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Federico Mompou

Mompou was a Catalan author of lyric songs and piano miniatures whose music is seen as a Impressionist style, simple and direct melody, as well as the haunting, deep feelings of folk music. Mompou examined piano on the Conservatorio del Liceo in Barcelona and gave his 1st concert at age 15. 3 years later, having a notice of suggestion from composer Granados, he visited Paris to review piano and tranquility. While there, he had written his 1st piano items, the Impresiones intimas (1911-1914). He became extremely used with Debussy and the present day French composers, specifically the extra melodiousness of Erik Satie. Mompou characterized this Satie quality in his music as “recomençament” (beginning over at the start), a go back to some sort of fundamental, fundamental condition of realization. In emulation of Satie, Mompou used his approach to scoring (in lots of from the piano functions) through the elimination of pub lines and crucial signatures, and (like Bartók along with other composers) putting accidentals only prior to the records to that they instantly apply. He also found the thought of placing unusual and frequently illogically humorous remarks, directions, and surreal pictures within the score, that actually serve to recommend the mood of the passage more effectively than the regular psychological and articulation markings — a few of Mompou’s directions had been “Chantez avec le fraîcheur de l’herbe humide” and “Donnez des excuses.” When Globe Battle I broke out, Mompou came back to Barcelona, where he continuing composing from 1914-1921. His functions in those days include the melody L’hora grisa (1915) to phrases by Blancafort, as well as the piano pieces Pessebres (1914-1917), Scènes d’enfants (1915-1918), Cants mágìcs (1917-1919), Fêtes lointaines (1920), and Charmes (1920-1921). Suburbis (1916-1917) includes musical portraits of individuals came across during Mompou’s lengthy walks. These were richly orchestrated by Manuel Rosenthal in 1936. In Un carrer, un guitarrista i un cavall (The street, the guitarist as well as the previous equine) a trumpet tune suggests the gradual progress of the cart packed with rock drawn by way of a weary equine “with large, unhappy eyes.” A vintage guy grinds a (wonderfully imitated) barrel body organ. Gitane I and Gitane II pull portraits of two feminine gypsy close friends, La Fana and La Chatuncha, through teasing dance music. La cegueta expresses soft empathy for “the tiny blind gal” whose gradual, uncertain walk is normally portrayed by mirrored patterns. In L’home de l’Aristó (The ariston participant) we hear a jolly parts played again with the wandering beggar musician. In 1921 Mompou came back to Paris where he continued to be 20 years, and came back completely to Barcelona. He was produced a Chevalier des Arts et des Lettres with the French federal government, and elected towards the Royal Academy of San Jorge in Barcelona and of San Fernando in Madrid. The creation of several piano pieces extended over huge period spans: the 12 Cançons i dansas (1921-1928, 1942-1962), the ten Préludes (1927-1930, 1943-1951), Variaciones sobre un tema di Chopin (1938-57), the outstanding and evocative Paisajes (1942-1960), and Música callada (1959-1967). Many of his significant music are the Comptines I-VI (1931, 1943), Fight del somni (1942-1948), and Llueve sobre un rio, Pastoral (1945). His functions for chorus will be the Cantar del alma (1951) with text message from St. John from the Combination, and Improperios (1963) for chorus and orchestra.

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