APPLYING MOMPOU'S PERFORMANCE STYLE IN MY PRACTICE OF HIS MÚSICA CALLADA
After having analyzed Mompou's recording of Cants Màgics I am going to apply my findings into my own practice.
The pieces I chose to conduct the aforementioned experiments on are the first three numbers from the first book of Música Callada, all of them composed in 1959: "Angelico", "lent", and "placide". Música Callada was considered by Mompou himself as his major contribution to music. Each number of the collection is no longer than two minutes and best summarizes his idea of simplicity and "return" in music. Música Callada was named after Mompou became interested in the poems of Saint John of the Cross2 . For this reason, Música Callada intends to convey this mysticism.
My Beloved is the mountains,
The solitary wooded valleys
The strange islands,
The roaring torrents,
The whisper of the amorous gales;
The tranquil night
At the approaches of the dawn,
The silent music3,
The murmuring solitude,
The supper which revives, and enkindles love.
When I first approached Música Callada on the piano I was just a child. I only had the reference of the score to interpret it. Actually, it did not sound as interesting to me as the compositions of Mozart and Beethoven did. All in all, neither did I understand it nor enjoyed it. Eventually, I put it aside until two years ago.
What sparked my interest in the music of Mompou as a grown-up were both my exposure to different styles of music during my musical education and the recordings of Volodos interpreting his compositions.
In June 2019 I recorded for myself Angelico and Lento. Listening back to it I had the feeling that I missed some kind of magic in my playing. To me, it seemed obvious that there was something more than just notes and rhythm. Here is the recording: