SIMPLICITY OF STRONG EMOTION: Study on the performance style of Frederic Mompou based on his recording of Cants Màgics

Blanca Maria Martínez Vilanova

Frederic Mompou i Dencausse (1893 - 1987) was one of the most intriguing Spanish composers of the 20th century. His music, often described as pure for its beauty and apparent simplicity, has captivated the attention of numerous critics and musicians around the world. The majority of the production of Mompou is dedicated to the piano, instrument that he mastered despite his reluctance to perform for large audiences - similarly to F. Chopin. The aim of this research is precisely to investigate the way Mompou performed his pieces, in other words, his performance style. My investigation is divided into two clear sections: on the one hand, chapters one and two provide the reader with a theoretical framework (biography, style, and influences; on the other hand, chapters three and four constitute the practical and most important part of my research. Concerning this last one, I analyze Cants Magics (1919), the first piece that presents a defined unique style, and its corresponding recording performed by Mompou himself in 1974. The result of this proces is the creation of a new annotated score to visually demonstrate the different expressive resources he uses to enhance the expression of his composition. Examples of these are dislocations, tempo fluctuations, voicings, rubati and pedalling. Lastly, in chapter four I apply partof the above-mentioned Mompou's pianistic techniques into other compositions from Musica Callada. These serve me to formulate an experienced-based reflection on the matter.

HOME

1. Abstract

2. Biography of Mompou

3. Oeuvre

4. Influences

5. Justification of the piece

6. About Cants Màgics

7. Analysis of Cants Màgics

7.1. Enèrgic

7.2. Obscur

7.3. Profond-lent

7.4. Misteriós

7.5. Calma

8. Mompou's performance style

9. Personal experiments

Conclusions

Bibliography

JUSTIFICATION OF THE CHOICE

This chapter is analytical. It demonstrates that Mompou’s performance style is as important for the musical discourse as the actual compositions are. To underpin my argument I examine Mompou’s own recording of Cants Màgics (Ensayo label), which dates from 1974. It is worth mentioning that the choice of the piece has not been by chance, although any other recording of Mompou’s work would have been similarly valid to research his pianistic aesthetics.

Firstly, Cants Màgics (1919) is one of the first compositions that reflect Mompou’s personal language and his so-called primitivist style, something he would keep developing until the crowning moment of his career: the conception of the two books that constitute Música Callada (1951-1967). For this reason I consider Cants Màgics a key composition to be able to understand the essence of his work.

Secondly, Cants Màgics is a piece that does not intendedly contain folkloric tunes or other composers’ themes, unlike Variations on a Theme of Chopin (1957) or Cançons i danses (1918-1972). Consequently, Mompou’s way of performing them is less prone to copy other musician’s styles.

Lastly, Cants Màgics is a short piece consisting of five contrasting movements. Due to time constraints I found it convenient to select this work in order to perform a detailed yet varied study and hence avoid vagueness at all costs.

I organized this chapter in five sections, one for each movement. Each one of them consists of a musical analysis and a recording analysis. I also explain whether the former can be linked to the latter with the aim of establishing patterns.

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