Nov 15th 2019

Mompou’s quiet compositions find  their place in today’s repertoire

by Michael Johnson

Michael Johnson is a music critic with particular interest in piano. 

Johnson worked as a reporter and editor in New York, Moscow, Paris and London over his journalism career. He covered European technology for Business Week for five years, and served nine years as chief editor of International Management magazine and was chief editor of the French technology weekly 01 Informatique. He also spent four years as Moscow correspondent of The Associated Press. He is the author of five books.

Michael Johnson is based in Bordeaux. Besides English and French he is also fluent in Russian.

You can order Michael Johnson's most recent book, a bilingual book, French and English, with drawings by Johnson:

“Portraitures and caricatures:  Conductors, Pianist, Composers”

 here.

 

Adolf Pla is a leading Catalan pianist and an authority on the composer Frederico Mompou. His recent four-CD album comprises the complete Mompou piano works and his book El eterno recomenzar (The Eternal Restart) is in its second edition. In an extended  interview he notes a resurgence of interest in this unusual composer, “a man of few notes”, as Mompou called himself. Excerpts from the interview, conducted by Michael Johnson, follow:

 

Are we witnessing a revival of Mompou’s music 30 years after his death? Who is playing it ?

Certainly in the past couple of decades, interest in Frederico Mompou's music has intensified. But of course some of the great performers who have long included him in their recitals -- Arthur Rubinstein, Arturo Benedetti Michalengeli, Aldo Ciccolini. Catalan pianists Rosa Sabater and Alícia de Larrocha, the singers Victoria de los Ángeles and Montserrat Caballé, the guitarists Andrés Segovia and Narciso Yepes have also performed his music.  Now pianists from later generations -- Stephen Hough, Daniil Trifonov Guillaume Coppola, and especially Arcadi Volodos -- have incorporated him into their repertoire.

 

Isn’t Mompou’s own recording of his complete piano works still available?

Yes, Mompou himself recorded his complete piano works. With the help of his wife Carmen Bravo, who also was interpreter of his music, he found a wider attention. Several complete recordings of his piano music appeared, mostly in Catalonia: Miquel Farré / Antoni Besses, Josep Colom Jordi Masó. My album, Frederic Mompou: Complete Works for Piano (LMG2118) accompanied the publication of my book  El eterno recomenear, (Mompou, the eternal restart)

 

Most of the recent recordings include Mompou’s final composition, Música Callada. Is that significant? 

I think so, much because in this music Mompou reaches an absolute synthesis of his esthetics, and it was quite unknown to the public until the end of the 20th century. Now it has become the music that attracts the most interest among modern audiences. 

 

How important is Mompou in your personal repertoire? You seem to emphasize his music, with your recording of his complete piano works and your book on his life and work. 

Very important. I also have the opportunity to present concerts of works by Mompou in a visual project entitled The Sound of Light, in which I created a dialogue with the architecture of Antoni Gaudí, the great Catalan architect. This artistic work on music and architecture has helped me understand Mompou beyond the musical sphere. I wanted to know his thoughts, to read everything he wrote, to understand his attitude to life in all its contradictions. Mompou was a poet who wrote reflections such as “the wind could stroke a cheek and at the same time bury a tree”. His music expresses a kind of balance of contradiction, opposition and integration.

 

You were friendly with Mompou’s widow. What understanding and insights did you discover through that friendship?

I had the opportunity to enjoy conversations with the widow of Mompou, Mme. Carmen Bravo. She was a good pianist and especially attentive to performers of her husband's music. For me it was a privilege to know her because she shared anecdotes and details that we cannot read in any book. 

 

For example?

On a certain occasion she explained to me that after having a relationship for fifteen years, one day Carmen proposed marriage The next day they married in a ceremony absolutely improvised, without anybody, only the priest. On another occasion, both went to the burial of a young person. Carmen did not know what to say to relatives for the great misfortune. Mompou suggested “sometimes the best word is the word not said”. 

 

What do you mean by Mompou’s music being a “state of consciousness” rather than a story or discourse, as you have written?

On one occasion, in Paris, musicologist José Bruyr called at Mompou's door and asked if it was the apartment of the composer Frederico Mompou. The answer was that there was no such composer, only a musician, who was himself. Mompou was not a composer in the sense of constructing a discursive narrative. 

 

Mompou was a man of great spirituality, it seems?

Indeed. He always explained that his music was the “least composed of the world”. During his youth he became interested in philosophy and wrote his ideas about eternity, identity, unity... and a lot of metaphysical concepts. Later on, he was a reader of Spanish mystic literature of the VXI century, especially poetry of San Juan de la Cruz. This poet used the expression “Música callada” (silent music) and "soledad sonora" (sound of loneliness) in the sense of experiencing the moment of an eternal present The sonority of Mompou allows us to understand that what has meaning in his music is composed of a minimum of sounds for maximum effect. 

 

What was behind his thinking? Why this unusual attitude? 

He wanted his music to express the unity of sound and silence. As Volodos says, Mompou gives us “a bit of eternity”. In the same way that in the literary field his music resembles poetry. It is not about explaining a story. 

 

Some pianists hesitate to offer Mompou in recitals, concerned that the quietude will disappoint those who want virtuoso displays on the keyboard. Maybe this is changing?

When we play this music on stage you feel it would be easier to share it in the privacy of a small room, with a reduced audience. I think it's a kind of music that can never be to the liking of the promoters of concerts if the goal is to do business, because it has no external meaning, but internal. It is like an experience of meditation with sounds.

 

Mompou was modest, yet one of his famous comments is similar to Handel’s remark that he was writing down what God dictated. Mompou said he did not think up music, he simply transmitted it. 

The Mompou’s idea about God was interesting. God was a great force that also could destroy his own creation, like a child who in a moment of joy treads on an ant without noticing. Mompou explained that, in his case, the music was not coming from inside to outside, but the opposite way, from outside to the inside, with him being the intermediary of this flow, as a kind of medium. Mompou felt embarrassed to be called on stage after a performance of his music. He was convinced that if the work was really good, it was not entirely created by himself. 

--------------------------

 

A related article appeared on Facts and Arts:

New Coppola CD and interview: Celebrating miniatures

by Michael Johnson

Apr 16th 2019

 

This excerpt of the interview will appear in full in the forthcoming book “What Musicians Really Think”, due in 2020 – 30 conversations with critic Michael Johnson.

 

END

 


This article is brought to you by the author who owns the copyright to the text.

Should you want to support the author’s creative work you can use the PayPal “Donate” button below.

Your donation is a transaction between you and the author. The proceeds go directly to the author’s PayPal account in full less PayPal’s commission.

Facts & Arts neither receives information about you, nor of your donation, nor does Facts & Arts receive a commission.

Facts & Arts does not pay the author, nor takes paid by the author, for the posting of the author's material on Facts & Arts. Facts & Arts finances its operations by selling advertising space.

 

 

Browse articles by author

More Music Reviews

Jun 6th 2015

"The classical music scene in New York City is amazing. Not only for the quality, but also for the depth and breadth of the offerings. Yes, there are always the A-list attractions, Netrebko at the Met, Argerich at Carnegie.
Jun 4th 2015
Music festivals are about to die, according to leading rock promoter and manager Harvey Goldsmith.

Speaking recently at the Hay Literary festival, he declared that it w

Jun 1st 2015

In his 70s, the pianist and conductor Daniel Barenboim continues to attract attention not only for his performance schedule but also for his views on global issues.

May 27th 2015

When an aging Radu Lupu sauntered onstage in Bordeaux Tuesday evening (27 May) a hush fell over the packed Auditorium. This pianist is generally recognized as one of the world’s most accomplished keyboard artists, and the full house of 2,200 attendees knew it.

May 8th 2015

One can easily imagine an opulent home of a Seattle billionaire like Bill Gates or Paul Allen as a setting for Richard Strauss’s “Ariadne auf Naxos.” So after the curtain went up for Seattle Opera’s opening night (May 2) at McCaw Hall, the contemporary setting, created by Robert Dahlstrom, aptly

Apr 22nd 2015

When legendary soprano Patricia Racette, currently starring at the Met in Pagliacci, called and asked if I would like to produce her new CD, I had to pinch myself. This is the kind of request that can make my day, week and month.

Apr 20th 2015

Young Boston area players performed a broad range of instrumental and vocal works by the up-and-coming Boston University (BU) composer Christopher LaRosa (in the picture) Friday night at Boston’s United Church of Brookline, virtually rattling the stained-glass win

Apr 11th 2015

Music Director Andris Nelsons’s Thursday [April 9, 2014] BSO program, comprising a wide range of musical styles and eras, induced an enthusiastic reception in the nearly full house. The program will be repeated tonight (Friday), Saturday and next Tuesday.

Apr 2nd 2015

When scheduling an orchestral program a year or more in advance, it is probably impossible to know how a brand new piece will match up with any other work, but Michael Gandofi’s “Ascending Light,” which received its world premiere last weekend from Boston Symphony, had a lot in common with Gusta

Mar 29th 2015

The Handel and Haydn Society celebrated its 200th anniversary with an intense and moving performance of Bach’s “St. Matthew Passion” before a full house at Symphony Hall (Boston) on Friday (March 27).

Mar 25th 2015
Billions of people enjoy music; many feel that they can’t live without it.

Why?

Mar 14th 2015

Alessandro Deljavan, the charismatic Italian pianist whose playing created a sensation at the 2013 Cliburn International Piano Competition, has produced his much-anticipated CD of Robert Schumann works. Distribution is scheduled for the end of this month.

Mar 2nd 2015

When the thunderous introduction to Grieg’s piano concerto erupted in Carnegie Hall on a spring evening in 1951, the audience was poised for a great musical experience.

Mar 2nd 2015

You might think that watching a Baroque opera with its endless da capo arias would be akin to watching paint dry, but Seattle Opera’s all-new production of Handel’s “Semele” tosses that notion out the window.

Feb 26th 2015

Frances Wilson: Who or what inspired you to take up the piano and make it your career?

Feb 19th 2015
As a long-time West Sider, I've happily traipsed through the bowels of Brooklyn for my last few posts in pursuit of the most happening events in classical music, theater and opera. But sometimes, as L. Frank Baum and Judy remind us, there is truly no place like home.
Feb 19th 2015
When American song writer Jerome Kern announced he was going to write a show based on Marco Polo, an enthusiastic reporter asked, “Mr. Kern, your new musical is based on an Italian who crossed the Alps and then the Leviathan desert, got to Mongolia, then China and finally returned home to Italy.
Feb 12th 2015
72

The world premiere of Snowstorm, a 20-minute feast of orchestral colors and cl

Feb 12th 2015

On Friday night (February 6) at Keller Auditorium, Sandra Piques Eddy gave one of the best performances of Carmen that anyone can possibly imagine. She captivated Portland Opera’s audience with a tantalizing combination of emotions that made Carmen absolutely bewitching.