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Chamber Music - Federico Mompou

by Marcel Worms

supported by
Christopher Moklebust
Christopher Moklebust thumbnail
Christopher Moklebust I am not that familiar with Mompou - though, I believe, this album presents a nice introduction to him. I would qualify this as very (VERY) late impressionism - though there are other elements present here of which I am unable to pin down at the moment. I suppose, various elements of 20th Century Classical - though, I hate using that label. Favorite track: Damunt de tu només les flors.
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    The musicians on this CD frequently play together in various combinations. In connection with the 20th anniversary of Mompou's death, they performed El Pont (the bridge). The music of Mompou binds the ensemble, which also wishes to function as a bridge that brings Mompou's music to a larger public. After all, the bridge is a symbol of communication and a dialogue, elements which play an essential role in this music.

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about

The musicians on this CD frequently play together in various combinations. In connection with the 20th anniversary of Mompou's death, they performed El Pont (the bridge). The music of Mompou binds the ensemble, which also wishes to function as a bridge that brings Mompou's music to a larger public. After all, the bridge is a symbol of communication and a dialogue, elements which play an essential role in this music.

Included on this CD:

Combat del somni
The song cycle the Combat del somni was completed in 1949. The opening song Damunt de tu només les flores is a homage to a dead lover, whose body is covered with flowers. When Francis Poulenc heard this song, of Mahler-like sadness, at a closed concert in Barcelona, he asked for it to be repeated three times. The Catalonian text of this song was by the hand of Mompou’s friend, the poet Josep Janés.

Altitud
In 1926 Mompou began to write a string quartet. The quartet kept him busy for a number of months and caused him to have a nightmare where the composer imagined himself locked up inside a cello. Eventually he gave up on the plan. A number of parts later served in other compositions, including Altitud. The question and answer game, that in Altitud is played in a subtle manner between instruments, in short the dialogue, is characteristic of the music of Mompou.

El Pont is dedicated to Carmen Bravo, not only Mompou’s wife but also his muse, without whom he would have probably stopped composing 25 years earlier. That the composer at such a ltate age could put so much vitality, passion and drama into this piece, is undoubtly thanks to Carmen Bravo.

credits

released January 1, 2007

Irene Maessen - soprano
Marijke van Kooten - violin
Daniël Esser - cello
Martin Kaaij - guitar
Marcel Worms - piano

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