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

OEUVRE

Frederic Mompou, like Chopin or Grieg, dedicated the majority of his oeuvre to the piano, partly because he dominated this instrument for his prior concert performance studies and partly for its characteristics.

The piano is the only instrument that allows resonating its harmonics in a wide range of pitch just like an orchestra except for the uniformity of timbre. This last condition motivated Mompou's creativity.

Mompou also had a special tendency to compose for voice. Two reasons lie under this fact:

Firstly, Mompou was a poetical man. He found the combination of music with text extremely powerful. As a matter of fact, the same Mompou held a diary where he kept his most inner thoughts and concerns. Furthermore, he also made some sketches and paintings which demonstrate the composer's natural inclination towards art creation.

Secondly, he had numerous acquaintances and close relationships with poets and writers, namely Josep Carner, Jose Janés or Paul Valéry.

Mompou has some works for guitar, organ, and cello. Nevertheless, they are not abundant.

Here is the list of his work for piano:

Impressions Íntimes (1911-1914)

Pessebres (1914-1917)

L'hora grisa (1915)

Muntanya (1015)

Escenes d'Infants (1915-1918)

Suburbis (1916-1917)

Cants màgics (1917-1919)

Canción y danzas (1918-1924)

Fêtes lointaines (1920)

Charmes (1920-1921)

Trois variations (1921)

Dialogues (1923)

Quatre melodies for voice and piano (1925)

Cançoneta incerta, for voice and piano (1926) - text by Josep Carner

Comptines for voice and piano (1926)

Préludes (1927-1944)

Le nuage, for voice and piano (1928) - text by Mathilde Pomès

Altitud, for violin and piano (1929)

Souvenirs de l'exposition (1937)

Variations over a theme by Chopin (1938-1957)

El pont (1942)

Paisatges (1942-1947)

Combat del somni, for voice and piano (1942-1948)

Comptines, for chant and piano (1943)

Dues melodies, for chant and piano (1945) - text by Juan Ramon Jiménez

Cançó de la fina, for chant and piano (1949) - text by Tomàs Garcés

Aureana do Sil, for chant and piano (1951) - text by Ramon Cabanillas

Canción de Cuna (1951)

Cantar del alma, for chant and piano (1951) - text of saint Jean de la Croix

Cantar del alma, for 4 voices choir and organ (1951)

Dos cantigas de Alfonso X el Sabio, for choir (1953)

Perlimplinada, ballet (1955)

Ave Maria, for choir (1958)

Música Callada (1959 - 1967)

Improperies, for choir and orchestra (1963)

Primers passos, for choir and piano (1964)

Combat del Somni, for voice and orchestra (1965)

Vida interior (1966)

Becquerianes, for voice and piano (1970) - text by Gustavo Adolfo

L'ocell daurat, cantata for children (1970)

Cinc melodies sobre textos de Paul Valéry, for voice and piano (1972)

Suite compostelana, for guitar (1972)

Propis del temps d'Advent, for choir and organ (1973)

Bali rodo, for choir (1976)

El pont, for cello and piano (1976)

La vaca cega, for choir and organ (1978)

Mira, Quina resplendor, for choir and piano (1983)

Mompou plays his Impressions Intimes

Josep Carreras i Coll sings Mompou's Damunt de tu nomes les flors

Frank Wallace plays Mompou's Suite Compostelana for guitar

Tip

Tip

OEUVRE