant m6sl-l accenrunt ^,1 e.l Finally, in measure 12, the delay in his performance is more heightened since we arrive at \--i @ 1929 by Federico Mompou - Union Musical Ediciones, S.L., Madrid {Espaia}. All Rishts Reserved.International Coowieht Secured. the Resting Point of the phrase of emotion. Mompou marks ret.------, thus implying

both a delay of second order and a phrase of decay.

ret,- - tttt

ta) r\_zl I I l\--zl

l-l ^,1 e.l

\--i

Example 2.8. Rest PointDelay El signe A. equival a un petit retardant. El signe equival a un retardant m6s accenrunt

ret,- -

@ 1929 by Federico Mompou - Union Musical Ediciones, S.L., Madrid {Espaia}. All Rishts Reserved.International Coowieht Secured.

El signeExample A. equival 2.9. a un Phrase petit retardant. of Passion, mm. 9-12 El signe equival a un retardant m6s accenrunt

@ 1929 by Federico Mompou - Union Musical Ediciones, S.L., Madrid {Espaia}. All Rishts Reserved.International Coowieht Secured. 48 CHAPTER III A Survey of the Complete Piano Music: Sources of Inspiration

Several scholars have tried to associate Mompou’s style exclusively to the French

School of composition. This assumption is only partially valid since there are other main influences in Mompou’s music. Both Santiago Kastner and Emile Vuillermoz agree on the similarities with Debussy. Furthermore, Kastner finds a link with Isaac Albéniz’s music. Henry Collet suggests a vague connection with Enrique Granados. However, it is

Tristán La Rosa who provides a more complete and accurate study of Mompou’s musical antecedents. According to La Rosa, Debussy’s Pélleas et Mélisande was of great impact in the musical world but Mompou’s true musical genealogy comes from Erik Satie,

Frederic Chopin and the Italian Baroque composers such as Corelli, Legrenzi, Tartini and

Locatelli.49 The recurrent A-B-A form in Mompou’s works is closely related to the simple forms of the Italian Sonatas, far from the complex developmental procedures of

Beethoven.

The six features of the Recomenzar aesthetic already bring Mompou very close to

Satie’s concise and non-developmental works, an aesthetic that will also be the foundation for the group Les Six. There are three main features in common with Satie:

49 Janés, 375.

49 MOMPOU AND SATIE

Figure 3.1. Mompou and Satie

Furthermore, Satie and Mompou share the common view that simplicity, personal taste and the subconscious are the true path for becoming an artist. This is what Satie wrote about his compositional aesthetic:

Craftsmanship is often superior to subject matter. To have a feeling for harmony is to have a feeling for tonality. A melody does not imply its harmony, any more than a landscape implies its colour. The harmonic potential of a melody is infinite, for a melody is only an expression within the overall Expression. Do not forget that the melody is the Idea, the outline; as much as it is the form and the subject matter of a work. The harmony is an illumination, an exhibition of the object, its reflection. In composition, the various parts, between themselves, no longer follow ‘school’ rules. ‘School’ has a gymnastic aim, nothing more; composition has an aesthetic aim, in which taste alone plays a part.50

Nonetheless, Mompou confessed, after Poulenc’s death in 1963, that the contemporary composer to whom he felt more closely related to was: “Perhaps, Francis Poulenc.”51

Thus, Mompou leaves us an important aesthetic hint.

50 Robert Orledge, Satie the Composer (Cambridge: Cambridge University Press, 1990), 68. 51 Mompou: “Tal vez, Francis Poulenc.” Quoted in Janés, 259.

50

I. Lack of Bar Lines

II. Lack of Time Signature

III. A‐B‐A form SOURCES OF INSPIRATION

Fortunately, Mompou himself divided his piano works into three groups—he did not include minor works in this categorization, or the works inspired by the music of

Frederic Chopin. In the first group he included those pieces where the essence and atmosphere of the rural Catalan landscape is described in a subjective manner, in contrast with the agitated life of the city; in the second group, he included those works inspired by the hidden mystery of nature; in the third group, those works directly linked to the

Catalan Folklore.52

Figure 3.2. Mompou’s Sources of Inspiration

52 Ibid., 186.

51

Agitation of the City Landscape vs. Rural Catalan

Hidden Mistery of Nature

Chopin

Catalan Folklore Rural Landscapes vs. Agitation of the City

Impresiones Íntimas “Intimate Impressions”

The first edition of Mompou’s Opus. 1 was published by Unión Musical Española in 1920. It includes six pieces; the first one, however, Planys (Quejas) or ”Complaints”, has four numbers with no title. There is a second edition, a revision of the first, published in 1959, where the composer is more specific with his markings for the performer.

Mompou started to sketch the work in 1911 and finished it in 1914. At this time, he did not have a composition teacher: “when my musical vocation awoke in me, I did not think about going to any masters for their guidance; thus I was sketching things for two years….”53

The composer explains the practical reason for collecting different pieces into one work: “trying to find some contrast and for the purpose of publishing a volume, I collected these pieces under the same title….”54 When asked about the meaning of the title for the series, Mompou simply said: ”…I would only like to express some intimate impressions in the simplest way….”55

Without a doubt, the fifth piece of the series, Secreto, is among the most striking of the series. It is curious that all performers wonder to which “Secret” Mompou is referring to. Hence, the composer answers back: “the only secret of this Secret is that it

53 Mompou: “Cuando se despertó en mí la vocación musical, no tuve ni la menor idea de acudir a maestros para que me guiaran; y así estuve durante dos años esbozando cosas….” Quoted in Iglesias, 24. 54 Mompou: “Buscando algún contraste pequeño y para editar un volumen, agrupé esta serie de piezas bajo un solo título….” Ibid., 24. 55 Mompou: “…solamente quisiese expresar unas íntimas impresiones de la más sencilla manera….” Ibid., 24.

52 does not have a secret.”56 On the other hand, as suggested by Clara Janés, during this time, Mompou already sensed that he was not going to be a great virtuoso. He felt that his teacher in Barcelona had imposed on him wrong technical habits. Consequnetly, he developed serious technical articulation problems as a result of neurological issues right before leaving for Paris.57 Possibly, this testimony explains Mompou’s avoidance of revealing his “Secret.”

The composition of Gitano is related to a curious anecdote with a gypsy person of

Barcelona. This work is also the first sign of realism in Mompou’s piano music, and his interest in the people of Barcelona:

He surprised me because of his kindness…we run him over with our automobile and, of course, we took him immediately to the clinic; instead of complaining, the good man suffered because of our concern, trying to calm us down with his kind words.58

Muntanya -Dansa- “Mountain -Dance-“

This short composition from 1915 was unknown until 1998, when the manuscript was found at the musical archives of the Academia Marshall of Barcelona.59 Editorial de

Música Boileau finally published it in 1999. Mompou uses his favorite form, ABA, for this early work, thus previewing his Canciones and Danzas. Section A is a dance in 6/8,

56 Mompou: “El único secreto de este Secreto es que no tiene secreto.” Quoted in Iglesias, 41. 57 Janés, 49. 58 Mompou: “Me sorprendió por su bondad…le atropellamos con nuestro automóvil y, claro, le llevamos inmediatamente al dispensario; en lugar de quejarse, el buen hombre solamente sufría por nuestra inquietud, procurando calmarnos con sus bondadosas palabras.” Ibid., 42. 59 Carmen Bravo, Frederic Mompou Muntanya-Dansa- (Barcelona, Boileau, 1999), 3.

53 marked Ritmat (rhythmic), whereas B is more introspective in character, conceivably a song, in 3/8 and Lent.

Pessebres “Cribs”

The tile is in Catalan; also published with the French title “Crèches.” It was written between 1914 and 1917 and published by Unión Musical Española. It has three pieces with characteristic titles:

I. Dansa (Dance) II. L’ermita (The hermitage) III. El pastor (The shepherd)

Dansa opens up with two measures of left hand accompaniment in 6/8, marked tranquillament, followed by the entrance of the simple main theme.

Example 3.1. Dansa

The second piece of the group, L’ermita, was inspired by Mompou’s remembrance of

“one of the many hermitages that exist in the Catalan region.”60 On the other hand, it is

60 Mompou: “alguna de las numerosas que existen en la región catalana,” quoted in Iglesias, 71.

54 curious that L’ermita was also the name for the group of artists created in 1908 by

Mompou and the impresario Guillermo Viñas, who gathered to talk and study at Viñas’s apartment in Barcelona. This group had the intention of finding artistic exposure in Paris and Rome, without any aesthetic goal.61 Mompou writes a brief Lento introduction of two measures in L’ermita, possibly portraying the sounds of bells. This introduction is immediately followed by a slightly more agitated Moderato section that depicts the swaying of the distant bells of the hermitage.

Example 3.2. L’ermita

The pastoral and simple character of El Pastor is perfectly portrayed by Mompou with an unaccompanied melodic line marked piano and indiferent, perhaps imitating the shepherd’s whistling or flute playing.

61 Ibid., 72.

55 42 El Pastor FEDERICOMOMPOU

Example 3.3 El Pastor

Moderato This melodic introduction is then accompanied by a double ostinato in both the right hand and the left hand. indiferent p

Example 3.4. El Pastor

Suburbis “Suburbs”

Suburbis was written between 1916 and 1917. It was published with Catalan titles with French translations- -,-_ in parenthesis by Éditions Salabert. However, Mompou suggested that the work should be advertised with both French and Castilian titles for its

56 international promotion.62 Yet again, Mompou finds inspiration in his walks into the neighborhoods of Barcelona:

They are the suburbs, the neighborhoods of the city ends. This idea belongs, like my Children’s Scenes, to the time of my great walks on the outskirts of Barcelona. Days of sun and rain, cold or hot days, in the morning or afternoon.63

Mompou had already written a “gypsy” piece in 1914, the last of his Planys. In

Suburbis, the composer writes two more “gypsy” works but makes sure that the performers, critics and audiences understand what type of “gypsy” he is referring to, avoiding comparison with Liszt’s Hungarian type:

No, not Hungarian, but Spanish purebred, fine and slender as a palm tree, the best kind ... and that’s all the flamenquism that they could inspire me, thank God!, and that gave birth to this "Spanish" music filtered by the sieve of my personal style, being far from the vulgar Hungarian tziganes that are running through these worlds.64

In the fourth piece, L’home de l’aristó “The man of the Aristón,” Mompou creates a common scene where a man with a long white beard plays an instrument called the Aristón in the street.65 The Aristón is a trademark of a tongued free handgrip organ with bellows. Its inventor, Paul Ehrlich (1849-1925), started building in Leipzig, in

1877, a small type of organ (the Orchestrionette), and a few years later would create another model (Ariston) for domestic operating discs (40 x 40 x 25 cms.) of perforated

62 Ibid., 79. 63 Mompou: “…son los suburbios, los barrios extremos de la ciudad. Esta idea pertenece, al igual que Escenas Infantiles, a la epoca de mis grandes paseos por las afueras de Barcelona. Dias de sol y lluvia, dias frios o calurosos, por la mañana o por la tardes….” Quoted in Iglesias, 80. 64 Mompou: “No, no son húngaras y sí españolas, de pura raza, finas y esbeltas como palmeras, de la major especie…y es todo el flamenquismo que supieron inpirarme, ¡gracias a Dios!, y que dió esta música ’española’ filtrada por el tamiz de mi personal estilo; estaban muy lejos de las vulgares tziganes húngaras que corren por estos mundos.” Quoted in Iglesias, 84. 65 Ibid., 90.

57 cardboard. It soon attained great popularity—it sold nearly half a million devices, and up to six thousand different tunes were drilled up.66

Fêtes Lointaines – 6 Pièces pour piano “Distant Festivities—Six pieces for piano”

It was written at the same time as Charmes, in 1920 and 1921. Mompou intended the six pieces of this work to be performed with no breaks, with as much continuity as possible. The score states: “Autant que possible, enchaîner les six pièces,” which translates into English as “whenever possible, connect the six pieces.”

Trois Variations “Three variations”

Trois Variations is Mompou’s first incursion in the theme and variation genre. It was written in 1921, and dedicated to his father. The three variations have characteristic titles:

Variation 1. Les soldats “The soldiers” Variation 2. Courtoise “Courteous” Variation 3. Le crapaud—Nocturne “The toad—Nocturne”

Mompou’s father was an admirer of the military career and took him every Sunday to: “ a

Sunday Mass (I do not remember exactly which one…), which had soldiers that played trumpets….”67 Hence, the title of the first variation of the work.

66 http://www.funjdiaz.net/museo/ficha.cfm?id=76 67 Mompou: “a una Misa (no recuerdo a qué Misa sería…), en la que había soldados que tocaban unas trompetas….” Quoted in Iglesias, 121.

58 Souvenirs de L’exposition “Souvenirs of an exposition”

This work, written in 1937, was part of the second volume of a commission for the Universal Exposition held in Paris at that time, by the impresario Marietti from Max

Eschig of Paris.68 The first work obviously serves as introduction to the following three scenarios:

I. Entrée (Entrance) II. Tableaux de statistiques “ Picture of statistics” III. Le planétaire “The planetarium” IV. Pavillion de l’elegance “Pavillion of elegance”

As an interpretative clue to the performers, after a performance, Mompou stated about

Pavillon de l’elegance: “Have you guessed those Parisian fashions?”69

Paisajes (Paysages) “Landscapes”

There are three Paisajes published in two books by Éditions Salabert, and written between 1942 and 1960. The first book consists of two works: La fuente y la campana

(The fountain and the bell) from 1942, and El lago (The lake) from 1947. In contrast, the second book just includes one work: Carros de Galicia (Carts from Galicia) from 1960.

La fuente y la campana is the first piece written by Mompou after twelve years of compositional silence (1930-1942). According to Iglesias: “The work is based on an episode experienced by the composer in a very romantic courtyard of Barcelona's Gothic

Quarter, with fountains…from this patio the bells of the nearby cathedral could be

68 Ibid., 185. 69 Mompou: “¿Habéis adivinado aquellas modas parisinas?” quoted in Iglesias, 195.

59 heard....”70 We cannot know whether this statement is apocryphal, but it supports the fact that at that time Mompou met his future wife.

On the other hand, the composer describes the exact location of the second work of the first volume, El Lago: “[the lake] is located in the Montjuic Park in Barcelona, it is not very big and calm; on its surface we can all distinguish—and even hear—a frog jump….”71

In the 1960’s, Mompou often traveled to Galicia, a region of Spain, to promote and teach his music at the Music Festival of Santiago de Compostela. Consequently,

Carros de Galicia was composed during his staying in this region. Clara Janés narrates the source of inspiration for this work: “during sunset, in the distance, we heard the sound of the rustic carts…with a typical wave like a pedal note on which rests the harmony….”72

Hidden Mystery of Nature

Scènes d’Enfants “Children Scenes”

Written between 1915 and 1918, Scènes d’enfants was published by Éditions

Salabert. It was dedicated to the important Catalan composer Manuel Blancafort,

Mompou’s close friend. This work quickly achieved international fame: it was

70 Iglesias: “La obra se trata de una escena, vivida en un patio muy romántico del barrio gótico de Barcelona, con surtidores…desde este patio se escuchaban las campanadas de la Catedral cercana....” 285. 71 Mompou: “se halla en el parque del Montjuic barcelonés, no muy grande y calmado; sobre su superficie todos podemos distinguir—y hasta escuchar—el salto de una ranita….” Quoted in Iglesias, 287. 72 Janés, 253.

60 orchestrated by Alexandre Tansman, transcribed for the violin by Josef Szygeti, and made into a ballet (The House of Birds) by John Lanchbery.73 What is more, Scènes d’Enfants is of extreme importance since Mompou, for the first time, avoids the use of bar lines, a technique that brings him closer to the aesthetics of Erik Satie: “the bar lines have always bothered me, giving me the feeling of putting a wall between meter and rhythm.”74

Another important trait in Mompou’s music is his love for children, as an evocation of his own childhood, and his love for authentic popular songs and music.

Thus, Cris dans la rue is a remembrance of the children’s song La Filla del Marxant

“The Merchant’s Daughter.”75

The merchant’s daughter they say she is the cutest But she is not the cutest, not, since there are others cuter indeed…76

Cants Mágics “Magic Chants”

Cant Mágics was first sketched in 1915 and revisited between 1917 and 1919 thus resulting in five numbers. It was published by Unión Musical Española and Éditions

Salabert in 1920, with a dedication to his French piano teacher Ferdinand Motte-Lacroix,

Cants Mágics is Mompou’s first published work, before his first opus Planys.

73 Iglesias, 49. 74 Mompou: “Siempre me han molestado las barras, dándome la sensación de poner una pared entre compás y compass.” Ibid., 48. 75 Iglesias, 51. 76 Ibid., 52.

61 Charmes “Charms”

Charmes consists of six numbers written between 1920 and 1921, published by

Editions Max Eschig. The format of the titles probably evokes that of Claude Debussy’s

Piano Preludes; they also preview the titles of Olivier Messiaen’s musical themes in his

Vingt Regards sur l’enfant-Jesus.

I. ...pour endormir la souffrance (for putting to sleep the pain) II. ...pour pénétrer les âmes (for penetrating the souls) III. ...pour inspirer l’amour (for inspiring love) IV. ...pour les guérisons (for the healing) V. ...pour évoquer l’image du passé (for evoking the image of the past) VI. ...pour appeler la joie (for calling the joy)

In her book/dissertation on Mompou’s Música Callada, Ann Zalkind directly connects

Mompou’s Charmes with those of Paul Valéry; however, according to Mompou, this work was not based on Paul Valery’s poems: “When I wrote Charmes, I did not know those of Valery.”77 Furthermore, the Spanish musicologist Tomás Marco argues that

Mompou was inspired by the Indian word Karma; however, to avoid confusion, he decided to stay with the French word Charmes closer to the magical meaning of

“enchantments…to a magical end.”78

Dialogues I – II

Mompou’s two Dialogues were written in 1923, very much in the fashion of Erik

Satie. The score includes puzzling markings for a pianist: “sans espoir—without hope”,

77 Mompou: “Cuando escribí Charmes, no conocía todavía los de Valery.” Quoted in Iglesias, 129. 78 Mompou: “encantamientos…a un fín mágico,” Iglesias, 130.

62 “expliquez—explain”, “questionnez—question”, “hésitez—to hesitate”, “exaltez vous— get excited”, “donnez des excuses—give excuses.” These markings are indeed more appropriate for a conversation than for a piano piece, thus Iglesias asked Mompou what these Dialogues were about, to which the composer replied hesitantly: ”Well…,

[dialogues] with oneself who poses both questions and answers….”79

Chanson de Berceau (Canción de cuna) “Lullaby”

This brief work, written in 1951, is part of the third volume of Les

Contemporains, a collection of easy pieces for piano, compiled by Lucette Descaves and edited by Pierre Noel, that included composers such as Shostakovich, Khachaturian,

Rodrigo, Kabalevski, Tansman, Martinu and Frank Martin.80 Lullaby was dedicated to

Elisenda Janés: “I wrote it for the christening of the daughter of Janés, the Catalan poet and editor, to whom is dedicated by his godfather.”81 Josep Janés was the poet for

Mompou’s most important song cycle, Combat del Somni.

Mñusica Callada “Silent Music”

Música Callada is, without a doubt, one of Spain’s masterpieces for solo piano. It was published in four books at different intervals of time by Éditions Salabert. The fourth volume is the only one to include a dedication—to the Spanish pianist and

79 Mompou: “Pues…, entre uno mismo que se hace las preguntas y las respuestas.” Ibid., 145. 80 Marco, 84. 81 Mompou: “La escribí para el bautizo de una hija de Janés, el poeta y editor catalán, a quien está dedicada por su padrino.”

63 Mompou’s close friend, Alicia de Larrocha. None of the twenty-eight numbers includes a title; instead they include expressive markings that have more to do with the character of each piece than the tempo itself. Certainly, when Mompou wanted a precise tempo he used a metronome marking.

The second piece of Book I is different, since it includes a poetic heading by Paul

Valéry:

…Car j’ai de vous attendre …Because I have lived to wait for you

Et mon coeur n’étail que vos pas and my heart was only your steps

However, language use is not consistent throughout the four books of Música Callada thus showing Mompou’s departure from his treatise “Study of Feeling.” For instance, in

Book I, the composer uses the French lent for piece II whereas for piece VI he uses the

Italian lento. On the other hand, piece V does not include any expressive marking but instead a metronome marking of quarter note = 54.

I Angelico (quarter = 50)

II Lent III Placide IV Afflitto e penoso V (quarter = 54) VI Lento (quarter = 66) molto cantabile VII Lento

VIII Semplice (quarter = 104)

IX Lento (quarter = 48)

Figure 3.3. Música Callada, First Book I-IX (1959)

64 Only one number of Book II, XVI, includes both expressive and metronome markings.

X Lento-cantabile XI Allegretto XII Lento XIII Tranquillo-très clame XIV Severo-sérieux XV Lento-plaintif XVI Calme (quarter = 66)

Figure 3.4. Música Callada, Second Book X-XVI (1962)

On the other hand, all the numbers of Book III include both expressive and metronome markings at the same time.

XVII Lento (quarter = 48)

XVIII Luminoso (quarter = 126)

XIX Tranquillo (quarter = 66) XX Calme (quarter = 56)

XXI Lento (eighth = 92)

Figure 3.5. Música Callada, Third Book XVII-XXI (1965)

Finally, in the fourth book, like in the first, all the combinations are included.

XXII Molto lento e tranquilo XXIII Calme, avec clarté XXIV Moderato XXV (quarter = 100) XXVI Lento (quarter = 46) XXVII Lento molto (quarter = 58) XXVIII Lento

Figure 3.6. Música Callada, Fourth Book XXII-XXVIII (1967)

65 Mompou considered this work the summation of his aesthetics and the culmination of his compositional views. As indicated in the printed score, at the end of the first book, the work is based on the third and fourth verses of the fifteenth stanza from the poem Cántico Espiritual entre el Alma y Cristo, su esposo, by the mystic Spanish poet San Juan de la Cruz (1542-1591):

La noche sosegada The calm night en par de los levantes de la aurora, on par with the release of the aurora, la música callada the silent music la soledad sonora the sonorous solitude la cena que recrea y enamora the supper that recreates and inspires love

In his commentaries to his Cántico Espiritual, San Juan de la Cruz clarifies and explains the difficult meaning of Música Callada:

Because, although that music is silent, as to the senses and natural powers is concerned, it is resonant solitude for the spiritual powers. Because, even though they are alone and empty of all shapes and natural apprehensions, they can receive the spiritual sound with precision, which is extremely sonorous in the spirit....And because the soul receives this sonorous music not without solitude and isolation of all things foreign….82

3.3. Chopin

Variations sur un Thème de Chopin “Variations on a theme by Chopin”

This set of twelve variations is based on Frederic Chopin’s Prelude No. 7 in A

Major, Op. 28. The theme is the exact reproduction of Chopin’s famous piano Prelude.

82 San Juan de la Cruz: “Porque, aunque aquella música es callada cuanto a los sentidos y potencias naturales, es soledad muy sonora para las potencias espirituales. Porque, estando ellas solas y vacías de todas las formas y aprehensiones naturales, pueden recibir bien el sonido espiritual, sonorísimamente en el espíritu…Y por cuanto el alma recibe esta sonora música no sin soledad y ajenación de todas las cosas exteriores….” Quoted in Janés, 266-71.

66 The only difference is a missing A-sharp in the right hand of m. 11 in Mompou’s score.

The work was published by Éditions Salabert in 1957; in spite of this, the first three variations date from 1938. Originally intended for cello and piano, the project never came to life as Mompou narrates:

They were born from an idea by Gaspar Cassadó. While in Paris, where I was living then, around the year 1938, more or less, he telephoned me saying that we had to talk.... We talked in a café in the Boulevards, and already there, he said: “I have a project about writing together a set of Variations for cello and piano on the theme of Chopin’s ‘Prelude No. 7’....” We even made an appointment for another occasion, to collect and study the work already done.... Afterwards, everything was left as one more project and we dropped it little by little. However, I took what I had written and with it I made three or four variations, which I put away in the hopes that I would continue them....83

The composition of the remaining variations came from another failed project. In 1957, the Royal Ballet of Covent Garden of London contacted Mompou regarding a ballet commission based on an expanded version of his previous variations: “…and from this new project—never achieved—the definitive and edited version emerged, although I do not rule out that some day this work may become a ballet...."84

Apart from Chopin’s A Major Prelude, there are further sources of inspiration in this work. Hence, Variation III is labeled para la mano izquierda (for the left hand.) In

1942, Mompou had already written his Prelude #6 for the left hand. If we take into

83 Mompou: “ Nacieron de una idea de Gaspar Cassadó. Encontrándose en París, donde vivía entonces, alrededor del año 1938, poco más o menos, me telefoneó diciéndome que teníamos que hablar…Nos citamos en un café de los Boulevares y ya allí, me dijo: “Tengo el proyecto de que escribamos juntos unas Variaciones, para violonchelo y piano, sobre el tema del ‘Preludio número 7’ de Chopin…”. Hasta llegamos a citarnos en otra ocasión, para reunir y estudiar el trabajo realizado… Luego, todo se quedó en un proyecto más y lo fuimos dejando poco a poco. No obstante, yo aproveché lo que había escrito y con ello hice tres o cuatro Variaciones, que las guardé en la espera de poder continuarlas….” Quoted in Iglesias, 200. 84 Mompou: “…y de este nuevo proyecto —no realizado— ha quedado la versión definitiva y editada, aun cuando no descarte el que algún día esta obra llegue a convertirse en un ballet….” Quoted in Iglesias, 200.

67 account the composer’s love for Alexander Scriabin’s music, we can argue that he found inspiration in Scriabin’s Prelude for the left hand Op.9 #1.

Example 3.5. Scriabin Prelude for the Left Hand, Op. 9 #1

Variation V is in “Tempo di Mazurka.” It is a quick mazurka with clearly marked accents on the first beat of the right hand, and third beat of the left hand. This variation is closely related to the oberek85 type of mazurka.

Example 3.6. Variation V

85 The oberek, also called obertas or ober, is a lively Polish dance. It is one of the national dances of Poland. Oberek means in Polish “to hop and turn.” This dance consists of many lifts and jumps. It is performed at a much quicker pace than the Polish waltz.

68 Variation VII is directly inspired by the virtuosic Etude IX from Schumann’s Symphonic

Etudes Op.13. However, there are several main differences that are worth mentioning.

Mompou’s time signature is 3/8 versus Schumann’s 3/16. In addition, Mompou marks the tempo Allegro leggiero, whereas Schumann forces the performer to employ all technical means by requiring a Presto possible. Mompou uses tenuto signs for the theme, and an ostinato accompaniment in the left hand, whereas Schumann marks everything staccato, and does not employ an ostinato accompaniment but a contrapuntual design that mirrors the right hand’s figuration.

Example 3.7. Variation VII

Example 3.8. Schumann’s Symphonic Etude No.9

69 Variation X, titled ÉVOCATION, though different in tonality, directly quotes Chopin’s

Fantasie-Impromptu Op. 66 in C-sharp minor, thus revealing the purpose of ifs evocative qualities.

Example 3.9. Var. X

Example 3.10. Chopin Fantasie Impromptu Op.66

70 VARIATION NUMBER EXPRESSIVE MARKING

Thème Andantino

I. Tranquillo e molto cantabile

II. Gracioso

III. para la mano izquierda

pour la main gauche

IV. Espressivo

V. Tempo di Mazurka

VI. Recitativo

VII. Allegro leggiero

VIII. Andante e dolce e espressivo

IX. Valse.

X. ÉVOCATION

XI. Lento dolce e legato

XII. GALOPE Y EPÍLOGO

Figure 3.7. Variations on a theme by Chopin

71 Catalan Folklore

Canciones y Danzas “Songs and Dances”

Mompou composed thirteen songs and dances for piano, and one for guitar.

Eleven are based on authentic Catalan folkloric sources. Nevertheless, unlike Felipe

Pedrell in Spain, or Bela Bartók in Hungary, Mompou never used a systematic method of recollection. Mompou harmonized and arranged some of his Songs and Dances as

Manuel de Falla did in his Siete Canciones Populares Españolas, or Maurice Ravel did with his Cinq Mélodies Populaires Grecques. In addition, more in the tradition of Isaac

Albéniz in his Iberia, and Enrique Granados in his Danzas Españolas, Mompou used the folkloric sources as inspiration for his works, thus creating original works based on popular songs and dances from the Catalan region.

Mompou avoided, on purpose, the overindulgence of certain composers when using popular themes. Indeed, he was very aware of the danger of being labeled just as a

“popular” composer—which probably meant for him a “non-sophisticated” composer:

Ignoring the true style of my music I've been classified exclusively as a folk musician, so I have been forced many times to express my protest.... I cannot deny my membership in the group of “nationalists.” I just want to state my belief of having succeeded in creating music of racial atmosphere without falling into the danger and abuse of popular themes.86

Canciones y Danzas was written over different periods, encompassing most of

Mompou’s compositional career. Both Janés and Iglesias provide accurate sources for

86 Mompou: “Desconociendo el verdadero estilo de mi música he sido clasificado como músico exclusivamente folklórico, por lo que me he visto obligado muchas veces a manifestar mi protesta….No puedo negar mi afiliación al grupo de “nacionalistas.” Sólo pretendo exponer mi creencia de haber logrado crear una música de ambiente racial sin caer en el peligro y abuso de temas populares.” Quoted in Janés, 188.

72 the work. For instance, the dance source for No. 3 is an original tune by Mompou based on a Sardana.87

Example 3.11. Canción y Danza No. 3, Sardana

Canción y Danza No.5 and No. 6 have original tunes by Mompou; No. 10 is based on two Cantigas de Santa María;88 No. 12 is based on an authentic historic event of the 13th-century related to the daughter of Jaime I “El Conquistador.”89

Example 3.12. Canción No. 12

87 A Sardana is a 16th-century dance from Catalonia, made up of eight short measures and sixteen long ones, adding up to twenty-four like the hours of a day, in imitation of an ancient dance of solar culture, danced around a bonfire. 88 The Cantigas de Santa María are a manuscript written during the reign of Alfonso X ‘El Sabio’ (1221-1284.) They are one of the largest collections of monophonic songs from the Middle Ages. 89 Janés, 199-202.

73

Example 3.13. Danza No. 12

Mompou revealed how the composition of the original Song and Dance No. 5 occured after a dream:

It is music that I dreamed one day; it would be ideal that every musician could dream of reverie music...and it just happened to me this time...I dreamed about a situation in a large warehouse...with large vaults and under which there were huge medieval tables; in one of them I played the theme of the dance....When I woke up, I wrote it down and elaborated on it afterwards; I have always believed that this theme must exist in some village..., that maybe I had heard several times, although I cannot recall, and that my subconscious during sleep, came to dictate it to me... Then, I preceded the dreamed theme of the Dance with a Song, in consonance with its ancient flavor90

In a different manner, Mompou associates the original Song and Dance No. 6 to a remembrance of Caribbean-Argentinean dance: “…I would feel it triangulated within a

90 Mompou: “Es música que soñé un día; sería ideal que todo músico soñase música de ensueño…y a mí tan sólo me ocurrió en esta ocasión…Soñé con una situación en una gran bodega…, con grandes bóvedas y, bajo las mismas, unas enormes mesas medievales; en una de ellas tocaba yo el tema de la Danza….Al despertarme, lo apunté y luego fue por mí elaborado; siempre he creído que este tema debe tener su existencia en algún pueblo…, que quizá lo hubiera escuchado en alguna ocasión, aunque no pueda precisarla, y que mi subconsciente, durante el sueño, vino a dictármelo…Luego, al tema soñado de la Danza lo hice preceder de una Canción, en consonancia con su sabor antiguo.” Quoted in Iglesias, 250.

74 Cuban-Argentine ambiance, without knowing how this happened…I tried to remember that little dance by López Buchardo and ... it was written in another way.”91

91 Mompou: “…sentiría triangulada dentro de un ambiente cubano-argentino, sin saber cómo ocurrió esto…haber intentado recordar aquel ‘Bailecito,’ de López Buchardo y…resultó escrito de otra manera.” Ibid., 252.

75 CANCIÓN YEAR CANCIÓN REGION DANZA REGION Y DANZA SOURCE SOURCE No. 1 1921 La Filla del Languedoc, La Danza de Cataluña Carmesi Provence, Castelltersol Cataluña

No. 2 1918- Senyora Cataluña Galop de Cataluña 24 Isabel Cortesia No. 3 1926 El Noi de La Cataluña Sardana Cataluña Mare (Original)

No. 4 1928 El Mariner Cataluña, Sweden, Ell Ball del Cataluña Scotland, Italy Ciri

No. 5 1942 Original Original No. 6 1942 Original Original No. 7 1944 Muntanyes Cataluña L’Hereu Riera Cataluña Regalades

No. 8 1946 El Testament Cataluña,Valencia, La Filadora Cataluña d’Amèlia Mallorca, Sweden

No. 9 1948 El Rossinyol Cataluña-Pyrenees El Barretinaire Cataluña- Pyrenees No. 10 1953 Cantiga de Cantiga de Santa María Santa María #100 #179

No. 11 1961 La Patum Cataluña Turcs i Cataluña Cavallets

No. 12 1962 La Dama Authentic historic Original d’Aragó event in Aragón

No.13 1972 Lo cant dels Cataluña Lo bon Cataluña (guitar) aucells caçador

No.14 1948- Quan jo Cataluña Original 62 n’era petitet

Figure 3.8. Canciones y Danzas

76 CHAPTER IV The Twelve Preludes

Mompou’s Twelve Preludes for piano solo deserve, undeniably, a study of their own. They were composed over the course of many years and they remained a constant in his creative mind. Each of these pieces is an independent work, and their grouping into a series has more to do with their sharing of a single generic title than with any unitary formal conception as a whole. Of the Twelve Preludes that Mompou composed, only ten were ever published, thus creating a publishing and chronological setback. In addition, one can find in these works all the sources of inspiration that Mompou employed during his lifetime, hence the importance of an independent study.

The first ten preludes were divided between two books: the first book (published in 1930) included Preludes I, II, III and IV, which were written in the period from 1927 to

1928; the second book (published in 1952) included Preludes V, VI, VIII, IX and X, written between 1930 and 1944, and VII—subtitled Palmier d’étoiles and quite different in character from the rest— written in 1951. The other two Preludes remained unpublished, although they were performed and recorded during his lifetime.

Fortunately, Tritó of Barcelona has published Preludes XI and XII in 2004. In the preface of this edition we find some valuable information. For instance, Prelude XII was composed in 1960 but Prelude XI was actually the seventh Prelude, composed between

1930 and 1943, and it was not included by Mompou in his second book, which instead included Prelude VII, Palmier d’étoiles.92

92 Raül Benavides i Oller, Frederic Mompou Preludi XI-XII per piano (Barcelona, Tritó, 2004), 6-7.

77 Prelude I

This one-page work is possibly one of the most Romantic examples in Mompou’s piano music. The expressive marking given by the composer, Dans le style romance,93 takes us back in time in a rather melancholic fashion. The music itself reveals a narrative style close to that of Chopin.

Example 4.1. Prelude I mm. 1-2

Furthermore, as mentioned in chapter two, we find in this piece Mompou’s only use of the word rubato, and a descending pattern in fourths that resembles the piano technique of Chopin.

Example 4.2. Prelude I mm. 11-12

93 The Romance is applied to narrative ballads in Spain. It came to be used by composers during the eighteenth-century for simple lyrical pieces not only for voice, but also for instruments alone. However, since Mompou’s direction is in French, it can also be used in the specifically French notion of a simpler song for voice and piano.

78 Prelude II

Mompou’s spirit has always been closely related to Spain, most especially to

Barcelona and Cataluña. Nonetheless, Mompou’s treatment of folk material is very free in his Preludes, more according to his own inspiration and imagination. The fact that this multi-sectional Prelude was going to be part of his work Suburbis, directly connects this work to Mompou’s second source of inspiration: the agitation of the city. Indeed,

Mompou subtitled Prelude II “Street Market Screams” although this title does not appear in the published score.94 In this way, Mompou depicts the wild street market screams of

Barcelona.

Example 4.3. “Street Market Screams” of Prelude II

On the other hand, one section of the work includes a contrasting children’s folk song.

This detail can be confusing since it can link this Prelude to Mompou’s third source of inspiration (hidden mystery of nature, as in works such as “Children Scenes”) or the

94 Janés, 161.

79 fourth source of inspiration (Catalan folklore.) Nonetheless, the piano writing is more closely related to the stylistic simplicity of Songs and Dances, and unfortunately,

Mompou never revealed the source for this song.95

Example 4.4. Prelude II, mm. 1-4

Prelude III

Mompou’s “Restart” aesthetic is particularly evident in this Prelude, where one can hear pure and naked sonorities along with ease of emotions. Thus, Mompou uses two different musical layers that require simplicity from the performer. For instance, he makes use of an ostinato in the left hand, opaque in its sonorities, similar to the aesthetic of a Dalí painting.96 Moreover, he requests that the accompaniment should be played

“without slowness” and with a tempo of its own. On the contrary, the right hand melody is slow and very expressive.

95 Iglesias, 157. 96 Santiago Kastner, 83.

80

Example 4.5. Prelude III, mm. 1-2

The rich but careful use of pedal will express the endless colors and sonorities that can be achieved in this work, portraying the hidden mysteries of nature.

Prelude IV

Mompou’s employment of literary sources is always associated with his “Restart” aesthetic and search for the essential. Accordingly, Mompou does not employ the full content of a book or poem but rather extracts the essence of it to write his music. Hence, the reading of the “Song of Songs” by Solomon inspired the creation of this Prelude.97

The composer told Iglesias: “I wanted to create a great poem, but it ended up like this, as a biblical essence….”98 The archaic sonorities implied in the first theme illustrate the biblical essence of the work.

97 Iglesias, 162. 98 Ibid., 162.

81

Example 4.6. Prelude IV, mm. 1-4

The voice leading of this Prelude is carefully constructed. It requires an interpretation where all four voices are clearly singled out.

Prelude V

The structure of Mompou’s Preludes hardly varies from the basic ternary form

ABA. For instance, in this Prelude, we can see how section A usually has a melodic character while section B has a rhythmic one. In addition, phrases tend to repeat without any type of modulation—a compositional procedure that associates this piece with his

Songs and Dances.

Example 4.7. Prelude V, Section A-Melodic character.

82

Example 4.8. Prelude V, Section B-Rhythmic character, use of drone bass.

Example 4.9. Prelude V, Return of Section A. Melody without modifications.

Prelude VI

The story of the composition of the sixth Prelude, for the left hand, supports

Satie’s words that “the melody is the Idea, the outline.” One day, Mompou was sitting at the piano playing around with his left hand on the keyboard while maintaining a conversation with the Spanish guitarist Miguel Llobet...and by chance, the melodic cell of

83 Prelude VI was born.99 After this event, Mompou decided to use this five-note melodic cell.

Example 4.10. Prelude VI, five-note cell

According to Mompou, the harmony of this Prelude should not be derived from the chords themselves, but from the resonances that they produce. This argument is in consonance with Satie’s following statement: “The harmonic potential of the melody is infinite, for a melody is only an expression within the overall Expression.”100 The five- note melodic cell of the previous musical example developed into a musical phrase. The très librement marking left the rubato door opened for the performers.

Example 4.11. Prelude VI

99 http://www.fredericmompou.net/ 100 Orledge, Satie, 68.

84 Prelude VII

This Prelude belongs to Mompou’s first source of inspiration: rural landscapes vs. agitation of the city. The title Palmier d’étoiles, meaning “Palm-tree of Stars,” represents the memory of a firework display in the town of Badalona.101 In the A section, Mompou depicts the first moments of the display with two anacrusic 32nd note gestures, in forte, and the use of a bass pedal to support the descending gesture of the fireworks, in pianissimo.

Example 4.12. Prelude VII

In the transition from the B section back to A, Mompou portrays the final explosion of the “Palm-tree of Stars” with an ascending gesture in forte, marked “quick and sharp,” and the repetition of the descending gesture from section A, again in pianissimo.

101 Janés, 214.

85

Example 4.13. Prelude VII

Prelude VIII

This is Mompou’s most elaborate Prelude (even work) in terms of use of polyphony. The economy of the motives, sequential and in imitation, recalls the techniques of monothematic keyboard Fantasies of the sixteenth and seventeenth- centuries 102 However, the Romantic character of the melody and the “con lírica espressione” (with lyric expression) marking is more suitable to the music of Chopin.

Moreover, the lack of bar lines and time signature imply a large amount of use of rubato thus giving more freedom to the performers.

102 Kastner, 87.

86

Example 4.14. Prelude VIII

Prelude IX

One his most sincere and beloved pieces, Prelude IX was written after Mompou’s compositional crisis. It supports the positive influence of Carmen Bravo on the composer. The manuscript includes a dedication to his future wife. The translation reads: “To Carmen Bravo. I offer you this music like a mirror of water. Lean over this lake and in the calm days you will see the radiance of your image”.

Figure 4.1. Dedication from Manuscript of Prelude IX

87 The languid chromatic line of the four voices creates a Romantic atmosphere in the manner of Chopin. Still, Mompou’s personal character is evident in the simplicity of both the melodic and accompaniment lines.

Example 4.15. Prelude IX, Section A

The B section is more passionate in contrast to the sadness of A. It is marked forte, and it resembles the piano music of Alexander Scriabin.

Example 4.16. Prelude IX, Section B

88 Prelude X

In this Prelude, we find an instance of the distinctive color that the “metallic chord” produces in the first theme of the work—the D natural of the original “metallic chor” is not included. Performers and scholars should not underestimate the importance of this chord since it served Mompou as the main source of sound for these compositions.

This chord is not conceived either in a context of functional harmony or as a pitch-class set. Hence, performers should be aware of the sound quality of the chord and be able to hear it and identify it while performing—although the composer transforms it according to his inspiration.

Example 4.17. Prelude X, Metallic Chord

Prelude XI

Though Prelude XI was dedicated to the famous pianist Alícia de Larrocha for her wedding in 1950,103 it seems that Mompou was not satisfied with the composition of this work because he rewrote a couple of measures. When the famous pianist asked him which of the two versions she should play the composer replied: “one on weekends, the

103 Benavides i Oller, Preludi XI-XII, 4.

89 other on weekdays.” 104

Example 4.18. Prelude XI

The Ossia is more elaborated in terms of counterpoint, and it was finally used by

Alicia de Larrocha in her recording of the Prelude.

Example 4.19. Prelude XI, Ossia Version

Prelude XII

The date of composition of this Prelude (1960), the simplicity and clarity of the lines, and the mystical qualities implied in the sonorities, create a possible link with his

“Silent Music.” Indeed, this Prelude could be perfectly inserted into “Silent Music” if it

104 Benavides i Oller, Preludi XI-XII, 4-5.

90 were not for its length, out of proportion in comparison to the shorter numbers of “Silent

Music.” The precise and rapid character of Section B, marked forte and with crescendo/decrescendo hairpins, is derived from the calmer and more contemplative personality of Section A formed by a melodic line in mezzo-forte and an accompaniment in pianissimo.

Example 4.20. Prelude XII, Section B, mm. 15-17

Example 4.21. Prelude XII, Return of Section A, mm. 27-29

91 PRELUDE YEAR OF PUBLISHER SOURCE OF INSPIRATION

COMPOSITION

I 1927/8 Ed. Heugel Chopin

II 1927/8 Ed. Heugel Agitation of the city

III 1927/8 Ed. Heugel Hidden mystery of nature

IV 1927/8 Ed. Heugel “Song of Songs” by Salomon

V 1930 Ed. Heugel Catalan Folklore

VI 1930 Ed. Salabert Hidden mystery of nature (Intuition)

VII 1957 Ed. Salabert Popular Festivity

VIII 1943 Ed. Salabert Chopin/Satie

IX 1943 Ed. Salabert Chopin/Scriabin/Carmen Bravo

X 1944 Ed. Salabert Agitation of the city/ Barri de Platja

XI 1950 Ed. Tritó Hidden mystery of nature

XII 1960 Ed. Tritó Hidden mystery of nature

Figure 4.2. Twelve Preludes

92 CONCLUSION

As performers of Mompou’s piano music, we must first understand that

Mompou’s aesthetics are all based on simplicity and his belief in what he called a

“restart” in music. Thus, Mompou never uses developmental procedures in his works; instead, he synthesizes and reworks his themes in search for the essential.

Second, in order to understand his particular piano playing, and the pecularities of his sound and his rubato, we must be aware of the existence of his piano treatise “Study of Feeling.” In this treatise we find many musical and notational questions answered— otherwise, these questions would be puzzling for any performer.

Third, we must be able to trace Mompou’s true musical antecedents in the Italian

Baroque composers such as Corelli, Legrenzi, Tartini and Locatelli. More importantly, the performer should become familiar with the piano music of Erik Satie, a central figure on Mompou’s music.

Fourth, we must acknowledge Mompou’s four sources of inspiration: the rural

Catalan landscape versus the agitation of the city, the hidden mysteries of nature, the piano music of Chopin, and Catalan folklore. Through these sources, the performer will encounter an infinite world of new images and sonorities.

Finally, through the piano music of Mompou, the performer will be able to find new expressive means that will surely translate into a more sophisticated piano technique.

93 BIBLIOGRAPHY

Bendell, Christine Jean, “Federico Mompou: an analytical and stylistic study of the Canciones y Danzas For Piano.” D.M.A. thesis, University of Northern Colorado, 1983.

______. “The Miniatures of Mompou.” Piano Quarterly 156 (1992): 37-46.

Chase, Gilbert. The Music of Spain. New York: Dover Publications, Inc., 1959.

Crivillé y Bargalló, Josep. Historia de la música española/7, El folklore musical. Madrid: Alianza Editorial, 2004.

Daub, Eric MacDonald, “The “Musica Callada” of Federico Mompou.” D.M.A. thesis, University of Texas at Austin, 1997.

Elder, Dean. “Federico Mompou, poet of the soul’s music.” Clavier 17, no. 9 (1978): 14-24.

Fundación Isaac Albéniz. Seblanza, Frederic Mompou. Madrid: Fundación Isaac Albéniz, 1993.

Hamill, Jennifer Lee, “The development of compositional style in the piano music of Federico Mompou.” D.M.A. thesis, University of Washington, 1991.

Holland, Frieda Elaine, “Federico Mompou: a performer’s guide to the songs for voice and piano.” D.M.A. thesis, University of Texas at Austin, 1987.

Iglesias, Antonio. Liner notes to Mompou plays Mompou. Federico Mompou, Pianist. Barcelona: Discos Ensayo, 1997. ENY-CD-9726. Compact Disc.

______. Federico Mompou, su obra para piano. Madrid: Editorial El Puerto, 1976.

______. Federico Mompou. Madrid: Servicio de Publicaciones del Ministerio de Educación y Ciencia, 1977.

Janés, Clara. Federico Mompou: Vida, textos y documentos. Madrid: Fundación Banco Exterior, 1987.

______. La vida callada de Federico Mompou. Barcelona: Ariel, 1975

94 Jankélévitch, Vladimir. La Présence Lointaine. Translated by Lourdes Bigorra Barcelona: Ediciones del Bronce, 1999.

Kastner, Santiago. Federico Mompou. Madrid: Consejo Superior de Investigaciones Científicas, 1945.

Marco, Tomás. Historia de la música española/5, Siglo XIX. Madrid: Alianza Editorial, 1984.

______. Historia de la música española/6, Siglo XX. Madrid: Alianza Editorial, 1983.

Mellers, Wilfrid. Le Jardin Retrouvé, the music of Frederic Mompou. York: The Fairfax Press, 1987.

Millet, Lluís. Frederic Mompou. Barcelona: Boileau: Generalitat de Catalunya, Departament de Cultura, 1993.

Mompou, Federico. Mompou complete piano works. Federico Mompou. Brilliant Classics licensed by Ensayo CDs 6515/1-6515/2-6515/3-6515/4, 1974.

Orledge, Robert. Satie the composer. New York: Cambridge University Press, 1990.

Paine, Richard. Hispanic Traditions in Twentieth-Century Catalan Music. New York and London: Garland Publishing, Inc., 1989.

Powell, Linton E. A History of Spanish Piano Music. Bloomington: Indiana University Press, 1980.

Prevel, Roger. La Música y Federico Mompou. Barcelona: Plaza & Janés, S. A., Editores, 1981.

Zalkind, Ann. A Study of Catalan Composer Federico Mompou´s Música Callada. New York: The Edwin Mellen Press, Ltd., 2002.

95 APPENDIX I105

Camí del Art

Jo sento la música senzilla com el camí de muntanya. Jo he sentit la senzillesa en l’art inspirat per l’art.

Simplicitat. Simplicitat de forta emoció. Nostre modern en l’art és el retorn al primitiu. No, no és retorn, és «recomençar». Recomençar amb tot allò que sabem.

Tota mort no és una fi. Morir és avançar. Recomençar en l’art no és tornar enrere, és seguir. Any death is not an end. To die is to progress. Restart in art is not to go back, is to follow.

Senzillesa d’emoció, no. És senzillesa de forma. És primitiu en la manera de fer. Ingenu en la manera de construir. Ha de ser intens en emoció. És música tranquilla per a la nostra vida d’inquietuds.

Destrucció i reconstrucció.

En l’art, senzillesa i complicació actualment han inspirat un recomençament.

105 http://www.fredericmompou.net/

96 Recomenzar y Otras Notas Sobre Música

...Siguiendo este impulso intuitivo, mi música encuentra su verdadero camino y persistiendo en el estilo ya iniciado en mis primeras obras se revela con mayor fuerza el deseo de simplicidad, de síntesis, que me lleva a un instinto primitivo de un retorno a las fuentes. Búsqueda de una máxima expresión con un mínimo de medios, con el propósito de evitar toda clase de desarrollo en lo que aparece el tema despojado de todo artificio en busca de una música pura. Por definición, encuentro una palabra, «recomenzar», lo que adquiere para mí, en 1920, un significado profético, el cual, en el momento presente, viene a cumplirse con la aparición del arte abstracto y con la música electrónica.

Recomenzar no significaba, de ninguna manera, la idea de retroceder, pero sí de avanzar. Recomenzar partiendo de nuestra época. Recomenzar llevando en sí la herencia de varios siglos. Esta idea, este sentimiento, mejor este impulso, se vio apoyado y coincidió entonces con el descubrimiento, exaltación y valoración en Europa del arte primitivo negro, conjuntamente con la seducción de las ingenuidades de artistas tales como las de los pintores. Rousseau o el músico Erik Satie, máximas representaciones de estas tendencias.

...Después de transcurridos 50 años desde mi concepción estética del «recomenzar» nos encontramos, creo, actualmente en su punto crucial, conjunción entre lo que termina y lo que empieza. Diré que solo en este sentido, acepto y valoro el arte actual, el cual, a mi juicio, contiene el signo de este recomenzar, vislumbrado 50 años atrás, alcanzando en el momento actual su verdadero mensaje en la expresión de la pintura abstracta y en la búsqueda de un nuevo mundo sonoro.

…Pictóricamente, el cuadro respetuosamente expuesto y admirado en importantes salones y célebres Bienales, sin más que una tela totalmente blanca o negra, no puede simbolizar otra cosa que una renuncia, una negación, un indicativo de que algo ha terminado en el proceso evolutivo del arte, al mismo tiempo que un signo imperativo de una absoluta necesidad de renovación partiendo del 0. Si es evidente que en la historia del arte la corriente evolutiva de una época inicia el camino para la época siguiente, preguntémonos “¿y después de esto, qué?”. La actual corriente evolutiva que es descendiente a la “nada”, la que forzosamente nos induce a este recomenzar partiendo a cero desde nuestra época.

...Que no se me acuse de poco liberal (por estas observaciones mías) frente al arte nuevo, pues creo pertenecer al grupo de los que siguen con más atención, con más afán de comprensión y respeto el momento del arte actual. Y voy a decir más; es posible que en definitiva sea yo el que mejor interprete este impulso creador visto desde el ángulo destructivo de negación expresiva, de anulación lírica y anulación del realismo figurativo que pueden situarnos al extremo de un “re-empezar”, que es mi posición, credo estético del que vengo hablando desde mis primeros escritos de juventud y a los que he sido fiel siempre hasta la actualidad en la que la corriente de arte contemporáneo parece querer darme la razón.

97 Por su lado la música actual ha penetrado en los confines del sonido. Nos transporta en el más allá de los tiempos, evoca el mundo misterioso del Génesis, en ciertas obras se convierte en ruido y grito. Misteriosa alba primera sobre nuestra tierra e intento de captar la música del espacio. Recomenzar... Recomenzar.

98 Intuitividad y Otras Notas Sobre Música

Aceptando progresivamente el concepto intuitivo en la creación musical, he llegado a la convicción de que la música no puede ser producto intelectual humano, o que su aportación de la obras creadas en este sentido es mínimo. Este concepto dignificado por mi sentimiento de humildad debe llevar a la conclusión para el compositor de que“su” música no es esencialmente suya, naturalmente cuando es buena. Solamente cuando es mala se puede tener la certeza de que es “absolutamente” nuestra. Creo pues ante todo en el “don”,el cual difícilmente se adquiere y que solo se nos concede

Creyendo, ante todo, en el don (o sea, en la gracia) el cual no se adquiere pues sólo se nos concede, he seguido fiel al impulso intuitivo en la creación musical. La música encuentra en mí su verdadera expresión en este estado receptivo. Siguiendo el mandato en el espíritu de su voz, cada vez he sentido con mayor imposición el deseo de simplicidad, de síntesis y de retorno a la fuentes.

Siempre intento conseguir algo muy simplificado, una verdadera síntesis. Para ello realizo una selección constante. Los temas los reelaboro muy a menudo, pero siempre con tendencia a la simplificación. Como no poseo el don de lo que podríamos decir “audición interna” trabajo siempre con ayuda del piano. Soy incapaz de imaginar cómo sonará verdaderamente el tipo de música que estoy pensando. Por eso la interpreto al piano y tomo anotaciones. Mi línea estética es más bien opuesta a los criterios que rigen en materia de composición. O sea, intento apartarme siempre de lo que pueda representar el desarrollo de un tema. Los compositores normalmente están contentos cuando pueden añadir más y más páginas a la partitura que están creando. Yo no. Yo disfruto suprimiendo, eliminando todo aquello que considero innecesario o superfluo hasta que me quedo con lo esencial. Entonces soy feliz [...] La música me concentra y absorbe de tal modo que nada de lo que sucede a mi alrededor llega a molestarme.

99 El Momento Actual

Decir algo concreto sobre la música contemporánea en Europa es tema difícil si pretendemos investigar la música reciente. Ignoramos, debido a la dificultad de comunicación, casi todo de la edición actual y desconocemos, ante todo, lo inédito de los compositores jóvenes, y esto sería precisamente lo más interesante para explorar la tendencia general después de esta guerra. Algo nos ayudaría también conocer el criterio de ciertos músicos, por ejemplo de un Stravinsky o de un Schönberg, entre los agudos pensadores, sobre la nueva estética. Desgraciadamente nos encontramos en período de grandes restricciones.

Pero, ¿estamos bien seguros de encontrar ahora, sea en Europa, sea en América, la “nueva música” que debiera imponerse en el espíritu de la actual generación, de igual modo que la posguerra del 1914-1918 impuso sus leyes?

Sabemos con certeza que la actividad artística no decrece en las épocas de guerra y que los afortunados compositores que pueden vivir al margen de la lucha, sea por su situación de neutrales o exentos de servicio militar, continúan produciendo. Ravel, por ejemplo, que durante la otra guerra conducía un camión militar, no produjo mucho, pero Stravinsky, libre de obligaciones militares, creaba Noces, entre otras obras, en Clarens, a orillas del plácido lago Léman, en Suiza.

Presentimos ahora que “algo” se debe haber creado durante esta terrible conflagración y todos los músicos sentimos enorme curiosidad en este trascendental momento esperando y deseando acontecimientos artísticos.

Hay algo, no obstante, que me inquieta un poco, y es, en primer lugar, ver que esta guerra no ha tenido su “Typperary” ni su “Madelon”. Y en segundo lugar, no vislumbro cambio alguno en la música llamada «ligera», que también es factor, mucho más importante de lo que generalmente se supone, y no debemos despreciar en ella su fuerza y sus indicios en cada época. Su trayectoria traza una línea paralela, aunque algo distanciada, con la otra música que desde el campo contrario podrían llamar “pesada».

La nueva música ligera en la posguerra del 1914-1918 fue la música de “jazz” americana, la cual, junto con la valorización del exotismo, formó parte del acontecimiento musical en aquella época, culminando con el “swing”, que alcanza su máximo dinamismo en los años anteriores al 1939. El ambiente era de verdadera locura en los “dancings” de América y Europa en aquel momento, y todo ello no presagiaba nada bueno. ¡Triste realidad la que hemos vivido después!

Pero me siento ahora un poco desilusionado, después de terminada esta guerra, al observar la persistencia de la misma música y el mismo ambiente de locura; que las últimas telas de Picasso no abren nuevos horizontes y que Ludus Tonalis de Hindemith termina con un epílogo que resulta ser el preludio de dicha obra, ¡ejecutado al revés!, lo que demuestra que el talentoso compositor insiste en el juego de crucigramas.

100 En cambio, por otro lado, creo que Schönberg se atreve —quizás un poco avergonzado— a cantar como un inocente pajarito. Esto es un buen signo.

En estos últimos años podemos observar un marcado retorno al género teatral. La joven generación de músicos cuyos nombres y obras son completamente ignorados en nuestro país, gozando de renombrado prestigio en el resto de Europa, sienten inclinación al teatro.

El más joven, y quizá la más eminente figura de esta nueva generación, es el suizo Heinrich Sutermeister, el cual ha alcanzado considerable fama con el estreno de su ópera Romeo y Julieta en Dresde en el año 1940. En la música de Sutermeister reaparece la melodía en su forma lineal y nítida.

En Alemania, Carl Orff, con su obra Carmina Burana, y Werner Egk, con su Juan de Zarissa, triunfan igualmente con estas dos óperas que desde hace 10 años vienen representándose en los primeros teatros de Europa.

Otros valores del momento actual son Fran Lothka, yugoslavo, autor de El demonio de la aldea, y en Francia, André Jolivet, autor de Guignol et Pandore.

Other values of the present moment are Fran Lothka, Yugoslavian, author of The Devil in the village, and in France, André Jolivet, author of Guignol and Pandora.

Benjamin Britten es el más joven de los músicos ingleses, auténtico valor de quien he podido oír fragmentos de su ópera, revelándose en ella ser músico de fino instinto para crear los efectos más emotivos en el ambiente escénico.

Todos estos músicos tienden a una renovación del sentido lírico-teatral, luchando entre las dos impetuosas corrientes de Wagner y Verdi, dejándose llevar, al fin, por esta última. Es decir, poniendo la música al servicio de la escena, volviendo a la claridad, humanizando el canto, reaccionando así completamente del tipo “Cardillac”, de Hindemith, por ejemplo, donde el autor escribe la música sin mirar lo que sucede en las tablas.

Deseamos ahora, ante todo, un período de música, y nada más. Una música del corazón, para el corazón y no una música de la cabeza para la cabeza. Una música casera. Una música de “todos los días”, según pedía Cocteau en 1918, y que desde entonces aún no se ha producido de una manera franca. Pero si Cocteau clamaba en aquella época la venida del reino de la simplicidad, podemos afirmar ahora que sus gritos eran prematuros, pues fuerza es reconocer que la música llevada al terreno especulativo durante el período entre las dos guerras deja una considerable herencia en valores que un futuro más “sensible” sabrá invertir mejor.

Digamos, de paso, que esta música “de todos los días”, a la que se refería Cocteau en aquel momento, no era la lucha contra la fuerza cerebral que iba a dominar hasta el presente momento, sino simplemente reacción contra el impresionismo francés, oponiendo a las formas vagas, neblinas, colores y perfumes, líneas precisas y luz clara.

101 Es, creo yo, en el momento actual, cuando la feliz expresión de Cocteau adquiere su verdadero valor, tomado como retorno al lirismo y al expresionismo, en reacción contra el cerebralismo puro. En este sentido podemos observar que la actual música española sigue por caminos bien orientados. Salvo raras excepciones, los compositores españoles hemos resistido a la fuerte corriente que arrastró a la mayoría de los compositores europeos, incluso aquellos que poseyendo una personalidad y técnica bien definidas, como por ejemplo un Ravel o un Falla, quisieron, por temor a quedarse atrás, demostrar que también ellos “sabían” y “podían”. Pero, por encima de este experimento, será necesario reconocer que el Retablo de Maese Pedro, de Falla, está actualmente mejor situado que su Concierto para clavicémbalo.

En la construcción de una casa no se edifica empezando por arriba. Para la música, en cambio, sucede lo contrario; pero llega el día en el cual urge concluir el piso inferior. Se procede entonces al derribo del piso superior, utilizando sus materiales y así sucesivamente. Creo que ha llegado el día de trabajar en el piso de abajo y que, con esta simple visión de albañil, pienso haber definido lo que, a mi parecer, representa el momento actual en la música.

102 APPENDIX II106 Estudi del Sentiment

Per a la Interpretació al Piano

Interpretar és desplaçar cada nota sensible del seu lloc metronòmic: moviment flotant sobre el rigor del compàs i obeint a la nostra sensibilitat. En la interpretació, si el valor principal fos aquest “moviment” i la sonoritat fos conseqüència d’ell, aquest estudi podria ésser cosa més precisa (i fàcil).

Però, qui veritablement obeeix directament la inspiració, qui sent aquesta necessitat de desplaçar-se, retardar-se o allargar-se, és la sonoritat. I sent ella el valor d’origen i que d’ella depèn aquest “petit moviment” sobrevingut de la nota sensible, en aquest cas, mesurar o medir la sonoritat és cosa més difícil.

Sense poder obtenir un resultat completament just, de moment molt serà per avançar dins l’art d’interpretar, analitzar científicament com a observador al microscopi aquest “detalllisme” de sonoritat i temps, aquests diferents moviments que sofreix la nota sensible sota el domini de la sensibilitat d’una bona interpretació. És inútil esforçar-se a fer estudis de bona sonoritat sobre «una sola nota».

La veritable sonoritat a estudiar és la sonoritat intermediària entre una i altra nota. És precisament en aquest enllaç de nota a nota que recau tota la importància de l’estudi. És aquí on trobarem el secret de la sensibilitat i el fons de l’emoció.

La nostra sensibilitat no ha de buscar l’emoció a interpretar “frase per frase” dins el conjunt de l’obra. Jo crec que la nostra sensibilitat ha de buscar l’emoció a interpretar «nota per nota» dins el conjunt de la frase.

Tota la nostra atenció per l’estudi del sentiment estarà en aquest detallisme en l’estudi de les notes, el qual consisteix en el pas d’una nota a una altra, que el nostre sentiment, flotant per sobre el rigor del compàs, combini una justa sonoritat junt amb un just interval de temps obeint la inspiració.

El pur sentiment necessita senzillesa. Interpretació senzilla. “Senzilla” no vol dir indiferent, faltada d’expressió, però sí vol dir allunyada de tot efecte d’artifici sigui en sonoritat, en temps, o sigui en moviments del cos.

Un moment sentiment a interpretar en la música no ha de ser un sofriment present, ha de ser un sofriment de record, i aquest record no ha de portar a la desesperació ni a l’exageració, però sí a la tristesa i a la senzillesa.

Per aquest motiu farà molt mal efecte tot moviment del cos o del cap que, per mi, volen dir insuficiència d’art o comèdia.

106 Janés, 275-320.

103 Els dits solament han de ser els únics intermediaris entre l’ànima i el teclat.

Sonoritat

En el fons, totes les sonoritats han de ser sempre lligades. El mateix passatge “picat”, que en pocs casos resulta de bon gust, ha de ser interpretat dins el lligat per fer-lo menys ridícul.

La nota ha de conservar sempre tota plenitut de sonoritat, tota intensitat de vibració per poguer ser modulada.

En el fonds, la sonoritat sensible per sí sola potta un retrás imperceptible. El mateix efecte com si una petita distancia ens portés la sonoritat retrassada després d’haver vist tocar la tecla. Aixis com el soroll del martell que sentim I veiém picar a distancia.

Del Fort i Fluix

Tant en el fort com en el fluix, la sonoritat ha de ser sempre intensa.

S’ha interpretar el suau ó efecte de llunyania, sense deixar que la sonoritat perdi mica de valor, pressionant la tecla fins al fons, i no passant els dits per sobre deixant defallir la sonoritat.

S’ha de interpretar el fort sense fer forces ni cops, ni confusió de pedals; confusió de pedals; confusió de sonoritat.

El fort vol dir: grandiositat i no soroll. El fluix vol dir delicadesa i no debilitat. Dins una sonoritat vigorosa s’ha de interpretar el fluix; dins la suavitat s’ha de interpretar el fort.

Creixent – Disminuent

Es trist que, a més de tenir aquets doe medis d’expressió, una relativa importancia, son frequentement malcompressos, ocasionant aquesta incomprenció sensibles faltes de bon gust.

Creixents I disminuents existeixen en gran nombre dins una ratlla de música, emperó d’una manera imperceptible.

Sols l’estudi précis de les sonoritats detalladament sobre cada una de les notes, donará una justa interpretació en el creixent I disminuent. Jo crec que sols poden esser marcats els creixent I disminuents de llarga extenció: <

104 Tolerats fins a la minima més ó menys d’aquesta extenció: <

Ara, lo que no és tolerable és el marcar i interpretar aquells creixents I disminuents de curta extenció:

I menys encare aquells que son ajuntats en sentit opost: < >

Aixó fá que el deixeple, que no comprend la sonoritat precisa de “nota a nota”, interpreta aquets creixents I disminuents amb l’ajuda d’un mal-entés pedal que produeix unes ones de sonoritat, mortificant la frase I el sentiment.

El Sentiment

Clasificar’em el sentiment en dugues formes: Sentiment de Pasió i Sentiment de Puresa.

Per expressar millor: Sentiment de dolor i sentiment de tristesa.

El Sentiment de puresa és un plany suau, un conte trist, és llarg momento de tristesa.

El Sentiment de passió no és un conte, és un crit, un crit de dolor, un sufriment viu, un curt moment de dolor intens.

Divisio de L’obra

Podrem parlar d’una “frase de passió” que representará el crit de dolor.

Emperó el sentiment de puresa es presentará en forma de recit.

Hem de dir: “Una obra de puressa” ó “aquesta part de l’obra és de puresa”.

Millor dit: Podrá ser una obra de puressa amb qualques frases de passió, emperó no podrá ser una obra de passió amb qualques frases de puressa.

El Sentiment de puresa es dividirá en “Punts d’emoció.” Almateix tempts el punt d’emoció es dividirá en “notes ó note sensible”.

La “Frase de passió” que ja és un punt d’emoció dintre l’obra sols es pot dividir en “nota ó notes sensibles”.

Millor dit: L’obra es dividirá en “Punts d’emoció” els quals perteneixerán el suns a sentiment de puresa, els alters a sentiment de passió, dividits al mateix temps uns i alters en “nota ó notes sensibles”. Sentiment de Puressa

105 Aquests signes marcarán els “Punts d’emoció” en el curs del sentiment de puresa. Les notes marcadas dins el punt emoció : - + son les notes sensibles.

La Frase de Passió

Aquesta ratlla marcará el curs d’una frase de passió.

Aquest signe representará tres punts observats en el curs dún curt momento de dolor.

El primer: “Punt inicial”, que augmenta fins al segón: “Punt limit” i que disminueix fins al tercer: “Punt repós”

Dáquests tres punts, el més delicat a interpretar, el més sensible és el “Punt limit”. Segueix per ordre de sensibilitat el “Punt de repós”.

El Punt inicial és de menys importancia:

Ls ratlla de sobre marca el curs de la frase.

La nota marcada sota el Punt limit és nota sensible.

Temps

Moviments que sofreix la “nota” sensible Durant el curs d’una obra baix el domini de l’inspiració.

Es en aquest “detallisme” sobre el qual ha de fixarse tota nostra atenció si volém profondisar l’estudi de l’interpretació.

Moviments

Una nota pot fer auests petits moviments:

I Acelerament II Retrás III Retenció IV Retrás I Retenció

Accelerant

106 En el “Retardant” ó sigui dins una serie de notes retrassades, trovarme diferencia de valors de retrás entre elles.

“L’Accelerant” no tindrá importancia en el nostre estudi.

Dins el retardant trovarme la “nota retrasada” i la “nota retinguida” que contitueixen el valor més sensible en la interpretació.

En l’Accelerant totes les notes tenen més ó menys el mateix valor.

Sobretot l’efecte d’un accelerant no ha de ser exagerat. Molt senzill. Un suau efecte de neguit.

L’Accelerant sols el trobarém pálidament apuntat en el “punt inicial” d’una frase passió:

Retardant

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..1 TI .. O Cf o 63Ek.. tr oogtr r.O O 3.iO E,c't O ,A Fr - ,.O o 3.O {5 d. g -t.rl CItr,{ il ! .,I, ' t.l '5 C'. .,. O OOtt O.O Com que neccesitarémrd diferentes categories de retrás, farém aquesta clasificació: | io,t Ctr | l:XC{O to.E l.r"E!d !{ O Cf ,EOr{trtr 'E . t E! O oE{r ..- O&t|r| d.O'ct O f{ ,l 'lpl t

Retardant de primer ordre I un alter “Retardant” de menys valor qu’en direm segón ordre.O OOtt O.O arTl | Ctr | . l:XC{O ot to.E l.r"E!d .-r lf (D' trt{Obl EPrIO >r.O O 3.iO E,c't O Fr o 3.O CItr,{ . ra -x .:' O Cf ,1 ,O -o rOO ! r "ta t{'rt '+t tr 'o o 'OI ..- ul :AX c-l O !: OF{ tt|rl o+' EFl E Or:3{ E E P.o' (|" 0rr . H o.:l .d rl CI'EI tr oo Fl tr (0 ot.t C : op'tr -{ arTl +t.O-' eto Grd- .t0d rl': ot -q2't '- .t +rl - d.. m &O.O6f .r{ .-r O Ed O d.a{, ! ,A - - {5 d. g il ' t.l '5 C'. .,. O OOtt O.O 'rl | ra Ctr | l:XC{O to.E .:' rO l.r"E!d {r. ,1 p -o rOO . r "ta t{'rt ' 't{ ,6' tr C, o ul :AX t c-l A rl'-ll O t:. O -x o+' -l (|" 0rr . tr oo

,O El retardant segón ordre de menys importancia emperó que trobarém en més quantitat ! '+t 'o : 'OI I \ I !: OF{ tt|rl EFl E Or:3{ E E P.o' H o.:l - .d rl ' CI'EI f Fl ' ! - tr (0 ot.t C op'tr arTl 'rl ot rO .-r {r. p '' ' 't{ ,6' C, t .. A ra rl'-ll O t:.

dina de l’obra., el marcarém amb el mateix signe del lligat: .:' -l ,1 .-ll -o rOO .-. r "ta t{'rt tr o I ul :AX c-l \ O I o+' (|" 0rr . ' tr oo f ' I : ll - ll ! - '' ll 'rl .. rO {r. p .-ll .-. ' 't{ ,6' C, t A rl'-ll O t:. -l I I \ I ll ' f ' ll ll rO fr| FtO d 'at {rd

. .. O .l ...{- :d+r .tf a\ - +t P ! < o & : tr.,O L rl t E{' ul }l: fr E -- L d tJ ia (, ! El retardant de segón ordre, podrá estar marcat fins a dugues notes: r,':l .l # - .. O '6161 , : (, ! r,':l rot :tictr :f,i rl) ".FOO # rrod +to. ,<1.+, *. _1 rt.o .F .rI+' @..d .5 +J-O 6lt{O L fr'a- .l 3.O Q El O a; F.+r.- clt . - -oo .!! t- '6161 Q"r. ! : , E..1 rot :tictr :f,i rl) ".FOO t'4 d:o rrod +to. 6ttr 4 Ll -,, ,<1.+, *. _1 rt.o :-. .F .rI+' @..d .5 +J-O 6lt{O L fr'a- r,':l # 3.O Q El -el O a; F.+r.- clt . -oo t +r' +l ! {' C' .8. o t .!! E. ,ts o t- o Q"r. . '6161 ! E..1 t'4 d:o 6ttr 4 Ll -,, :-. : rot :tictr :f,i rl) ".FOO rrod +to. -el ,<1.+, *. _1 rt.o .F : .rI+' @..d .5 +J-O 6lt{O L fr'a- 3.O Q El O a; F.+r.- clt .

t +r' -oo +l ! {' C' .8. o t E. 'gt ,ts o ''" o 'tr{ . ' .!! t- F{ o's & gr: Q"r. ! ! E..1 t'4 d:o 6ttr 4 Ll -,, :-.

ALTRA FORMA: : ' -el t +r' +l 'gt ! ''" {' C' 'tr{ .8. o ' t E. ,ts o F{ o o's & gr: . ! -l .'t, ' : rO ! 't' 'l' .O- ,l 't; oogtr

. lf (D' trt{Obl EPrIO >r.O O 3.iO E,c't O Fr o 3.O CItr,{ -l .'t, O Cf 't' 'l' ..- ,l 't; 1 $ It I I I I Aixis. com el signe de retrás: precisa les notes sensibles de la frase. -{ +t.O-' eto Grd- .t0d rl': -q2't '- .t +rl d.. m &O.O6f .r{ O Ed O d.a{, ,A - {5 d. g il ' t.l '5 C'. .,. O OOtt O.O | Ctr | l:XC{O to.E l.r"E!d . -x ,O ! '+t 'o 'OI

!: Aquest signe: igualant el valor de l’altre, s’extend sobre “frase ó frases” en OF{ tt|rl EFl E Or:3{ E E P.o' H o.:l .d rl CI'EI Fl tr (0 ot.t C op'tr arTl ot .-r ra .:' ,1 -o rOO r "ta t{'rt tr

o forma única: “expressió d’abatiment.” ul :AX c-l O o+' (|" 0rr . tr oo : - ! - 'rl rO

{r. p ' 't{ ,6' C, t A rl'-ll O t:. -l I \ I ' f ' '' .. .-ll .-. t I (a ll ll ll

t 107 (a rO fr| FtO d 'at {rd r.O O 3.iO E,c't O Fr o 3.O CItr,{ O Cf ..- -{ +t.O-' eto Grd- .t0d rl': -q2't '- .t +rl d.. m &O.O6f .r{ O Ed O d.a{, ,A - {5 d. g il ' t.l '5 C'. .,. O OOtt O.O | Ctr | l:XC{O to.E l.r"E!d . -x ,O ! '+t 'o 'OI !: OF{ tt|rl EFl E Or:3{ E E P.o' H o.:l .d rl CI'EI Fl tr (0 ot.t C op'tr arTl ot .-r ra .:' ,1 -o rOO r "ta t{'rt tr o ul :AX c-l O o+' (|" 0rr . tr oo : - ! - 'rl rO {r. p ' 't{ ,6' C, t A rl'-ll O t:. -l I \ I ' f ' '' .. .-ll .-. I ll ll ll rO fr| FtO d 'at {rd

. ...{- :d+r .tf a\ +t P ! < o & : tr.,O L rl t E{' ul }l: fr E -- L d tJ ALTRA FORMA:ia .. O (, ! .l -

, r,':l # '6161 : rot :tictr :f,i rl) ".FOO rrod +to. ,<1.+, *. _1 rt.o .F .rI+' @..d .5 +J-O 6lt{O L fr'a- 3.O Q El O a; F.+r.- clt . Aquest podrém nomenar: “retardant magestuós”, en forma única en moments de -oo .!! t- Q"r. ! E..1 t'4 d:o 6ttr 4 Ll -,,

“Grandiositat”. :-. -el t +r' +l ! {' C' .8. o t E. ,ts o o .

: 'gt ''" 'tr{ ' F{ o's & gr: !

' Oodre del Signe de Retrás -l .'t, 't' 'l' ,l 't; 1 $ It I I I I . I Nota retrassada dins “punt de emoció”:

II Notes retressades de primer ordre:

III-IV Abatiment – Magestuositat: -a -a o F CI lf H (, H & (D - til 3 f )t ! &l t tJ2 t{ @ lr CEi r{ H E (, ul EI o F CI lf H (, H & (D - til 3 f )t ! &l t tJ2 t{ @ lr CEi r{ H E (, ul EI ! ! !

! V Retrás de segón ordre:

t El Lligat(a 'o

'o t I I tr .rl rrl Fll.l ..{.d I r{..1 .1 \ +t t I I tr .rl 20 rrl 4H-

- I f l''=

r Quan aquest signe:, a més de marcar la respiració, el deslligat, porti la sensibilitat de r, I f (i.- l''= ! rl r t. r, c.A c' i.ts OrO L (L 3. Ul f:r (i.- O ! rl t. - | I c.A I t tt c' i.ts OrO L (L 3. Ul f:r O \+r tl

-itr - | I / I t tt \+r tl

-itr / . & ..{ .tl .Fl r{ . .L O L O tr O E O'd 5 PJ Ql X &

“sospir”, s’hi afegirá a sobre, el signe de retrás:..{ .tl .Fl , no per aixó hem suprimit r{ .L O L O tr O E O'd 5 PJ Ql X ,Fr ,Fr 'rJO .+'d H =o +r 'rJO $ 3,'.- t O. cDE tr C, tr' Ot ot. O tl.. O t* Q d b .+'d E. l’intenció que representa. H =o +r $ 3,'.- . t O. cDE tr C, tr' Ot ot. O tl.. O t* Q d b E. . .o Fl rJ {t {)Ot{ .O tr t{ } r O..d Ott 04, O..t A OOOO O O C1't{ ooot{ O o{J'-a- 5 O .o Fl rJ I {t {)Ot{ .O tr t{ } r O..d Ott 04, O..t A OOOO O O C1't{ ooot{ O o{J'-a- 5 ! O ,.-l I r..-' ..-l '.t{F{ ! ,.-l r..-' r{ ..-l +t +trQ'Fl O6t,O C.rt '.t{F{ 63. C d,dl o O'O' t{F{ C...O.-t O.rr O }:-rC o tO,-{.61 | r{ +t +trQ'Fl O6t,O C.rt 63. C d,dl o O'O'

He observat que totes les sonoritatst{F{ C...O.-t estavenO.rr O lligadas}:-rC entre elles. Aixó ja sembla fer o tO,-{.61 | {r{.'r.r.l

Veritablement existeix'{tLl!/ en la melodia, no direm lligats millor dit uns “deslligats” (sempre . \ { l.{Ft:cE >.O '.l .A)4t { g d 'l {J .O +t O C COrl t..Fl C x .t 6| O Ei O X O'.{ 1)do '{tLl!/ O t \ I I I { l.{Ft:cE s >.O '.l .A)4t { g d 'l {J .O +t O C COrl t..Fl C x .t 6| O Ei O X O'.{ 1)do O ! t

I dins el lligat), uns petit deslligats que venen a representar el sospir, la respiració. Aquesta rO I I s 't{{r .:rt ."r rl r{l Orf Fl '--C C O, L.r{ o E tr

E Or{ ! rO 't{{r .:rt ."r rl r{l Orf Fl '--C C O, L.r{ o E tr

! E Or{ ,t :rd

l't és la veritable intenció del signe lligat: deslligar, respirar, I no unir sonoritats. Es sols en rl E {f ,{l dl b .s h O- ql fr C O O O E p+ t! 'o +t :' tt ! ,t :rd 6 u, o o o b0 OI tl 3i o l't rl E {f ,{l dl b .s h O- ql fr C O O O E p+ t! 'o +t :' tt 6 u, o o o b0 OI tl 3i o aquest cas quan lliga notes d’igual sonoritat. '\ '\ I :.1

r- Jo observo que s’abusa d’aquest signe en formes inutils exteses la major part de vegades I :.1 r- a llargues distancies i fins sobre ratlles senceres de música. En cambi s’estalvia en alters petits llocs aon hi és molt necessari: Son aquests punts de respiració, de sospir, petits punts generalment sensibles. I és per esser sensibles que jo observo un petit retrás en llur interpretació.

Es per aquest motiu que prefereixo fer resaltar en el signe lligat el seu valor de retrás resultant mol més util ja que la majoria de les vegades el signe lligat ens demanará un petit retardant.

o o 6l o o 6l 108 -a o F CI lf H (, H & (D - til 3 f )t ! &l t tJ2 t{ @ lr CEi r{ H E (, ul EI ! ! -a o F CI lf H (, H & (D - til 3 f )t ! &l t tJ2 t{ @ lr CEi r{ H E (, ul EI ! ! 'o t I I tr .rl rrl Fll.l ..{.d I r{..1 .1 \ +t 20 4H-

Quan el signe: , a més de marcar la respiració, el deslligat, porti la sensibilitat rO I f l''= r el ! +t +t r, +t (i.- d ! rl C O O .' d) tU N E O tr O,t{O t. E tr4O.O Btd c.A c' i.ts o OrO L (L 3. Ul f:r O l'.{O - | I I t tt \+r tl

- -itr /

I f l''= r r, . (i.- ! rl t. c.A & c' i.ts de “sospir”, s’hi afegirá a sobre, el signe de retrás:..{ .tl .Fl OrO L (L 3. Ul f:r r{ O .L - | O L I O tr O I t tt E O'd 5 PJ Ql X \+r tl

-itr / ,Fr . 'rJO & ..{ .tl .Fl r{ .L O L O tr O .+'d E O'd 5 PJ Ql X H =o +r $ 3,'.- t O. cDE tr C, tr' Ot ot. O tl.. O t* Q d b E. . ,Fr 'rJO .+'d H =o +r $ 3,'.- t O. cDE tr C, tr' .o Fl Ot ot. O tl.. O t* Q d b rJ E. {t {)Ot{ .O tr t{ } r O..d Ott 04, O..t A OOOO O O C1't{ ooot{ O . o{J'-a- 5 O I ! ,.-l r..-' ..-l .o Fl '.t{F{ rJ {t {)Ot{ .O tr t{ } r O..d Ott 04, O..t A OOOO O O C1't{ ooot{ O o{J'-a- 5 O r{ +t +trQ'Fl O6t,O I C.rt 63. C d,dl o O'O'

t{F{ C...O.-t O.rr O }:-rC o tO,-{.61 | ! ,.-l r..-' ..-l '.t{F{ r{ +t +trQ'Fl O6t,O C.rt 63. C d,dl o O'O' t{F{ C...O.-t O.rr O }:-rC o tO,-{.61 {r{.'r.r.l.O '.l .A)4t { g d 'l {J .O +t O C COrl t..Fl C x .t 6| O Ei O X O'.{ 1)do O '{tLl!/ t

I Ser nota retrassada, nota retinguda, ó retrassada I retinguda vol dir: que en un casos I I s \ { l.{Ft:cE >.O '.l .A)4t { g d 'l {J .O +t O C COrl t..Fl C x .t 6| O Ei O X O'.{ 1)do ! O rO t 't{{r .:rt I I I ."r rl r{l s Orf Fl '--C C O, L.r{ o E tr

E Or{

! domina el retrás, en alters el retingut I en alters que la nota sensible necessita tant de l’un rO 't{{r .:rt ."r rl r{l Orf Fl '--C C O, L.r{ o E tr ! ,t :rd

E Or{ l't rl E {f ,{l dl b .s h O- ql fr C O O O E p+ t! 'o +t :' tt ! ,t :rd 6 u, o o o b0 l't OI tl 3i o com de l’altre. rl E {f ,{l dl b .s h O- ql fr C O O O E p+ t! 'o +t :' tt 6 u, o o o b0 OI tl 3i o Millor: '\ '\ I. Tota nota porta el movement de retrás més o menys pronunciatat segóns el I :.1 I :.1 r-

r- valor de sensibilitat. II. Tots nota retinguida porta avans del movement de retenció, un retrás d’origen. Es pot dir que la nota sensible és de origen retrassada.

Del Valor de cada Nota en el Retardant

Cada nota en el retardant, adquireix un grau més de sensibilitat a mida que s’acosta al fí. Més sensibiltat, més retrás. Per consequencia: Cada nota, en el retardant, adquireix un grau més de retrás a mida que s’acosta al fí. o o o o 6l 6l

Notes Sensibles

La nota retrassada ó retinguda son veritablement “notes sensibles”, que perteneixen en el Punt limit de la frase de passió, ó dins el Punt d’emoció, en el sentiment de puressa.

Dins el Punt d’emoció, tot retardant davant d’una nota sensible, sera marcat amb el signe de lligat:

D’altre manera resultaria que la nota sensible quedaria confosa:

Generalment en el sentiment de passió, la forma i interpretació de la “frase” ‘es com segueix:

I. Del punt inicial al punt limit: Accelerant

II. Punt limit: Nota sensible ó notes sensibles de retrás I retenció III. Del punt limit al punt repós : Retardant.

Pot variar en las siguientes formes:

109 I. Punt repos perdut (continuació de neguit):

II. Punt limit I repós

Quan es Nota Retrassada on Nota Retinguda

Es nota retinguda ó millor “retrasa-retinguda”, quan porta darrera d’ella contunuació de sensibilitat.

Es solament “Retrassada” quan la sensibilitat acaba en ella.

Sobrecant

Es un cant que sobresurt, qu’es desprend de la mateixa melodia.

Procurarém marcar sempre aquestes notes que representan un valor d’importancia en la interpretació.

Dialec

En certa llocs de la melodia s’endevina el “dialec”.

Aquest dialec és cosa a remarcar perqué precisa el lloc aon trobarém quasi sempre un “Punt d’emoció”.

El Punt d’emoció en el dialec el trobarém mes vegades sobre la “pregunta”, I alters vegades, la majoria, sobre la “resposta”.

Altres vegades també sobre la pregunta i resposta:

Indicacións Escrites

Seria un goig per mí, veure suprimides aquestes indicacións escrites en idioma italiá (no per ofendre l’idioma), que de tants anys han vingut prestant el seu bon servei i que actualment envellides d’arrocegarse sobre els cuaderns de música, ja han esdevingut el medi més inutil per expresarse.

Es comprend que en altre época s’hagués adoptat un “llista dìndicacións”, un reglament official just adequate a les formes musicals també oficialitzades d’aquella época.

110 Emperó lo que no comprenc és que actualment I entre autors moderns hi hagi qui usa encare d’aquestes indicaciones “de l’antic reglament”, quan la nostra música de formes completament diferentes reclama alters indicacions més apropiades.

Que cada autor s’expressi amb l’idioma del seu país, refusant tota idea “esperantista”.

Que s’expressai de la millor manera possible indicant veritablement el sentit, intenció, concepció, lámbient de l’obra, tant al comencament com en altre lloc aon sigui necessari.

I sobretot que no busqui aquesta indicació en cap “llista” perqué la música necessita ja quelcom més que: Adagio, Andante ó Vivace.

111 APPENDIX III107 Música Callada

Esta música no tiene aire ni luz. Es un débil latir de corazón. No se le pide llegar más allá de unos milímetros en el espacio, pero sí la misión de penetrar en las grandes profundidades de nuestra alma y las regiones más secretas de nuestro espíritu. Esta música es callada porque su audición es interna. Contención y reserva. Su emoción es secreta y solamente toma forma sonora en sus resonancias bajo la gran bóveda fría de nuestra soledad.

“La música callada, la soledad sonora” presentidas por San Juan de la Cruz encontrarán en estas páginas un anhelo de realidad. Esta música, fiel a mi credo estético, es símbolo de renuncia. Renuncia a la continuidad en la línea ascendente de progreso y perfección en el Arte, porque en esta escalada de picos abruptos es necesario alguna vez descansar, torcer la ruta, tomar empuje si queremos seguir adelante.

La barrera que actualmente tenemos frente a nosotros es de muy difícil salto. Mi música acepta heroicamente el sacrificio de “recomenzar”, esforzándose en olvidar que unas Bellas Artes hayan jamás existido y luchar por un nuevo camino. Primitivismo aparente. El nuevo punto de partida es ideal y situado en nuestra época. Nuestra cueva tiene sus paredes limpias frente al futuro.

Mi Música callada es solo un signo más entre los muchos que han marcado nuestra época, coincidiendo en la tendencia dominante de los “retornos”. Estamos recomenzando, el camino es largo. No olvidemos que la creación de la obra perfecta, el estilo cumbre de una época, no es privilegio de un solo artista. Cuando en una determinada época aparece lo que designamos por “genio”, éste es el producto de varias generaciones. Muchos son los músicos desde los siglos XV y XVI que llevaron su piedra a la catedral de J. S. Bach. Mi aportación no alcanza en este caso categoría de colocación de primera piedra, esta piedra es la conjunción de lo solemne y lo humilde; yo solo aspiro a que la mía figure en el montón de la construcción de la catedral futura. Mi cuaderno de Música callada, junto al de Fiestas lejanas y al de Charmes, constituyen, en el conjunto de mi música, la máxima y más auténtica expresión de este recomenzar, sentimiento que sella mi obra y que se vio reforzado por la coincidencia de otros varios signos exteriores y que en idéntico sentido marcaron nuestra época.

Entre mis propios signos afirmaré en primer lugar el caso curiosísimo que, desde mis primeros intentos armónicos, aparece en mi música el primitivo “organum”, forma de acompañamiento que fue punto de partida de la polifonía en el siglo IX. Revalorizo de esta forma los intervalos de quinta y cuarta con sus series consecutivas tan desprestigiadas y en desuso durante varios siglos.

107 Janés, 322-24.

112 Tengo la creencia de que el empleo del “organum” toma su origen en épocas mucho más lejanas a la anteriormente citada y posiblemente en los orígenes mismos de la música. Lo confirmaría el hecho de que el intervalo de quinta es el que aparece con mayor frecuencia en la inflexión de la voz en el lenguaje. Por otra parte, es significativa y muy curiosa la descripción que figura en un escrito de Martianus Capella hacia el año 430, que dice: “...en el bosque sagrado de Apolo, los árboles cantan las melodías del dios; las ramas altas y las ramas bajas cantan a la octava, y las del centro en el grado que divide la octava en una quinta y una cuarta”. Ignoraba yo entonces que mi primera concepción armónica coincidiera tan exactamente con la música de aquel mítico bosque. Región selvática que abandoné pronto llevado lógicamente por el anhelo de nuevos paisajes y tierras de mejor labranza. Sin embargo subsistieron en mi espíritu tales procedimientos, los cuales han marcado varias de mis obras.

Acentuar la fuerza de mi instinto primitivo, mi inclinación a la línea simple, a la forma concreta.

Entre los signos que aparecen en nuestra época a partir del año 1914 podemos observar el de la exaltación rítmica y la valoración del arte negro. Dos figuras simbólicas: musicalmente Erik Satie, cuya música es elevada a categoría de acontecimiento y que en realidad triunfa por ser representativa de este retorno a sentimientos y procedimientos primarios, situándose en aguas del gran río cuya corriente remontaba el curso hacia fuentes: pictóricamente sobresale, en idéntica forma, Henri Rousseau, y sigue el período de inquietudes de todos los “ismos” y todos los “retornos”. Es seguro que la mayoría de los artistas seguidores de estas corrientes obedezcan solo a un instinto de adaptación, pero ¿podrá un Estado Mayor ganar ninguna batalla sin la ayuda de los soldados?

Mientras a principios del presente siglo se iniciaba esta corriente de primitivismo y mientras se esperaba una música, como se espera el pan y el vino de cada día, sobreviene la invasión del hombre-cerebro con sus perfeccionados laboratorios y la deshumanización del arte, corriente que desborda y viene a inundar aquellos trigales y aquellos viñedos. Razón tenían, pues debo reconocer que apreciables productos y fórmulas interesantes nos ha legado este período, pero creo que el momento actual marcará el fin del reino de la abstracción.

Deseo que mi Música callada, este niño recién renacido, nos aproxime a un nuevo calor de vida y a la expresión del corazón humano, siempre la misma y siempre renovada.

113 APPENDIX IV108 Canciones y Danzas

Canción y Danza I

La Filla del Carmesí

Petiteta l’han casado La filla del Carmesí; de tan petiteta que era ne se sap calçar i vestir. El qui te l’amor el deixa; Qui no el te, el vol tenir. El seu marit l’ha deixada Per tal que es pugui engrandir. Se n’ès anat a la guerra: Set anys trigarà a venir.

Canción y Danza II

Senyora Isabel

Dotze cavallers dotze camaradas son anats a Tremp a robar una dama. Senyora Isabel, Ha de ser robada a la mitja nit o a la matinada. No’on té por el sol ni de la rosada sinó de l’airet que en la talla la cara.

Canción y Danza III

El Noi de la Mare

Què li darem an el Noi de la Mare? Què li darem que li sàpiga bo?

108 Iglesias, 231-80.

114 Panses i figues i nous i olives, Panses i figues i mel i mató. Què le darem al hijito de María? Què li darem a l’hermós Jesutet? Jo li voldria donar una cota Que l’abrigués ara que fa tant fred. …………………………………… Li darem panses amb unes balances Li darem figues amb un paneret …………………………………… Tam, patantam que les figues són verdes, Tam, patantam, que ja maduraran; Si no maduren el dia de Pasqua, Maduraran en el dia del Ram.

Canción y Danza IV

El Mariner

A la vora de la mar, hi ha una dozella, que brodava un mocador que és per la reina. Quan n’estava a mig brodar li manca seda. Gira els sulls envers la mar: ven una vela. Veu venir un galiot, tot vora a terra. En veu venir un mariner, que la nave manda. --Mariner, bon mariner, que en porteu seda? --De quin color la voleu: blanca o vermella? --Vermelleta la vull jo, que és millor seda. --Vermelleta la vull jo, que és per la reina. ------No sou marinera, no, que en sereu reina, que jo só el fill del Rey de l’Anglaterra.

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Canción y Danza VII

Muntanyes Regalades

Muntanyes regalades, Són les del Canigó, que tot l’estiu floreixen, primavera y tardor. Mon pare m’ha promesa a un pobre pastor, ell beu l’aigua clara, jo bec del vi millor. Jo que no l’aimo gaire, jo que no l’aimo, no. Jo que no l’aimo gaire, la vida del pastor.

L’Hereu Riera

Per a Sant Antoni, grans balles hi ha; per a Sant Maurici, tot el poble hi ha. Tralara-la, larala, la, lalala-la la la. N’hi van tres donzelles: Són de l’Empordá L’una diu l’altra: --I tu qui et treurà? Anem, donzelletes, Anem a ballar, Que l’hereu Riera Ens hi fará entrar. La primera dansa la treu a ballar, la segona dansa la nova arribà: --A fe, hereu Riera, que pots ben dansar, que la teva aimada a la mort està. … a las tres setmanes es varen casar.

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Canción y Danza VIII

El Testament D’Amèlia

N’Amèlia està malalta, la filla del bon rei; comtes la van a veure, comtes i noble gent. Ai! Que el meu cor se’m nua com un pom de clavells! També hi va sar mare Quan no hi ha més remei. --Filla, la meva filla, de quin mal vos doleu? --Mare, la meva mare, penso que bé ho sabeu; metzines me n’heu dades que maten al cor meu. ------Del meu testament, mare, poc vos n’alegrareu. Set casteus uns a França tots són a poder meu; els tres els deixo als pobres, als pobres i als romeus; el quart el deixo als frares, per Caritat a Déu; els altres a don Carles, don Carles, germà meu: i mes robes i joies, per la Mare de Déu. ------Filla, la meva filla, i a mi què em deixareu? --Mare, la meva mare, a vós el marit meu; que us el tingueu en cambra tothora que vulgueu perquè el vetleu de dia tant com de nit ho feu. ------metzines me n’heu dades perquè morta em voleu.

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La Filadora

Un pobre pagès tenia una filla; tenia quinze anys i encara no fila. Tralarà, la, la, la, prim fila, prim fila, tralarà, la, la, la, prim fila i se’n va. La nit de Nadal, que ès nit d’alegria, pren filosa y fus, dóna un tomb per vila. N’encontra el galan, el qui ella volia. --D’on veniu, Joan? --On aneu, Maria?

Canción y Danza IX

El Rossinyol

Rossinyol que vas a França, Rossinyol, Encomana’m a la mare, rossinyol, d’un bell bocatge rossinyol, d’un vol. Encomana’m a la mare i a mon pare no pas gaire, perquè m’ha mal maridada: a un pastor me n’ha donada que em fa guardar la remada; he perduda l’esquellada: el vaquer me l’ha atrapada. --Vaquer, torna-me’n la cabra. --Què me darás por paga? --Un petó i una abraçada. --Aixó són coses de mainatge: quan tenen pa, volen formatge.

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El Barretinaire

Quan a Olot jo l’aprenia mon ofici dava pler, cada poble on Floria en seblava un claveller. Mos clavells i roses veres Jo plantí en eixes riberes, eren, ai! jardins les eres, i jo n’era el jardiner.

So barretinaire De Prats de Molló, em dicen cantaire, mes no canto gaire, mes no canto, no.

Desde Nápols a Marsella, no floira un port sense ella, era a terra flor vermella era la mar coral del fi.

Com la flor de la mangrana, Queia bé al bosc i al jardí; Els més vells la duien plana, els més joves, de garbí. So barretinaire.

Canción y Danza X

Cantiga de Santa María (Núm. 100)

Esta é de llor

Santa Maria, Strela do dia, Mostranos via pera Deus et nos guía.

Ca veer fazelos errados que perder foran perpecados entender

119 de que mui culpados son; mais per ti son perdoados da ousadia que lles fazia fazer folia mais que non deveria.

Santa Maria, ------

Cantiga de Santa María (Núm. 179)

Como hua Muller que era contreyta De todo o Corpo se fez levar a Santa Maria de Salas et foi logo guarida.

Ben sab’ a que pod’ e val fisica celestial.

Ca da seu Fill’ á sabuda fisica muit’ asconduda con que nos sempre ajuda et nos nolle todo mal.

Ben sa’ a que pod’ e val ------

Canción y Danza XII

La Dama d’Aragó

A Aragó n’hi ha una dama que és bonica com un sol; té la cabellera rosa: li arriba fins las talons. Ai, amorosa Anna María, robadora del meu cor, Ai, de l’amor! Sa mare pa pentinava Amb una pinteta d’or; Sa germana li trenava, Els cabells de dos en dos. Cada cabell, una perla; cada perla, un anell d’or; Cada anell d’or, una cinta

120 que li volta tot el cos. ------De qui és aquella dama que llença tan replandor? N’es filla del rei de França, Germana del d’Aragó; i si acàs no ha voleu creure, mireu- li el sabatò: veureu les tres flors de lliri i les armes d’Aragò.

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