University of Iowa

Iowa Research Online

Theses and Dissertations

2012

Federico Mompou: a style analysis of thirty-five songs

Lynell Joy Kruckeberg
University of Iowa

Copyright 2012 Lynell Joy Kruckeberg This dissertation is available at Iowa Research Online: http://ir.uiowa.edu/etd/3486 Recommended Citation
Kruckeberg, Lynell Joy. "Federico Mompou: a style analysis of thirty-five songs." dissertation, University of Iowa, 2012. http://ir.uiowa.edu/etd/3486.

Follow this and additional works at: http://ir.uiowa.edu/etd Part of the Music Commons

FEDERICO MOMPOU: A STYLE ANALYSIS OF THIRTY-FIVE SONGS

by Lynell Joy Kruckeberg

An essay submitted in partial fulfillment of the requirements for the Doctor of Musical Arts degree in the Graduate College of The University of Iowa

December 2012

Essay Supervisor: Associate Professor Rachel Joselson

Copyright by LYNELL JOY KRUCKEBERG 2012 All Rights Reserved

Graduate College The University of Iowa Iowa City, Iowa

CERTIFICATE OF APPROVAL ____________________________ D.M.A. ESSAY ______________

This is to certify that the D.M.A. essay of

Lynell Joy Kruckeberg

has been approved by the Examining Committee for the essay requirement for the Doctor of Musical Arts degree at the December 2012 graduation.

Essay Committee:

____________________________ Rachel Joselson, Essay Supervisor ____________________________ Christine Getz ____________________________ Jennifer Iverson ____________________________ John Muriello ____________________________ Stephen Swanson

To Chris

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ACKNOWLEDGMENTS The Rowman and Littlefield Publishing Group has granted permission to present the translations of the poetry featured in The Spanish Song Companion by Jacqueline Cockburn and Richard Stokes. The Spanish Song Companion is published by Scarecrow Press in Baltimore, MD. Sociedad Espaola De Ediciones Musicales, S.A (SEEMSA) of Madrid has granted permission to use musical examples from the Caniones Becquerianas. MGB Hal Leonard of Milan has granted permission to use musical examples from Federico Mompou: Mlodies et Chansons and Cinq Mlodies sur des textes de Paul Valery. First of all, I would like to thank my husband, Chris, for his unwavering support and encouragement throughout this final project and for the entire duration of the DMA program. Im grateful for your help as an editor and writer. Most importantly, I thank you for being my best friend and confidant. I would also like to thank my parents, Laren and Joan, and my parents-in-law, Tom and Johanna, for all of your support during all the years I have been in school. You have all been a source of encouragement and strength when I needed it most. Special thanks to Ruthann McTyre for helping in securing permission of musical examples in this essay. Thank you to Dr. Jane Gressang for assistance in translating a permission letter to SEEMSA in Madrid. Finally, thank you to Dr. Rachel Joselson, Dr. Christine Getz, Dr. Jennifer Iverson, Dr. John Muriello, and Professor Stephen Swanson for serving on my essay committee. I am grateful all for your assistance, expertise and experience.

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TABLE OF CONTENTS LIST OF EXAMPLES INTRODUCTION Literature Review Purpose and Methodology CHAPTER 1 BIOGRAPHY CHAPTER 2 SIX SONGS OF THE COMPTINES Dait dun cotxe Margot la pie He vist dins la lluna tres Asserin, Asseran Petite fille de Paris Pito, pito, colorito Summary CHAPTER 3 SEVENTEEN SONGS Lora grisa Quatre Mlodies Rosa del cami Cortina de fullatge Incertitude Neu Canoneta incerta Combat del somni Damunt de tu noms les flors Aquesta nit un mateix vent Jo et pressentia com la mar Fes me la vida transparent Can de la fira Deux Mlodies Pastoral Llueve sobre el rio Cantar del alma Aureana do Sil Sant Mart Primeros pasos CHAPTER 4 TWELVE SONGS vi 1 3 7 12 21 22 24 26 28 31 34 36 38 39 42 42 44 46 48 50 54 54 58 61 64 67 71 72 75 78 82 85 90 93

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Le nuage Canions Bquerianas Hoy la tierra de son rien Los invisibles tomos del aires Yo soy ardiente Yo s cul el objeto Volveran las oscuras Olas gigantes Cinq Mlodies La fausse morte Linsinuant Le vin perdu Le sylphe Les pas CONCLUSION APPENDIX A CATALAN PRONUNCIATION AND DICTION GUIDE Syllabification Vowels Stressed Vowels Unstressed Vowels Dipthongs Glides Consonants Digraphs Liason APPENDIX B SELECT DISCOGRAPHY FROM 1992-2012 Recorded Songs on Compilations Recorded Songs by Recording Artist BIBLIOGRAPHY

94 96 97 100 102 105 107 111 114 115 118 120 123 125 128 132 133 133 134 135 136 137 138 143 144 146 146 147 152

LIST OF EXAMPLES Example 1. Mompou, Dait dun cotxe, Measures 23. Example 2. Mompou, Margot la pie, Measures 2635. Example 3. Mompou, He vist dins la lluna tres, Measures 913. Example 4. Mompou, Asserin, Asseran, Measures 112. Example 5. Mompou, Aserrin, Aserran, Measures 1317. Example 6. Mompou, Petite fille de Paris, Measures 116. Example 7. Mompou, Pito, pito, colorito, Measures 47. Example 8. Mompou, Pito, pito colorito, Measures 816. Example 9. Mompou, Lora grisa, Measures 18. Example 10. Mompou, Lhora grisa, Measures 1926. Example 11. Mompou, Rosa del cami, Measures 19. Example 12. Mompou, Cortina de fullatge, Measures 19. Example 13. Mompou, Incertitude, Measures 18. Example 14. Mompou, Neu, Measures 113. Example 15. Mompou, Canoneta incerta, Measures 15. Example 16. Mompou, Canoneta incerta, Measures 1725. Example 17. Mompou, Damunt de tu noms les flors, Measures 615. Example 18. Mompou, Damunt de tu noms les flors, Measures 2135. Example 19. Mompou, Aquesta nit un mateix vent, Measures 18. Example 20. Mompou, Aquesta nit un mateix vent,Measures 1317. Example 21. Mompou, Jo et pressentia com la mar, Measures 18. Example 22. Mompou, Jo et pressentia com la mar, Measures 1926. 24 26 28 30 31 33 35 36 41 41 44 45 47 49 52 53 57 58 60 61 63 64

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Example 23. Mompou, Fes me la vida transparent, Measures 16 . Example 24. Mompou, Fes me la vida transparent, Measures 1620. Example 25. Mompou, Can de la fira, Measures 113. Example 26. Mompou, Can de la fira, Measures 6675. Example 27. Mompou, Pastoral, Measures 110. Example 28. Mompou, Llueve sobre el rio, Measures 59. Example 29. Mompou,Llueve sobre el rio, Measures 2027. Example 30. Mompou, Cantar del Alma, Measures 16. Example 31. Mompou, Cantar del Alma, Measure 11. Example 32. Mompou, Aureana do Sil, Measures 410. Example 33. Mompou, Aureana do Sil, Measures 1517. Example 34. Mompou, Sant Mart, Measures 19. Example 35. Mompou, Sant Mart, Measures 2636. Example 36. Mompou, Primeros pasos, Measures 510. Example 37. Mompou, Le nuage, Measures. 14. Example 38. Mompou, Le nuage, Measures 3035. Example 39. Mompou, Hoy la tierra Measures 516. Example 40. Mompou, Los invisibles tomos del aires, Measures 13. Example 41. Mompou, Los invisibles tomos del aires, Measures 1618. Example 42. Mompou, Yo soy ardiente, Measures 16. Example 43. Mompou, Yo soy ardiente Measures 718. Example 44. Mompou, Yo s cul el objeto, Measures 112. Example 45. Mompou, Volveran las oscuras, Measures 18.

66 67 70 71 74 76 77 80 81 84 85 88 89 92 95 96 99 101 102 104 105 107 109

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Example 46. Mompou, Volveran las oscuras golondrinas, Measures 8089. Example 47. Mompou, Olas gigantes, Measures 17. Example 48. Mompou, Olas gigantes, Measures 1722. Example 49. Mompou, La fausse morte, Measures 110. Example 50. Mompou, Linsinuant, Measures 1425. Example 51. Mompou, Le vin perdu, Measures 2128. Example 52. Mompou, Le sylphe, Measures 3041. Example 53. Mompou, Les Pas, Measures 18.

111 113 114 117 120 122 124 126

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1 INTRODUCTION Federico Mompou (1893-1987) was a Catalan composer described by Toms Marco as one of the greatest, most original, and most independent figures of the twentieth-century.1 Known primarily for his piano compositions, Mompou also composed thirty-seven songs for voice and piano, a ballet, a few choral works, and a guitar suite. The majority of his works are miniature compositions that sought to express the intimate and transcendental nature of Catalan poetry, and to experience rebirth of a state of unsullied musical innocence.2 The often quiet, intimate, and introspective character expressed in Mompous music contrasts sharply with the musical bravura and flamboyance that was found in popular music in Barcelona at the turn of the twentieth century. While other Catalan composers were embracing a modern musical movement, Mompous compositions reflect the noucentisme, the musical style of the previous generation around 18003. Instead of writing virtuosic and highly entertaining compositions, Mompou wrote nostalgic pieces that had great personal meaning and were rooted in the rich musical traditions of Catalunya. Many musical styles and traditions influenced Mompous compositions, but his unique style first began developing in childhood with the sounds of bells. He grew up listening to the sounds of his familys bell factory and was enchanted by the metallic and

Toms Marco, Spanish Music in the Twentieth Century, (Cambridge, MA: Harvard University Press, 1993), 69. Jacqueline Cockburn and Richard Stokes, The Spanish Song Companion, (Lanham, MD: The Scarecrow Press, 2006), 146. Jacqueline Cockburn and Richard Stokes, The Spanish Song Companion, 146.

2 ringing sonorities. Bell sounds would become one of the most prominent features of Mompous compositions. In particular, the notes of the bell overtone series provide important intervallic relationships in Mompous music. In particular, intervals of major thirds, minor thirds, perfect fourths, perfect fifths, and octaves are particularly common in Mompous music. The influence of bells and the corresponding overtone series appear in the music in a couple of ways. First, there are many appearances of ostinati that vascillate between individual pitches that are an intervallic distance of a fourth, fifth, or an octave apart. A second use of bell sounds occurs in the presence of many quartal and quintal dyads, or chords featuring stacked fourths, or fifths. Yet another occurrence of bells occurs in relation to the juxtaposition of major-minor harmonies. Each reference to bells may not be specifically identified in the analysis, but it is helpful to understand that Mompous harmonic language is deeply rooted in the sounds of bells. The sounds of bells are extremely important to Mompou, but he also drew musical inspiration from Catalan folk music. Many of the songs are folk-inspired, but they do not directly quote any traditional Catalan songs. Instead, his vocal music display original melodies that are similar in style to other Catalan songs. French music was another source of inspiration for Mompou and he deeply admired the works of Gabriel Faur, Erik Satie, and Claude Debussy. Mompou lived, studied, and performed in Paris for several years and achieved a moderate degree of fame and success during his tenure in Paris. Mompous songs and piano pieces were well-received by critics and audiences in France, Spain, and even the United States during his lifetime, but since the mid-1970s, the majority of his songs have been overlooked by Western performers and scholars.

3 Mompous songs, composed between 1915 and 1971, are settings of Catalan, Spanish, and French texts. They are characterized by their simplicity, expressiveness, and evocative style. The poetry represents a variety of subjects that range from expressions of simple, childlike pleasure, to those of a highly reflective and emotional mind. Federico Mompous songs represent an important contribution to Catalan art song of the twentieth century. The songs are deserving of performance and study in any voice studio because they contain a variety of technical, linguistic, and interpretive challenges for a wide variety of singers. Literature Review Most of the scholarly research currently available about Federico Mompou concentrates on his biography and his piano compositions. There are several sources in Catalan and Castilian Spanish as well as in English, but few contain specific information about Mompous songs. This literature review highlights the most valuable sources currently available about Federico Mompou. The discussion begins with the two major biographies of Mompou, then follows with general sources about Catalan and other Spanish music, then discusses works that specifically discuss Mompous compositions. The biographies by Santiago Kastner and Clara Jans provide thorough information about Mompous life. Kastners Federico Mompou (1947) was the first major biography of Mompou. Kastner was an important twentieth-century British musicologist dedicated to the study, promotion, and dissemination of music of the Iberian Peninsula. His biography of Mompou is divided into two parts: La Vida del Hombre (The Life of the Man) and La Vida del Obra (The Life of Work). The Spanish text not

4 only provides both biographical information, but also characteristics and features commonly found in Mompous works before 1947. Clara Jans La vida callada de Federico Mompou, (1975) is written in Catalan and draws on her personal memories of the composer. Claras father, Josep Jans, and Mompou were close friends. The two families enjoyed many Sunday afternoons filled with music, the reading of poetry, and conversing about literature, art, and architecture. La vida callada remains one of the most complete biographies of Mompou to date. Wilfred Mellers Le Jardin Retrouve examines Mompous life and compositions through various religious and cultural influences of Catalunya. Mellers describes Mompous music as being at once unique and also universal4 because he believes that all people are searching for days of youth, innocence, and renewal. He views Mompous music as mystical and even hermetic. Meller discusses the important people and influences in Mompous life, but also strongly asserts that in spite of the many influences Mompous style remained unique, in part, because he remained true to his own personal aesthetics. He did not always accept the advice of his composition teachers. Mellers groups Mompous music into categories of pre-historic spells, chants, and incantations.5 The majority of the analysis concentrates on Mompous piano music, although there are brief discussions of the Quatre Mlodies and the Combat del Somni. The texts by Gilbert Chase and Toms Marco address general characteristics of Catalan and other Spanish music. Gilbert Chase is largely credited with being one of the first musicologists to promote Spanish music in Western musical culture. His The Music 4 Wilfred Mellers, Le Jardin retrouve: the Music of Frederic Mompou 1893-1987. (York, England: The Fairfax Press, 1985), 2. 5 Wilfred Mellers, Le Jardin Retrouve, 1.

5 of Spain, first written in 1941 and revised in 1959, presents an overview of Spanish musical history and details specific regional musical characteristics. Although Chase does not specifically address Mompous music, the text is useful in providing background information about Catalan musical characteristics and music from other Spanish regions. Toms Marcos Spanish Music in the Twentieth Century (1993) provides information about Iberian composers, including Mompou. The text is divided into two parts: Before the Civil War and After the Civil War. Marco discusses the progression and growth of Spanish music in the twentieth-century starting with musical life in Spain at the turn-of-the-century. Within each major section of the book, he discusses important individual composers and specific compositions that preceeded and followed the Spanish Civil War (1936-1939). Marco devotes only two and a half pages to information about Mompou. Marco regards Mompou as a transitional figure and independent, intergenerational maestro, who defies classification or category because his works were completely original and unlike his other Catalan and Spanish contemporaries.6 Marcos brief discussion of Mompou lists general biographical facts, some general characteristics about his music, and some important compositions with brief descriptions. Richard Peter Paine published Hispanic Traditions in Twentieth-Century Catalan Music: With Particular Reference to Gerhard, Mompou, and Montsalvatge (1989). The introduction of the book includes background information about the Catalan renaixena, or renaissance, and the rise of a national music tradition. The first chapter describes characteristics of Andalusian and Catalan folk music and dance as a foundation for discussing individual works by Gerhard, Mompou, and Montsalvatge. In doing so, he

Toms Marco, Spanish Music in the Twentieth Century, 69.

6 focuses Paine on general characteristics of Mompous musical aesthetics and provides a little biographical information. Paine primarily discusses Mompous piano pieces, although he addresses the song set Combat del somni. Paines text is especially useful for identifying common musical traits that are used in both piano and vocal compositions. Adam Kents dissertation, The Use of Catalan Folk Materials in the Works of Federico Mompou and Joaquin Nin-Culmell, (1999) provides a survey of Catalunyas musical history over many centuries. Kent devotes a chapter to the folk music of Catalunya describes the canoners, narrative songs and dances of the region. He also discusses the modal and tonal characteristics of Catalan folk music, as well as the types of texts and themes used in the music. The dissertation includes a chapter on Mompou that shows specific examples of folk song quotations used in Mompous piano works. Mompou did not quote folk songs in his own vocal compositions, and so no song analysis is presented in this dissertation. Several texts concentrate specifically on analysis of Mompous piano works. Christine Bendells dissertation (1983) analyzes Mompous Canciones y Danzas for piano. Bendell highlights important compositional features, many of which are also found in the songs, in Mompous piano pieces. A more recent book by Ann Zalkind (2002), concentrates specifically to the Musica Callada for piano. Zalkind highlights important composers and musical styles that influenced Mompous music, primarily in relation to the twenty-eight pieces in the Musica Callada. In addition to the dissertation by Bendell and the book by Zalkind about Mompous piano music, there is one dissertation that is about Mompous songs.

7 In 1987 Frieda Elaine Hollands dissertation was the first document specifically focused on Mompous songs. Holland provides a one to two-page prose analysis of most of the songs in addition to specific information about considerations for pianists. In regard to the individual songs, there are few musical examples accompanying the prose of each song and she does not provide any specific pedagogical conclusions about the songs. Hollands dissertation is particularly useful because it provides a Catalan pronunciation guide. This guide is a useful to anyone wishing to perform these songs as there are no known Catalan IPA guides available for singers at the current time. The Spanish Song Companion (1993) by Jacqueline Cockburn and Graham Johnson contains information about many important Spanish and Catalan composers. The text provides a one or two page biography and followed by poetry and translations for many songs, providing a valuable resource for performers and scholars. Purpose and Methodology The purpose of this doctoral essay for limited distribution is to provide a style analysis of thirty-five songs of Federico Mompou. A secondary purpose of the essay is to provide a basic pedagogical guide for teaching and performing these songs. The analysis divides the songs into three groups based on technical difficulty, progressing from the least difficult to the most difficult. Information about each song will include date of publication, language, poet, poem and translation. Prose analysis of each individual song follows the format as described in Guidelines for Style Analysis by Jan LaRue. LaRues comprehensive approach to style analysis involves examining basic components of music, including sound, harmony, melody, rhythm and growth. These elements have been condensed into a mnemonic device known as SHMRG (prounounced

8 shmerg). Using the SHMRG (Sound, Harmony, Melody, Rhythm, and Growth) format provides a consistent framework for analyzing each song. In addition, this clear and consise method of analysis highlights important aspects of Mompous style as a composer. The following information provides background information about the SHMRG mnemonic in LaRues guide. Sound (S) includes all aspects of sound considered in itself rather than as raw material for melody, rhythm, or harmony.7 Characteristics in the category of sound include considerations timbre, dynamics, texture, dynamics, range, and tessitura. Sound is listed as LaRues first category for analysis because it includes a listeners general impression of a composition. LaRue believes it is important to begin with general features of a work before discussing small-scale details. Observing general qualities of the music first gives way to analyzing specific and individual elements of harmony, melody, rhythm, and growth. LaRues second category for analysis is harmony (H). His definition of harmony (H) addresses many cultural musical traditions and styles of analysis. His definition of harmony includes traditional chordal relationships, counterpoint, and polyphony, but his definition of harmony also accounts for other dissonant procedures that does not make use of familiar chord structures or relationships. 8 Further considerations of harmony include color, tension, linear tonality, modal tonality, unified tonality, expanded tonality, atonality, or serialism identified in compositions. Harmony is based on chord vocabulary,

Jan LaRue, Guidelines for Style Analysis, 2nd ed. (Sterling Heights, MI: Harmonie Park Press, 2011), 23. Jan LaRue, Guidelines for Style Analysis, 39.

9 including consonant or dissonant chords, chromaticism, motifs, sequences and progressions. Harmony further includes considerations of part exchange, imitation, stretto, augmentation, and diminution. Melody (M) refers to the profile formed by any collection of pitches9 and is one of the most easily recognizable features of any song and may be one of the first categories to be analyzed. Individual components of melody include range, mode, tessitura, indication of instrument or voice, motion of the melody, any patterns found in the melody, and whether the melody consists of new or thematic material. Rhythm (R) consists of various elements including surface rhythm, frequency of patterns, duration of patterns, meter, tempo, and phrasing. Patterns of change, durations of stress, lull, and transition are other important aspects of rhythm. Still other elements of rhythm are homorhythm, polyrhythm, and text rhythm. Growth (G) is the final basic principle in LaRues guide, and is one of the most complicated categories of analysis. Growth includes large-dimension considerations of balance, tempos, tonalities, textures, meters, dynamics, and ranges of intensity. It allows an examination of the evolution of a composition through heterogeneity, homogeneity, differentiation, or specialization. Dimensions of musical shape and considerations of anticipations, elisions, and truncations also affect growth. The direction of the phrases and the levels of intensity and activity all contribute to the category of growth. Notably absent from the SHMRG mnemonic is a category for text but LaRue does address the issue of text and text influence as a separate but equally important category. Individual elements relating to text influence include choices of vocal and

Jan LaRue, Guidelines for Style Analysis, 69.

10 instrumental timbre, text painting, mood painting, limitations of music because of awkward voicing, word and textual meters, degree of adherence to text form, fluctuations of intensity, location of climax, and degree of movement. The texts Mompou chose for certainly are at the heart of the meaning, emotion, and mood of each song. The text is one of the most important elements for any song, and especially for Mompous songs that are introspective and contemplative in nature. Analysis is a useful tool that provides specific information about how musical elements are combined to create a finished product. However, no amount of analysis is fully able to express the emotion and sentiments of a song. Jan LaRue reminds readers of both the shortcomings and the advantage of analysis by saying: Yet, although analysis can never replace nor rival feeling, it can enhance our perception of a composers richness of imagination, his complexity (or utter simplicity)10 of material, his skill in organization and presentation. The performer and listener must incorporate these insights into the full context of their personal response.11 In addition to the prose analysis and examples of the songs, a biography of Mompous life preceeds the song analysis and provides an .introduction to this relatively unknown composer. Although it is not necessary to know a composers biography in order to analyze the songs, Mompous life experiences deeply affected his musical growth and, ultimately, his compositions. The biography shows how the events surrounding Mompous life, homeland, and culture specifically influenced his songs, allowing for a greater context in understanding them. In addition, knowing some of

10

The use of parentheses in this quote is taken directly from Jan LaRue, not added by the author.
11

Jan LaRue, Guidelines for Style Analysis, 2.

11 Mompous biographical information helps inform the analysis of the songs. Mompous biography also highlights how his personality and life events affected his compositions. The essay concludes with two appendices including a discography and a Catalan diction guide. Appendix A provides a select discography of Mompou songs that have been recorded and released between 1992 and 2012. The discography provides a list of fairly recent recordings in CD or digital format. The recordings can be a useful tool to help performers who wish to listen to the pronunciation of the Catalan language. Appendix B will provide a brief guide to Catalan IPA and pronunciation. The diction guide is meant as an introduction to the sounds of the Catalan language and is in no way a comprehensive language guide. At the current time, there is no published Catalan IPA guide and this appendix is intended to assist singers wishing to perform the songs in their original language.

12 CHAPTER 1 BIOGRAPHY Federico Mompou was born on April 16, 1897 in Barcelona, Spain in the autonomous province of Catalunya. The son of Federico Mompou-Montmany and Josephina Dencausse, his heritage is a blend of French and Catalan cultures. Mompou felt fortunate to grow up in a family that valued music, dance, literature, and poetry. Mompous maternal family boasted a long lineage as bell makers and the family trade played an important part in his musical development. Established in the fifteenthcentury, the first site of the Dencausse bell factory was originally based in Tarbes, France. The bell business was so successful that Mompous great-grandfather, Ceferino Dencausse, expanded the company by opening a factory in Spain. In the second half of the nineteenth-century, brothers Jean and Pierre Dencausse moved to Barcelona to open and manage the new factory. Jean Dencausse married Ignacio Modesta and the couple had three children, including Josefina. Josefina and her family remained in Barcelona and enjoyed the cosmopolitan lifestyle of the growing city. Mompous father, Federico Mompou-Montmany, was from a village called Ginista in the Tarragona Valley of Catalunya. Mompou-Montmanys family was exceptionally demanding and controlling, insisting that he become a doctor. But the elder Mompou wished for a military career and disobeyed his familys wishes. As a young adult, he became estranged from his family. He moved to Barcelona to pursue his military career. Josefina Dencausse and Federico Mompou-Montmany met in Barcelona and were married in 1864. The couple established their residence in San Pablo Square in

13 Barcelona. The couple had three children, Federico being the youngest. The Mompou and Dencausse extended families lived in the same Barcelona neighborhood and spent a great amount of time together. Both the Catalan and French cultures played an important part in their family traditions. The family spent many weekends singing and dancing along with traditional Catalan and Provincial folk songs sung both in French and Catalan. They also spent many hours reading poetry and telling nostalgic family stories. In addition to the many hours spent enjoying music, Mompou also used his free time to listen to the sounds of the bells ringing from the factory. Dorle J. Soria recalls a 1978 interview with Mompou in which he describes a typical weekend afternoon in the Mompou family playing music and further explains the young Mompous fascination with bells. Soria retells Mompous story in this way: on Sundays friends would come and there would be music and singing and dancing. The boy loved Chopin and Schumann but most of all the sound of the bells. He would go to the factory and listen to the metallic sounds and he learned to reproduce the sound of a bell sent to be repaired. In his music there were to be bell sounds and a characteristic metallic chord.12 Federico and his siblings enjoyed a happy childhood and were free to explore as many activities and hobbies as they desired. Mompou was encouraged to follow whatever career path he wished as long as he excelled at his pursuits. Mompous father was supportive of the young musician, but expected excellence from him. His fathers insistence for excellence was, in part, because his father was denied the opportunity to pursue his own career aspirations of becoming a military officer. Mompou explains his personal career aspirations and his fathers demand for excellence in any career to Jos Bruyr:
12

Dorle J. Soria, Artists Life: Mompou the Magician, High Fidelity and Musical America, (Nov. 1978), 6.

14 From the time I was very young, I had dreamt of becoming a musician. My fathers vocation had been counteracted. He had wanted to be an officer, general why not? and he was a doctor. Thus he never [counteracted my vocation] or should I say ours, for you know I have a brother, Joseph Mompou, a painter. I was already a musician, and according to this excellent man I was to become a virtuoso. That is all. 13 Mompou was an average student academically and although he achieved moderate success in school, it was in music lessons that he began to excel. Mompou was a quiet child who spent much time listening and was an astute observer of the world around him. Mompou attended grade school at Ecole Franaises and furthered his studies at the Hermanos de la Doctrina Cristiana, a religious secondary school that taught reading, writing, and arithmetic in conjunction with the catechisms of the Catholic Church.14 In 1907, Mompou began studying piano with Pedro Serra at the Conservatorio de Liceo. His first public piano performance was a joint recital with Francisco Figueras on May 4, 1908 at La Sala del Orfen. Mompou was fifteen at the time of his first recital. He continued his piano studies with Serra until 1911. Although he did not share these thoughts with anyone at that time, he claims that his musical interest was then shifting from piano performance to composition. Mompous interest in composition was piqued in 1910 when he had the opportunity to hear Gabriel Faur play in concert in Barcelona. Mompou arrived late to the concert and was not allowed into the venue, so he stood outside the door and listened to the entire program. Fascinated by the music he heard through the door of the hall,

13

Jose Bruyr, Lecran des Musiciens, with a preface by Andre Coeury (Paris: Jose Corti, 1933), 107. Toms Marco, Spanish Music in the Twentieth-Century, 69.

14

15 Mompou was inspired to write his own music. Mompou shared his recollection of that concert with Santiago Kastner by saying: The music of Faur, even through closed doors, moved me deeply. I decided then and there to devote time to composition and go to Paris to pursue the exquisite harmonic novelties that sparkled in the aristocratic art of the French master.15 Mompou decided to pursue a career as a pianist and he wanted to further his musical studies in Paris where Faur was the director of the famed conservatory. Mompou asked fellow Catalan composer, Enrique Granados, for a recommendation letter for the conservatory and for a chance to meet Faur himself. Mompous request for an introduction letter marked the only time that Granados and Mompou ever met in person, despite the fact that both musicians were living in Barcelona.16 Despite the recommendation from Granados, Mompou was ultimately too shy and timid to introduce himself to Faur upon his arrival in Paris. Mompou studied at the Paris Conservatory from 1911 to 1913 but never met Faur in person. At the conservatory, Mompou initially studied piano with Louis Diemer, and studied harmony and counterpoint with Emile Pessard. Mompou was timid but inisistent about his desire to compose. Pessard recognized Mompous innate talent, but was irritated and frustrated by Mompous shy and introverted nature. Pessard allegedly dismissed Mompous interest in composition by saying Alors composez, composez!17

15

Santiago Kastner, Federico Mompou. (Madrid: Consejo Superior de Investigaciones Cientificas, 1946), 23. Frieda Elaine Holland, Federico Mompou: A Performers Guide to the Songs for Voice and Piano. DMA diss, (University of Texas, 1987), 4. Christine Bendell, Federico Mompou: An Analytical and Stylistic Study of the Canciones y Danzas for Piano, DMA diss, (University of Northern Colorado, 1983), 9.

16

17

16 Mompou began composing the very next day and the emphasis of his studies changed from piano performance to composition. Although Mompou had a strong desire to compose, but he was frustrated by the traditional rules of theory. His love of bells and the sounds of octaves, perfect fifths, and perfect fourths were discouraged by the faculty at the conservatory. Mompous composition studies with Pessard and Rousseau were also frustrating and slow because each of the men had differing opinions about composition. Eventually, Mompou found his own compositional style and the sounds of his childhood played an important part in it. Mompous decided to use his own instinct, imagination, and intelligence as his guides as a composer18 rather than relying on the opinions of his professors at the conservatory. While Mompou was beginning to compose more frequently in his free time, he simultaneously continued his piano studies with famous piano pedagogue Isadore Philipp. Philipps studio was full and he recommended that Mompou study with one of his favorite and most respected students, Ferdinand Motte-Lacroix. 19 Motte-Lacroix quickly became Mompous most important mentor, piano teacher, friend, and was an avid champion of his music. Motte-Lacroix recognized the importance and beauty in Mompous compositions and encouraged his unique personal musical aesthetic. MotteLacroix became the first performer and interpreter of Mompous piano pieces. After deciding to become a composer, Mompou was required to move back to Barcelona in 1913 for mandatory military service. The start of World War I in 1914 actually prevented a return to Paris until 1920. The six intervening years spent in

18

Christine Bendell, Federico Mompou: An Analytical and Stylistic Study, 11. Christine Bendell, Federico Mompou: An Analytical and Stylistic Study, 10.

19

17 Barcelona were very important for Mompou. Rather than embracing the modern movement in music that idealized the rapidly growing cosmopolitan city of Barcelona, Mompou sought to compose music that looked to the past rather than the present. He wished to return to primitive musical forms and to find pure music. He believed the soul should react to the music rather than an intellectual or rational approach to the music. Mompou therefore described his musical style as recomenament (to start over). Although Mompou looked to the past for inspiration, he also greatly admired the music of contemporaries Maurice Ravel, Erik Satie and the members of Les Six. He found the writings and musical of Erik Satie to be particularly close to his own musical philosophy. Satie championed simplicity and clarity in his own music and encouraged fellow French composers to do the same. Shared musical characteristics between Satie and Mompou include the use of single numbers indicating meter, lack of barlines, uncomplicated rhythms, and two or three- voice textures. Lionel Salter writes that Mompous expressiveness is achieved through lyricism, simplicity, by adapting popular melodies, by abandoning development and consciously neglecting bar lines and key signatures.20 His primitivism was contemporary in nature, and his creativeness is seen in his melody, harmony, rhythm and form. Above all, he wanted his music to be meaningful to himself and to the listener. Mompou returned to Paris in 1920 in conjunction with his first published piece for piano, Cants magics. Cants magics was dedicated to Ferdinand Motte-Lacroix. Lacroixs introduced Mompous music to noted French music critic and musicologist,

20

Lionel Salter, Mompou, Federico in The New Grove Dictionary of Music and Musicians, 20 vols, 6th ed., ed. Stanley Sadie (London: Macmillan Publishers, Ltd, 1980), 12:476.

18 Emile Vuillermoz. Impressed by the music, Vuillermoz wrote very positive reviews of it for Le Temps. Ferdinand Motte-Lacroix was furthering Mompous success by performing much of his music in concerts throughout Paris. The publicity created by Vuillermoz and Motte-Lacroix helped Mompou achieve moderate success and fame in Paris. In 1921, Mompou traveled to London on tour but he did not perform many concerts. He returned to Barcelona in 1922 and then moved back to Paris in 1923. He stayed in Paris for the next eighteen years. Upon his return to Paris, Mompou suddenly found himself at the center of attention. He performed regularly in the salons of Baroness Roberta de Rothschild and Princess Bassiano. During these years in Paris, he also met fellow compatriot Ricardo Vies, who frequently performed Mompous works in recital. The first years of the 1920s in Paris were busy for Mompou. He was welcomed in some of the most aristocratic social circles in Paris. His social life was never dull and he continued developing his compositional style. During these early years in Paris, he composed the piano pieces Dialogues, Souvenirs de lexposition, Seis preludios, Variaciones sobre un tema de chopin, Canciones y Danzas numbers 3 and 4, and the songs of Quatre melodies, Canoneta incerta, and Trois Comptines. In spite of his success, Mompou became increasingly unhappy and withdrawn. He was overwhelmed by the continuous social events and spectacles in Paris. He decreased the frequency of his performances and when he presented concerts, it was for small, private audiences consisting mostly of sculptors, painters, and writers.21 In many ways life in Paris did not suit his introverted, reflective and meditative nature. Mompou desired more solitude and his schedule in Paris did not leave him much personal time.

21

Christine Bendell, Federico Mompou: An Analytical and Stylistic Study, 13.

19 Mompous growing unhappiness resulted in fewer new compositions. He did not write or publish any music between 1931 and 1937. In 1941, he moved back to Barcelona and resumed composing. Mompou thereafter led a quiet life with occasional performances and compositions, including his most famous song set, Combat del Somni. Occasionally, Mompou would travel Europe on tour performing his own compositions. Mompou took a European tour in 1955 with pianist Carmen Bravo, his former student from the Barcelona Conservatory. Mompou and Bravo fell in love and were married late in 1955. They resided in Barcelona and both taught at the conservatory. Mompou rarely traveled outside Barcelona thereafter, except for three trips to New York. In 1970, he performed at the inauguration of the Spanish Institutes Lucrezia Bori Auditorium.22 He visited the United States again in 1973 for the American premiere of his oratorio, Los Improperios, sponsored by the Oratorio Society of New York.23 In March 1978, Mompou returned to the United States for a third time, this time to play a concert at Alice Tully Hall featuring his Canciones y Danzas, Cants Magics, two preludes, Suburbis, and three pieces from Scenes denfants. Donal Henahan of The New York Times reviewed Mompous performance at his birthday celebration very positively saying, [Mompou] championed more than a dozen of his pieces in the delicate and yet austere keyboard manner that is virtually synonymous with his name among pianists. Mr. Mompou, a tall and aristocratic-looking man is a master. His music, though cast in a bygone salon style, precisely reflects the man, which is rare in a time of impersonal virtuosity among composers. His pieces had a gentleness and poignancy that disarmed and were played freely, fluently, and gracefully. Before each piece, he thought for a moment, and then embarked on music that he might
22

Soria, Artist Life, MA-6. Raymond Ericson, Compatriots Offer Homage to Mompou, The New York Times, 24 March 1978, sec. 3, C6.

23

20 have written anything up to sixty years ago as if he were improvising it on the spot for his and a few friends pleasure. 24 During the same concert, Spanish pianist Alicia de Larrocha premiered Mompous Cancion y Danza No. 14 and tenor Jos Carreras joined de Larrocha for a performance of the song set Combat del Somni. Shortly after the 1978 trip to New York, Mompou suffered a severe stroke that limited his activities. He remained in Barcelona for the rest of his life and continued teaching, performing only occasionally. Mompou received several important accolades during his lifetime. He was awarded the National Music Prize of Spain in 1946 and was elected to Spains Royal Academy of San Jorge in 1952. Also in 1952 he received the French titles of Officer dAcademie and Chevalier des Arts et des Lettres.25 In 1959 Mompou was named a Correspondent of the Royal Academy of Fine Arts of San Fernando, and served for many years on the Executive Committee of the Spanish division of the International Society of Contemporary Music. He received the Premio Nacional de Musica in 1979 for the universal significance of his work.26 Mompou also received gold medals from the Gobierno de la Generalitat de Barcelona and the Academia de Bellas Artes de Madrid in 1980, the Universidad Menndez Pelayo in 1982, the Sociedad General de Autores in 1984, and the Ciudad de Barcelona in 1986.27 Mompou died at the age of ninety-four on June 30, 1987 in Barcelona.

24

Donal Henahan, Countrymen Pay Homage to Mompou, The New York Times, 27 March 1978, sec. 3, p. C16. Antonio Iglesias, Federico Mompou (Su obra para piano), (Madrid: Editorial Alpuerto, 1976), 15. Toms Marco, Spanish Music in the Twentieth Century, 70.

25

26

21 CHAPTER 2 SIX SONGS OF THE COMPTINES These six songs and poems by Mompou are drawn largely from childhood games, dances, and songs. They were composed in two groups of three songs each. The first set including Dalt dun cotxe, Margot la pie, and He vist dins la lluna was composed in 1931, followed by the second set including Aserrin, Aserran, Petite fille de Paris, and Pito, pito, colorito in 1955. The brief poems include counting games and morality stories with additions of nonsensical Catalan and French words. The first and last song of each set is in Catalan and the second song of each set is in French. The six Comptines are characterized by ostinati, limited vocal ranges, and diatonic and modal harmonies. A prominent melodic feature is a descending minor third with an embellishing upper neighbor, a melodic characteristic that Adam Kent has identified in many Catalan folk songs. Furthermore, this descending minor third motive is heard and seen in many childrens songs from around the world.28 The six Comptines are the least difficult of Mompous songs and are especially appropriate for beginning students learning about basic vocal technique, and breath support, as well as beginning to develop foreign linguistic skills. The vocal ranges are about an octave and the tessituras are largely in middle voice, providing opportunities to practice transitions to consistent head register. The melodies of these songs are stepwise, conjunct, and tuneful. The harmonies are largely diatonic and though the songs
27

Kent, Adam. The Use of Catalan Folk Materials in the Works of Federico Mompou and Joaquin Nin-Culmell. DMA diss, (Julliard School, 1999), 86. Adam Kent, The Use of Catalan Folk Materials, 58.

28

22 sometimes feature chromaticism, the harmonic language is generally comprehensible in one or two hearings. The possibility of learning melodies and harmonies quickly allows young singers to focus on specific on vocal skills including consistent breath management, sustaining legato melodic lines, and concentrating on interpretation. When dynamics are marked in the score, they range from forte to mezzo-forte, with a few piano markings. The moderate dynamic level allows singers to sustain a solid, supported, and resonant sound while offering opportunities for dynamic contrast. The texts contain imaginative, vibrant, and concrete images, making them immediately accessible for performers and especially for young singers. Dalt dun cotxe Date: 1931 Language: Catalan Range: B3 E5 Tessitura: A4 B-flat4 Meter: None indicated Tempo: Gai. Quarter-note equals 120. Form: Through composed Poet: Federico Mompou Translation: A Spanish Song Companion by Jacqueline Cockburn and Richard Stokes

23 Dalt dun cotxe Dalt dun cotxe nhi ha una nina que en repica els cascabells. Trenta, quaranta, lametlla amarganta, el pinyol madur: ves-ten tu. On a buggy On a buggy theres a girl ringing little bells. Thirty, forty, the almond is bitter, the kernel ripe. Be off with you!

The light and playful sentiment of the song is introduced by the piano. One immediately hears the forte melodic and rhythmic ostinato that is the foundation of the song. The ostinato is repeated a total of five times throughout the song by both voice and piano. C major diatonic harmonies prevail throughout and the interesting color notes of the harmonies include chromatic alterations of the pitches A-flat and B-flat (scale degrees 6 and 7). The sound of clanging bells in an ostinato that vascillates between D5 and A4 in the right hand of the accompaniment (see Example 1, m.2).

24 Example 1. Mompou, Dait dun cotxe, Measures 23.

The highly repetitive vocal melody features the descending minor third with an upper neighbor motive used exclusively in the song (see Example1, m.2). Comprised of just four notes, this melody has the smallest vocal range of all Mompous songs. The undulating melody moves only a few notes below and above the tonal center of G4. The rhythm of the vocal line is influenced by the syllabification of the text. The steady eighth notes provide a steady pulse for the duration of the song. The flow of the song is interrupted by rhythmic augmentation and a few retenu markings at the ends of phrases. Margot la pie Date of publication: 1931 Language: French Range: E4 E5 Tessitura: A4 B4

25 Meter: 2/4 Tempo: Un peu majesteux. Quarter-note equals 60. Form: Ternary ABA Poet: Federico Mompou Translation: A Spanish Song Companion by Jacqueline Cockburn and Richard Stokes

Margot la pie Margot la pie a fait son nid dans la cour David. David lattrape, lui couple la patte; ric-rac, ric-rac, comme une patate.

Margot the magpie Margot the magpie built her nest in Davids courtyard. David catches her, cuts off her leg, snip-snip, snip-snip, like a potato.

In contrast to Dalt un cotxe, the second song of this set is stately, reserved, and somber in character. A brief three-note introduction leads to an immediate vocal entrance, accccompanied by steady, percussive sounds in the piano. The A melodic minor diatonic harmonies are used consistently throughout the song. Frequent chromatic alternations between F to F-sharp and G to G-sharp give the song a distinct sense of changing sonorities. In spite of the numerous chromatic alterations, the sonority of the piece remains constant and steady. Although the melody of this song has a total range of an octave, a large portion of the vocal melody moves in stepwise motion. The emotional and dramatic climax of the text is achieved through melodic leaps accompanying the text ric-rac (snip-snip), as shown in mm. 30 31 of Example 2. The statement of ric-rac is a particularly effective use of text painting through the crisp [k] of rac and the following rest in both voice and

26 piano. Ric-rac and the following silence helps create the morbid image of the birds appendages being deliberately and swiftly snipped off. The fate of Margot the Magpie serves as a warning and provides a consequence to any misbehaving children.

Example 2. Mompou, Margot la pie, Measures 2635.

A steady and almost plodding rhythm marked by a quarter-note pulse permeates the entire song. The percussive effect of the piano is achieved through the sixteenthdotted eighth-note combination occurring on beats one and three of each measure. The rhythmic motion is quickened during a piano interlude marked moins lent but returns to the opening tempo with the return of the voice line in m. 26. Most phrase endings are accompanied by retenu markings and a slight lull in the motion of the song. He vist dins la lluna Date of publication: 1931

27 Language: Catalan Range: B3 E5 Tessitura: A4 B-flat4 Meter: 2/4 Tempo: Vif. Quarter-note equals 132. Form: Ternary, ABA Poet: Federico Mompou Translation: A Spanish Song Companion by Jacqueline Cockburn and Richard Stokes

He vist dins la lluna He vist dins la lluna tres petits conills que menjaven prunes com tres desvergonyits. La pipa a la boca i la copa als dits, tot dient: Mestressa, poseu-nos un got ben ple de vi.

I saw in the moon I saw in the moon three little rabbits eating plums like three naughty boys. Pipe in mouth, cup in hand, they all say: Mistress, pour us a glass brimming with wine.

The playful and energetic melody is reminiscent of the first song in this set. This song is marked by dance-like rhythms and repetitive motives. G major diatonic harmonies prevail for the duration of the song although no key signature is indicated in the score. The bass line of the accompaniment features an ostinato alternating between perfect fifths, largely between G2 and D3 (see Example 3). The alternation between G-D and other fifth dyads, plus the metrically accented position of the G-D dyad, functions to perpetually confirm G as the tonic.

28 Example 3. Mompou, He vist dins la lluna tres, Measures 913.

The melody of this song again features the motive of a descending minor third embellished by an upper neighbor. The melody features a total vocal range of an octave, but unlike the earlier songs in the set, it introduces more leaps into the vocal melody. Specifically, this song emphasizes intervallic leaps of perfect fifths. The tessitura of the song lies largely in middle voice, with the climax of the melody occurring with the highest pitches of the song. The rhythm of the song is marked Vif and the pulse is sustained by steady pulse of eighth notes. The upbeat tempo provides an opportunity for young singers is to practice clearly enunciating text while working to sustain a legato melody that contains some small intervallic leaps and increased rhythmic activity. The Vif marking at the beginning of the song is interrupted several times with ritardando at phrase endings and followed by a return to a tempo in the following phrase. Aserrn, Aserrn Date of publication: 1943 Language: Catalan Range: D4 G5

29 Tessitura: G4 Meter: 2/4 Tempo: Tempo di Marcia Form: Ternary ABA Poet: Federico Mompou Translation: A Spanish Song Companion by Jacqueline Cockburn and Richard Stokes

Aserrn, Aserrn Aserrn, Aserrn, Los maderos de San Juan. Los de arriba sierra bien Y los de abajo tambin. Al mila no, qu le dan? Bello titas con el pan. Por la noche pan y pera, O otra noche pera y pan. Aserrn, Aserrn, Los maderos de San Juan.

Sawing Song Saw away, saw away At the logs of Saint John. Those on top saw well And those on bottom too. What do they feed the kite? Little acorns with bread. Bread with pears at night, And the net night pears with bread. Saw away, saw away At the logs of Saint John.

The second set of Comptines begins with Aserrin, Aserran, a song that features two distinct sections varying in melodic contour and dynamic contrasts. Quartal chords, which seem to imitate bells, introduce the G natural minor diatonic harmonies with a forte dynamic and a marching rhythmic motion. Example 4 shows the two motives, beginning with an undulating two-measure motive that is repeated twice in mm.5-8. In the next four measures, a rising, stepwise pentachord motive is repeated (see Example 4, mm. 9-12). The end of the A section concludes with an imperfect authentic cadence with scale degree five in the melody.

30

Example 4. Mompou, Asserin, Asseran, Measures 112.

The contrasting B section begins in measure 14, featuring a pi espressivo marking, a higher vocal tessitura, contrasting piano dynamics, and a harmonic shift. The introduction of E-flat in both the voice and piano harmony indicate C minor subdominant harmonies as shown in Example 5, mm.14-17. This harmonic shift between sections of the song creates a new effect not yet heard or seen in the previous songs in the set of Comptines. Although G natural minor and C minor are closely related, the tonicization creates a new and important color simply by departing from the previously established tonic. The G natural minor mode creates a distinct harmonic color from the first set of Comptines.

31 Example 5. Mompou, Aserrin, Aserran, Measures 1317.

An undulating melody features ascending leaps of fourths and briefly rises to a high G5, the highest pitch employed in all of the Comptines. The piano dynamics in the B section present a potential performance challenge, especially for a young singer, as it can be more difficult to sustain subdued dynamics while singing in a higher tessitura. The Tempo di Marcia is steady throughout the A section of the song, but the B section gives way to pi espressivo and a more relaxed tempo. In terms of phrase endings, fewer retenu markings appear at individual phrase endings in comparison to the first set of Comptines. Asserin, Asseran features irregular nine-measure phrases. However, the sections are equally balanced as both the A and B sections each contain nine measures. The conclusion of the song includes truncated repetitions from both the A and B sections and the song closes with a final repetition of Aserrin, aserran los maderos de San Juan. Petite fille de Paris Date of publication: 1943 Language: French Range: C4 E5

32 Tessitura: A4 Meter: 2/4 Tempo: Andante Form: Ternary ABA Poet: Federico Mompou Translation: A Spanish Song Companion by Jacqueline Cockburn and Richard Stokes

Petite fille de Paris Petite fille de Paris, prte-moi tes souliers gris. Prte-noi tes souliers gris pour aller en Paradis. Nous irons un un dans le chemin des Saints, deux deux dans le chemin des cieux.

Little Parisian Girl Little Parisian girl, lend me your grey shoes. Lend me your grey shoes to go to Paradise. Well go one by one on the pathway of the saints, and two by two on the pathway in the sky

The opening six measures of Petite fille de Paris sounds like a continuation of Asserin, Asseran when the songs are heard in successive order because the bass line repeats the same notes as presented in the melody of Assern, Asseran. This musical link between the two songs supports the performance of the songs as a complete set. The single melody line in the left hand recalls the modal G harmonies of the previous song. Following the introduction, a steady chordal texture is used continuously in the accompaniment. Although the harmonies revolve around G, this song employs some chromatic alterations and mode mixtures. A majority of the song is a combination of G minor and G natural minor modes. The presence of B-flat, as seen in measure7, indicates G minor harmonies (see Example 6). However, Example 6 also shows an F-natural found

33 in measure 9 and indicates G natural minor mode. The third scale degree is altered frequently throughout the song and the chromatic alteration of scale degree three, in this case, between B-flat and B-natural, is one of the distinguishing harmonic characteristics of Catalan music as described by musicologist Gilbert Chase. He writes, The third step of the scale, both in major and minor, is frequently altered, and the tonic is often raised or lowered.29

Example 6. Mompou, Petite fille de Paris, Measures 116.

The syllabic and stepwise melody of this song has a range of an octave and a third. The vocal range from C5 to E5 allows a young soprano or tenor to practice making smooth transitions into passaggio. The melody begins with subdued, piano dynamics that
29

Gilbert Chase, The Music of Spain, (New York: Dover Publications, Inc., 1959), 236.

34 are well suited for middle voice range. An implied crescendo occurs in the melody as the pitches ascend to D5 and E5, the high point of the phrase in pitch and dynamics. The final vocal phrases again feature truncations of opening melodic material. The final six measures of the song close with an exact repetition of the opening six bars of the piano. Pito, pito colorito Date of publication: 1943 Language: Catalan Range: B3 E5 Tessitura: A4 B-flat4 Meter: 2/4 Tempo: Allegretto Form: Through composed Poet: Federico Mompou Translation: A Spanish Song Companion by Jacqueline Cockburn and Richard Stokes

Pito, pito colorito Pito, pito colorito, dnde vas t tan bonito? Pito, pito colorito, dnde vas t tan bonito? A la acera Verdadera. Pim, pom, fuera.

Pito, pito full of colors Pito, pito full of colors Where are you going, my pretty one? Pito, pito full of colors Where are you going, my pretty one? To the pavement I swear I am. Pim, pom, out!

The conclusion of the Comptines is characterized by youthful energy, bright colors and good cheer. This through-composed song in A major is repeated twice. A

35 sense of excitement and anticipation is created through the use of grace notes before almost every beat in the accompaniment, as seen in Example 7. The chordal accompaniment supports the undulating melody by providing an ostinato with a steady eighth note pulse. The diatonic harmonies feature some chromatic alterations for color.

Example 7. Mompou, Pito, pito, colorito, Measures 47.

The melody spans an octave and lies largely in a comfortable middle range and is marked with a mezzo-forte dynamic that is a comfortable level for a young singer. The tune is characterized by skips of both ascending and descending thirds which move in steady eighth note rhythms. The melody begins on an upbeat, creating a slight sense of rhythmic displacement and is a little unexpected as most of the other melodies of the Comptines have started on downbeats. The Allegretto tempo is steady and a lull in the motion occurs only in conjunction with the final phrase of this very brief composition when a meter change from 2/4 to 3/4 occurs in the final vocal phrase. The meter change occurs to accommodate the increased number of syllables in the phrase. In addition, the last vocal line is the climax of the song and is highlighted by rhythmic augmentation. The steady eighth notes change to quarter

36 notes with tenuto markings to accentuate the end of the song (see Example 8). A six measure piano postlude in the second ending concludes the set by fading away to nothing.

Example 8. Mompou, Pito, pito colorito, Measures 816.

Summary The Comptines provide a wonderful introduction to Mompous vocal repertoire. The songs contain many essential musical characteristics that are also seen in his other vocal compositions. The sets were composed in two groups separated by nearly twenty years. The sets are grouped together largely because of similar musical and textual characteristics rather than specific musical motives or key organization. All six songs can

37 be performed together in order as indicated by the composer, or the six songs can be divided into two individual sets, or individual songs can be performed on their own. Performing the songs as a set helps gives young singers an opportunity to build stamina and concentration in performance.

38 CHAPTER 3 SEVENTEEN SONGS The following seventeen songs are the largest group of songs and contain more difficult technical and dramatic challenges for singers. The compositions remain tonal, but the harmonies are increasingly complex. Chromaticism, modal mixture, accidentals, major-minor chords, and added note chords are a few of the harmonic devices used in these songs. The harmonies of the songs often appear more complex than they are because many of the songs lack a key signature. Although tonal centers are established in each of these songs, the initial sense of tonal center is obscured because of shifting harmonies and chromaticism. In addition, tonal centers often shift between adjacent individual phrases or between sections of songs. The melodies in these songs encompass large vocal ranges and contain some high, sustained tessituras requiring excellent breath management. The melodies are varied, ranging in contour from conjunct, stepwise lines to disjunct, leaping and chromatic lines. These songs employ a wide range of dynamics, with special emphasis on piano. The piano accompaniments are supportive of the voice, often doubling the melody in octaves, or echoing the melody in interludes. Whil the the piano largely supports the vocal lines, there is a greater degree of independence between both parts. Many of these songs feature piano interludes ranging from a few brief measures to lengthy solos of more than twenty measures. A majority of these seventeen songs are lento with the remainder of the songs employing variety in tempo. Rhythms are not difficult and are predominantly notated in eighth notes, quarter notes, and half notes. Only rarely are sixteenth notes used in the

39 vocal lines. Occasionally, a flourish of thirty-second notes occurs in the piano accompaniment. These songs share ritardando at most phrase endings and are followed by a return to a tempo in the following phrases or sections. The rhythms of the vocal melody closely follow the syntax of the language. Much of the poetry is highly contemplative and introspective, reflecting composers own introspective and thoughtful personality. Lhora grisa Date of publication: 1915 Language: Catalan Range: C4 G5 Tessitura: B4 Meter: 2/4 Tempo: Lento Form: ABCAD Poet: Manuel Blancafort (1897-1987) was a self-taught composer and poet. A close friend of Mompou, Blancafort was introduced to the music of the French impressionists by Mompou.30 Blancafort traveled throughout much of Europe and incorporated many popular events into his own musical style the sounds of the circus and the street became an important influence in his compositions. Blancafort received several honors for his compositions, including the National Prize in 1949 for the Quartet in C and the Orfo

30

A. Menndez Aleyxandre and Antoni Piz. "Blancafort, Manuel." In Grove Music Online. Oxford Music Online, http://www.oxfordmusiconline.com.proxy.lib.uiowa.edu/subscriber/article/grove/ music/03217 (accessed March 19, 2012).

40 Catal prize in 1965 for the cantata Virgo Maria. In 1986 he was awarded Barcelonas Golden Medal. Translation: A Spanish Song Companion by Jacqueline Cockburn and Richard Stokes.

Lhora grisa Tot dorm a lhora grisa, Els arbres, les muntanyes, Els ocells, el vent! Solament el fum fa son cam lentamente, Amunt, amunt, com loraci. Ms tard, quan el cel sapagui, Sortir una estrelleta dor. Tot dorm a lhora grisa, Els arbres, les muntanyes, Els ocells, el vent!

The grey hour All is asleep in the grey hour, The trees, the mountains, The birds, the wind! Only the smoke moves slowly Upwards, upwards like a prayer. Later, when the sky grows dark, A tiny golden star will appear. All is asleep in the grey hour, The trees, the mountains, The birds, the wind!

Composed amidst the events of World War I, this song was written in Barcelona while Mompou was in between his studies in Paris. This sectional song reflects the ambiguity of uncertain times, expressing wistful and nostalgic sentiments. The opening chords of the A section provide an unsettled feeling and give way to an initial vocal line that consists of only three notes. Tritones mark the opening chords in the piano and the voice, but the traditional striking dissonance of the interval is softened because the chords function as unresolved dominant-seventh chords (see Example 9). The melody of the A section consists of only three notes, most prominently featuring the tritone leap between B4 and F4, also shown in mm.5-8 of Example 9. The undulating melody pivots around B4 moving only between three notes for the A section.

41 Example 9. Mompou, Lora grisa, Measures 18.

The mood and intensity of the song changes beginning in m. 18 of the B section. Here a brief section of bitonality is used as the quartal chords of the piano imply F modal harmonies while the melodic arpeggios indicates C major (see Example 10, mm. 19-20).

Example 10. Mompou, Lhora grisa, Measures 1926.

The rhythmic intensity increases in this section by transitioning from a static half note texture to a more active quarter note pulse in the accompaniment. The high point of the song is achieved in the B section through the rising vocal line, a crescendo from piano to forte, and a ritardando indicated in mm. 24-26, as shown in Example 10.

42 The C section brings the return of static harmonies and a less dramatic vocal range and dynamic. The A section returns with a text repetition of the opening phrase to and a return of the opening tritone. The final D section of the song introduces new melodic material is characteristic of the end of the sardana, a traditional and popular dance of Catalunya. It is thought the brief musical reference to the sardana reflects Mompous nostalgia for his homeland.31 Quatre Mlodies Mompou wrote the poems of these four songs while living in Barcelona, around the same time he composed Lhora grisa. The songs were composed later in 1931 and appear in publication in the original Catalan texts and also have been translated into French. The sentiments of the poetry again are sadly nostalgic, in part because they were written during the years of World War I.32 Rosa del cam Date of publication: 1931 Language: Catalan and French Range: G4 E5 Tessitura: B4 Meter: 2/4 Tempo: Trs calme Form: Through Composed Poet: Federico Mompou

31

Freida Elaine Holland, Federico Mompou: A Performers Guide, 55. Clara Jans, La Vida Callada, 105.

32

43 Translation: A Spanish Song Companion by Jacqueline Cockburn and Richard Stokes

Rosa del cam En dol desmai durant la nit a sobre del bosc ha caigut una estrella. De bon mat jo trobar una rosa sobre el meu cam

Rose of the path In a sweet swoon during the night, upon the forest a star has fallen. At early morning I shall find a rose on my path.

Sparse, minimal and highly repetitive textures characterize this very brief song. The opening chord is repeated in nearly every measure of the entire song. Example 11 shows the opening E-F-sharp-A sonority that is played in sixteen measures of the twentyseven measure song.

Example 11. Mompou, Rosa del cami, Measures 19.

44 Example 11 also shows the highly static melody that features the entire vocal range of a sixth. The short two-bar phrases have minimal melodic motion reflecting the trs calme indication and are consistent with the repetitive harmonies. The remainder of the song is nearly identical to the opening nine measures. Cortina de fullatge Date of publication: 1931 Language: Catalan and French Range: F-sharp4 F5 Tessitura: C5 Meter: 4/4 Tempo: Lentement Form: Through composed Poet: Federico Mompou Translation: A Spanish Song Companion by Jacqueline Cockburn and Richard Stokes

Cortina de fullatge Encara veig al lluny els llums de ma ciutat. I el nostre petit niu amagat entre el ramatge. S que la lluna s al darrera daquests arbres. I en la penombra daquest bosc jo puc fer entrar una carcia de llum tendra sobre else tues ulls tan sols obrint una cortina de fullatge.

Curtain of leaves Still I see in the distance the light of my city. And our little nest concealed between branches. I know that the moon is behind these trees. And in the shadow of this forest I can let in a tender caress of light upon your eyes, purely by parting a curtain of leaves.

45 Contrasting with the unchanging harmonies of Rosa del cami, this song shifts tonal centers multiple times and obscures a clear sense of key center as demonstrated by the first two vocal phrases that move up in tonal center by a half-step. The chordal accompaniment does not double the melody in the top voice of the piano, but the textures are supportive of the voice. The first four phrases in the song each feature a different tonal center. The melody of the first phrase is in A-flat minor (mm. 2-5) and the second phrase is sequenced up a step in B-flat minor (mm. 6-9) as shown in Example 12. The next two vocal phrases introduce new harmonies as well, this time featuring A minor and B minor harmonies that correspond with new melodic material.

Example 12. Mompou, Cortina de fullatge, Measures 19.

46 The unifying features of the song are the rhythmic and melodic contours. Example 12 also shows that the first (mm. 2-5) and second (mm. 6-9) vocal phrases share almost identical melodic intervals and rhythms. The opening vocal phrases are marked with tenuto accents and a longue indication. The syllabic text has a slightly greater range than Rosa del cami and the tessitura is slightly higher as well. The song concludes with new melodic material and some text painting as sixteenth-note arpeggiations imitate the rustling of leaves in the forest. Incertitud Date of publication: 1931 Language: Catalan and French Range: F-sharp4 F-sharp5 Tessitura: D5 Meter: 2/4 Tempo: Lent Form: Through Composed Poet: Federico Mompou Translation: A Spanish Song Companion by Jacqueline Cockburn and Richard Stokes

Incertitud Incertitud del meu cam. Del meu amor tot linfinit, destrelles nest escrit. Claror dels camps, claror de nit. Claror de cel, sobre un desig.

Uncertainty Uncertainty of my path. The utter infinity of my love is written in the stars. Light in the fields, splendor of night. Splendor of the sky over a wish.

47 At just twenty-two measures in length, this is the shortest song in Mompous vocal repertoire. As also seen in Rosa del cami, the opening the chords of this song are repeated frequently in this song. The opening chord of the song indeed gives a sense of uncertainty, as the dissonant chords contain two sets of tritones with an added note. These opening chords can also be interpreted as a whole tone scale starting on B-flat ascending to F-sharp. The whole tone scale (WT0) outlines B-flat, C, D, E, F-sharp, but is lacking G-sharp (see Example 13, mm. 1-2).

Example 13. Mompou, Incertitude, Measures 18.

The brevity of the song leaves little time for growth and development, so brief melodic motives are used as unifying features. The melody of the song features descending minor thirds with embellishing upper neighbor motive, as seen in mm. 3-6 in

48 Example 13. This four measure phrase is repeated again later. The piano texture is again chordal and features slur markings that imply a ringing and resonant sound. Once again similar to Cortina de fullatge, the last five measures of the song contain arpeggiated triplets that are again imitative of rustling leaves. Neu Date of publication: 1931 Language: Catalan and French Range: E-flat4 E-flat5 Tessitura: B-flat4 Meter: 3/4 Tempo: Modre Form: Through Composed Poet: Federico Mompou Translation: A Spanish Song Companion by Jacqueline Cockburn and Richard Stokes

Neu No s neu, sn flors de cel. Cor meu com te desfulles. Sn fulls de ma vida esquinats. Plugeta de paper blanc. No s neu, sn flors de cel. Dolor, com te desfulles. Ai! Quina tristesa fa.

Snow Not snow but flowers from the sky. O my heart, how you are unleaving! Lacerated pages from my life. Fine rain of white paper. Not snow but flowers from the sky. O suffering, how you are unleaving. Ah, how sad!

This melancholy conclusion to the song set is also the most lyrical and tuneful. This is the only song of the Quatre Mlodies to have a designated key signature.

49 Although E-flat minor diatonic harmonies are consistent throughout the song, there are also many chromatic alterations. The chordal textures progress in slow harmonic rhythm and the accompaniment frequently doubles the voice. The melody features legato stepwise four bar phrases that are echoed by the piano, as seen in Example 14. The seeming call and response alternation of the piano and voice continues until the final three lines of text starting in m. 34. The solo piano response echoes the sentiments expressed by the voice and provides time for introspection.

Example 14. Mompou, Neu, Measures 113.

The slow rhythm of the piece remains steady throughout the song. The static nature of the rhythm is felt through the repeated chords and the pattern of four bar phrases by voice and the four bar response by the piano. The climax of the song coincides with the final three phrases of text and increased rhythmic intensity. The grief expressed

50 in the poetry is intensified by a repetition of the text No s neu, sn flors de cel and a rising melodic line that lies a perfect fourth higher than the first statement of the phrase. The song fades away and returns back to a subdued dynamic as the piano fades away to nothing. Canoneta incerta Date of publication: 1926 Language: Catalan Range: F-sharp4 E5 Tessitura: B4 Meter: 2/4 Rhythm: Moderato. Quarter-note equals 46. Form: Ternary, ABA Poet: Josep Carner (18841970) was dubbed the Prince of Poets by his Catalan contemporaries and is best remembered for his poetry, prose, short stories and plays. Carner, a writer and a lawyer, was a well-known in Barcelona because of his outgoing personality, his exceptional skills as a linguist, and his enthusiasm for Catalan nationalism. Carner, among others, believed that Catalan nationalism required a language that was fit for generalized use and literary cultivation.33 Carner spent much of his adult life absent from Catalunya because his political views and writings were in opposition of the Spanish government. At the outbreak of the Spanish Civil War, he fled Barcelona only to return shortly before his death in 1970.

33

Jaume Subirana, Josep Carner, a Century of Catalan Culture, Lletra A Catalan Literature Online. Accessed March 19, 2012. http://www.lletra.net/en/author/josep-carner/detail.

51 Translation: A Spanish Song Companion by Jacqueline Cockburn and Richard Stokes

Canoneta incerta Aquest cam tan fi, tan fi, qui sap on mena? Es a la vila o s al pi de la carena? Un lliri blau color de cel diu vine, vine; per, no passis diu un vel de teranyina. Ser drecera del gosat, rossola ingrata o b un cam denamorat colgat de mata? Es un recer per a dormer qui passi pena? Aquest cam tan fi, tan fi, qui sap on mena? Qui sap si trist o somrient acull a lhoste? Qui sap si mor sobtadament sota la brosta? Qui sabia mai aquest cam, a qu em convida? I s cam incert cada mat, ns cada vida.

Uncertain song This path so narrow, who knows where it leads? To the town or to the pine on the mountainside? A sky-blue lily says Come, come; but Do not pass, says a spiders web. Is this a short cut for the daring, a slippery descent, or is it a lovers path covered with brush? Is it a shelter to sleep for one in pain? This path so narrow, who knows where it leads? Who knows whether sad or smiling it greets the traveler? who knows if it dies of a sudden beneath the thicket? Who would ever know this path, know to what it invites me? Every morning is an uncertain path, and every life is too.

This song is another example of a contemplative text that questions the uncertainties in life. Composed in ternary form, the song is in B phrygian mode with many chromatic alterations. The slow and plodding motion of the opening quarter notes is imtatative of traveling at a steady pace. Specifically, this sense of motion is achieved

52 through the wide leaps from C4 down to B2 in the left hand of the accompaniment (see Example 15).

Example 15. Mompou, Canoneta incerta, Measures 15.

The harmonic structure of the first five measures continues steadily until m. 21 when a distinct harmonic shift occurs between B major and B minor. The juxtaposition of these major and minor harmonies in the same bar creates an unusual harmonic color. This particular passage increases the harmonic tension until the most strikingly dissonant chord appears in measure 25 by way of an incomplete major-major seventh chord consisting of E-natural, E-sharp, G-sharp, and D-sharp (see Example 16). In measure 26, the D-sharp of the previous chord cluster is altered to D-natural, further emphasizing the mode mixture in B from m. 21.

53 Example 16. Mompou, Canoneta incerta, Measures 2129.

The melody of Canoneta Incerta lies primarily in middle voice tessitura. The syllabic melody is predominantly stepwise in contour with several leaps providing a sense of forward motion. The harmony provides the most interest in the song and the voice is able to rely on the accompaniment to create the lush timbres. The vocal melody is largely doubled by the accompaniment. However, the performer must take care alterations from to make clear and accurate pitch differentiations, especially in the chromatic passages with the accidentals switching back and forth between D and Dsharp, as seen in Example 16, mm. 25-26. The rhythm of the song relies on a steady quarter note pulse but the slow tempo lends itself to subdividing into eighth notes to provide a sense of motion. This song is unique because two separate metric values are assigned to separate sections. A slight

54 poco pi mosso indicated in measure 11 and this slight acceleration corresponds with the beckoning of the blue lily to continue down the path (Un lliri blau color de cel diu vine, vine). However, a slight ritardando in mm. 17-18 accompanies the spiders warning to stay away (per, no passis diu un velde teranyina).The third stanza of poetry is set to new music in the B section of the song, but it functions as transitional material and gives way to the return of the A section and the final two stanzas of text. These final stanzas share the same music as the opening section. Combat del somni The Combat del somni is one of Mompous best known song sets and features the most well-known song, Damunt de tu noms les flors. As the first song of the set, Damunt de tu noms les flors is most frequently performed by itself because of its popularity and immediate charm. At a total of 107 measures, it is one of Mompous longest songs. The first song of the Combat del somni is the most frequently recorded of Mompous vocal compositions. The final song of the set, Fes me la vida transparent, is also performed independently of the set, perhaps because it is stylistically different from the other songs. The songs of this set were composed over a nine year span from 1942 to 1951. Although there are several more poems included in Josep Jans collection titled Combat del somni, Mompou set only these four poems to music. Damunt de tu noms les flors Date of publication: 1942 Language: Catalan Range: D4-G-flat5 Tessitura: C5

55 Meter: 2/4 Tempo: Moderato Form: Modified Strophic AAABA Poet: Josep Jans (1913-1959) was a fervent partisan of Catalan culture and had achieved a modest reputation as a poet writing in Catalan.34 Born in LHospitalet near Barcelona, he remained a lifelong resident of Catalunya. He published three books of poetry reflecting sentiments of youth, nature, and self introspection. Combat del somni (Combat of the dream) is one of his most popular sets of poetry. The Jans family and Mompou were close friends. They spent many hours together reading poetry and playing music. Tragically, Janss life was cut short in a car accident in 1959. Translation: A Spanish Song Companion by Jacqueline Cockburn and Richard Stokes

Damunt de tu noms les flors Damunt de tu noms les flors. Eren com una ofrena blanda: la llum qu daven al teu cos mai ms seria de la branca; tota una vida de perfun amb el seu bes tera donada. Tu resplendies de la llum per lesguard clos atresorada. Si hagus pogut sser sospir de flor! Donar-me, com un llir, a tu, perqu la meva vida sans marcint sobre el teu pit. I no saber mai ms la nit, que al teu costat fra esvada.
34

Above you naught but flowers Above you naught but flowers. They were like a white offering: The light they shed on your body will nevermore belong to the branch. An entire life of perfume was given you with their kiss. You were resplendent in the light, treasured by your closed eyes. Could I have been the sigh of a flower! Given myself as a lily to you, that my life might wither over your breast, nevermore to know the night, vanished from your side.

Janet Prez, Clara Jans, Dictionary of Literary Biography: Twentieth Century Spanish Poets Second Series, Vol. 134, Ed. by Jerry Phillips Winfield, (Detroit, MI: Gale Research Inc., 1994), 205.

56 This haunting and melancholy song portrays the deep grief and sorrow over the loss of a loved one. F minor diatonic harmonies are consistent throughout the song and the harmonies become increasingly chromatic in the piano interludes. Frequent use ascending minor seconds, major-minor chords, and tritones combine to create striking dissonances. Quartal and quintal harmonies occur in the piece and provide the bell-like sonorities so admired by Mompou. The undulating melody is immediately introduced in the arpeggiated piano texture and followed by the voice. The melody is yet another example of the descending minor third with embellishing upper neighbor commonly used in these songs. The use of this motive is particularly striking because the upper neighbor tone creates a strong sense of dissonance because it is a minor second (see Example 17). Many other examples of this particular motive have featured major seconds as neighbor tones. The melody is the unifying device in this song, and is shown in Example 17 in mm. 8-15. This melodic motive is frequently repeated and altered in the successive stanzas of the song.

57 Example 17. Mompou, Damunt de tu noms les flors, Measures 615.

The piano plays an exceptionally important role in this song as it has some of the longest interludes in all of Mompous songs. Example 18 shows one of the major piano interludes and demonstrates how the small primary melodic motive of the song is developed to create a constantly changing and captivating sound. The upper voice of the piano features dissonant rising minor-seconds between F5 and G-flat5 while the inner voice moves in contrary motion from D-flat, C-flat, and B-double flat. (see Example 18, m. 24). The chord in m. 24 also shows an example of juxtaposing major-minor chords. The initial chord on the downbeat is a B-flat minor seventh chord, spelled B-flat, D-flat, F, and A-flat. On the second half of the beat, the third of the chord becomes D-natural, now making a B-flat dominant seven chord. The remainder of the interlude is filled with these types of harmonic variations. The interludes demonstrate a subtle and flexible harmonic language as the harmonies slip in and out of harmonic stability by using neighbor tones, counterpoint, and mode mixture.

58 Example 18. Mompou, Damunt de tu noms les flors, Measures 2135.

Aquesta nit un mateix vent Date of publication: 1946 Language: Catalan Range: C-flat4 F5 Tessitura: D-flat5 Meter: 3/4 Tempo: Andante plcido Form: Strophic

59 Translation: A Spanish Song Companion by Jacqueline Cockburn and Richard Stokes

Aquesta nit un mateix vent Aquesta nit un mateix vent una mateixa vela encesa devein dur el tue pensament el meu per mars on la tendresa es torna msica I cristall. El bes sens a feia transparncia Si tu eres laigua, jo el mirall Com si abracssim una absncia. El nostre cel fra, poster, un somni etern, aix, de besos fets melodia, I un no ser de cossos junts I dulls encesos amb flames blanques, I un sospir dacariciar sedes de llir?

Tonight the same wind Tonight the same wind And the same gleaming sail Are bearing your thoughts And mine across seas where tenderness Turns to music and crystal light. Our kiss became transparent if you were the the water, I was the mirror it was as though we embraced a void. Is our heaven, perhaps, an eternal dream of kisses made melody, an incorporeal union with burning eyes and white flames and a sigh as if caressing silken lilies?

A rhythmic and dissonant two-voice texture is introduced in the piano featuring the use of the large intervallic leaps in a wave-like contour and with dotted eighthsixteenth note rhythms. The effect of the rhythms and melody successfully imitate the wind described in the first line of text. In keeping with the idea of wind, the harmonies in this song are frequently changing and are highly chromatic. The initial four measures introduce the rhythmic and melodic motive in what seems to be G harmonic minor, but the harmonies are sequenced down by step to F harmonic minor as the voice makes its first entrance. The voice echoes the piano by repeating the same intervallic leaps of sixths and sevenths and dotted rhythms (see Example 19).

60 Example 19. Mompou, Aquesta nit un mateix vent, Measures 18.

One of the most intimate and tender moments of the song occurs in the second stanza as the melody transitions to legato eighth notes intoned on a single pitch while being supported by lush dotted half note chords. The harmonies resolve from unsettled, disjunct sonorities to lush and consonant chords in the transition from m. 14 to m. 15.. In addition, the rhythmic meter is altered from 3/4 to 4/4 marked with meno mosso (see Example 20, mm. 14-15). The wind has calmed down and the text shines through at this moment of repose El bes sens a feia transparncia Si tu eres laigua, jo el mirall (Our kiss became transparent if you were the water I was the mirror).

61 Example 20. Mompou, Aquesta nit un mateix vent, Measures 1317.

Two rhythmic characteristics are used on this song, varied by stanza and reflecting the meaning of the text. The opening rhythmic motives maintain the steady dotted eighth-sixteenth note combination in contrast to the calm static chords of the B section. The final stanzas of the song contain truncations of both the A and B sections and conclude on a consonant B-flat major chord. Jo et pressentia com la mar Date of publication: 1948 Language: Catalan Range: D-sharp4 G5 Tessitura: C5 Meter: 2/4 Tempo: Andantino. Quarter-note equals 90.

62 Form: Ternary ABA Poet: Josep Jans Translation: A Spanish Song Companion by Jacqueline Cockburn and Richard Stokes

Jo et pressentia com la mar Jo et pressentia com la mar i com el vent, immense, lliure, alta, damunt de tot atzar i tot dest. I en el meu viure, com el respire. I ara que et tinc veig com el somni et limitava. Tu no ets un nom, ni un gest. No vinc a tu com a la imatge blava dun somni hum. Tu no ets la mar, que s presonera dins de platges, tu no ets el vent, pres en lespai. Tu no tens limits; No hi ha, encar, nots per a dir-te, Ni paisatges per ser el tu mn ni hi seran mai.

I sensed you were like the sea I sensed you were like the sea, and like the wind, immense free, towering above all hazard and all destiny. And in my life like breathing. And now that I have you, I see how limiting my dream had been. You are neither name or gesture. Nor do I come to you as a hazy image of a human dream. You are not the sea, which is confined between beaches, you are not the wind, caught in space. You are boundless; there are as yet no words to express you, nor landscapes to form your world nor will there ever be.

The Dream Combat continues with another poem filled with images of the vast, open spaces of the sea, dreams, and boundless landscapes. Divided into two main sections the introduction begins with two measures of arpeggiated F-sharp minor chords. The F-sharp minor harmonies are the basis for the entire song, although the B section of the song explores more chromatic passages. The melody consists of a three note motive made of notes F-sharp, C-sharp, and B-natural. This primary wave-like motive emphasizes importance of the tonic and

63 dominant relationships and reflects the images of the water (see Example 21). The A section of the song is firmly rooted in F-sharp minor, supported by the continuously moving accompaniment.

Example 21. Mompou, Jo et pressentia com la mar, Measures 18.

The B section appears in sharp contrast to the undulating melody of the A section. Example 22 shows the melody outlining a descending diminished chord and the accompaniment changes to a pattern of descending pattern of sixteenth notes. Dissonant tritones appear through the entire duration of the B section on the downbeats of each measure starting in m. 19 (see Example 22). Each four measure phrase that follows the example rises in pitch and increases in intensity until the climax of the song arrives on a high G5. The climax in Jo et pressentia is one of the most sweeping and dramatic in all of Mompous songs.

64 Example 22. Mompou, Jo et pressentia com la mar, Measures 1926.

A piano interlude concludes the B section and also re-introduces the A section with a resolution back to F-minor arpeggiated chords and the primary melodic motive. The song ends with the voice and piano in a molto ritardando as the dynamics fade to piano and concludes again with a single note in the piano. Fes-me la vida transparent Date of publication: 1951 Language: Catalan Range: B3 A-flat5 Tessitura: D-flat5 Meter: 4/4 Tempo: Lento. Eighth-note equals 100. Form: Through composed Translation: A Spanish Song Companion by Jacqueline Cockburn and Richard Stokes

Fes-me la vida transparent Fes-me la vida transparent, com els teus ulls; torna ben pura la m meva,

Make my life transparent Make my life transparent, like your eyes; make my hand wholly pure,

65 i al pensament duu-mhi la pau. Altra aventura no vull, sin la de seguir lestela blanca que neixia dels teus camins. I no llanguir per ser mirall duns ulls. Voldria ser com un riu oblidads que es lliura al mar, les aiges pures de tota imatge amb un anhel de blau. I ser llavors feli de viure lluny damors obscures amb lesperana del teu cel. and to my thoughts bring peace. I desire no other adventure than to follow the white wake created by your passage, nor to languish for being the mirror of your eyes. I would wish to be like an oblivious river that abandons itself to the sea, the pure waters of every image, yearning for the blue. And to be happy then, Living far from dark loves with hope for your heaven.

Fes me la vida transparent, the final song of the Combat del somni, is set apart from the other songs of the set for two noticeable reasons. First, the melody of Fes me la vida is considerably more disjunct and chromatic than the other three songs. Secondly, the piano accompaniment in Fes me la vida features static, steady block chords for the duration of the song rather than the more common use of arpeggiated, diatonic chords. Although the song begins and ends in B-flat major, numerous transitions to B-flat minor and C-sharp minor are employed. The harmonies are often ambiguous because the chords lack a third, in addition to having added notes. The scores appearance is filled with many accidentals and changes frequently. The elusive and shifting harmonies reflect the changing and transitory moments of sleep and dreams expressed in the poem. The melodic motive is presented in the first three-bar vocal phrase. The disjunct line contains leaps of fifths, fourths, and ninths. The first phrase is in B-flat minor and the melodic motive changes slightly in m. 5, again by sequence of an enharmonic minor third, to C-sharp minor (see Example 23). This melodic motive returns again at the end of

66 the piece with the return of familiar melodic material. The melody of Fes me la vida contains the largest vocal range of the other songs of the Combat del somni.

Example 23. Mompou, Fes me la vida transparent, Measures 16.

The climax of the song occurs with an animando section from mm. 17-20. This brief passage accelerates the rate of harmonic change through more saturated eighth-note repetitions. The melody of this passage features ascending minor thirds accompanied by chromatic hexachords (see Example 24). The animando marking and increased chromaticism imitates the flow of the river emptying into the sea (Voldria ser com un riu oblidads que es lliura al mar, les aiges pures de tota imatge).

67 Example 24. Mompou, Fes me la vida transparent, Measures 1620.

As seen in many of Mompous other songs, the return of the A section is ushered in by a piano solo of the initial melodic material and followed by an abbreviated statement of the voice as the sonorities conclude on a B-flat major chord. Can de la fira Date of publication: 1949 Language: Catalan Range: D-sharp4 E5 Tessitura: B4 C-sharp5 Meter: 3/8 and 6/8 Tempo: Allegro ritmico and Tranquillo

68 Form: ABCA Poet: Toms Garcs (1901-1993) was known as the Catalan poet of song35 because of his frequent use of short regular verses. A native of Barcelona, Garcs earned law, philosophy, and literature degrees at the University of Barcelona. Like many of his colleagues, Garcs moved to France during the Spanish Civil War. He taught Spanish language and literature at the University of Toulouse. He returned to Catalunya in 1947 and remained there until his death in 1993. In addition to being a lawyer, Garcs was an active journalist, editor, literary critic, and translator. Translation: A Spanish Song Companion by Jacqueline Cockburn and Richard Stokes

Can de la fira El seus tresors mostra la fira perqu els agafis amb la m. Jo sc cansat de tant mirar i la meva anima sospira. Cot de sucre, cavallets, cntirs de vidre i arracades lluen i salten fent ballades entre el brogit dels platerets. El teu esguard ple davidesa un immortal design el mou. Cerques un spectacle nou ms amunt de la fira encesa? Els estels punxen tot el cel. Loreig escampa espurnes. Mira: cam poc a poc es mor la fira sota la llum daquell estel. Glateixes per copsar lestrella? Ai, que el design testreny el cor!

Song of the fair The fair displays its wonders for you to grasp in either hand. I am weary with so much gazing and my soul sighs. Candy-floss, merry-go-round, jugs of glass and earrings gleam and dance as they quiver amid the clamour of cymbals. Your gaze, brimming with eagerness, craves an immortal wish. Are you seeking a new spectacle beyond the glowing fair? The stars pierce the whole expanse of sky. The breeze scatters the sparks. Look: How gradually the fire dies beneath the light of that star. Do you yearn to catch the star? Ah, desire clutches your heart!

35

Josep Mis, Toms Garcs, Associaci DEscriptors en Llengua Catalana http://www.escriptors.cat/autors/garcest/pagina.php?id_sec=2604 (accessed 20 February 2012).

69 Mai ms voldrs la joia dor ni la ralla del titella. Never again will you crave golden jewel or a clowns laughter.

Can de la fira evokes images of an exciting and action-packed journey to the fair. The vibrant, lively, and vivid imagery of the text describes the whirling merry-goround, and all of the other spectacles associated with the summertime event. The action of the poetry spans an entire day and depicts the transition from day to night. As one might come to expect of Mompous songs, the poem also conveys the loss of childhood innocence and wonder at an event that used to bring laughter and happiness, even if for a fleeting moment. The excitement of the fair is introduced in the piano by seven repetitions of Fsharp with marellato accents giving way to the primary key of B major. The repetitive music is imitative of the spinning merry-go-round and an ostinato in the bass remains firmly centered on B major harmonies. A new stanza of poetry shifts the harmonies of the B section to the parallel minor mode of B minor. Example 25 shows the songs primary three- note melodic motive (F-sharp, B, and C-sharp) that is used exclusively in the first phrase. The melody pivots around B4 and moves in a circular motion imitating the whirling merry-go-round. This highly rhythmic, repetitive motive occurs throughout the song in both major and minor modes and shares similar characteristics with some of the melodies in the Comptines. Its melodic emphasis on do-fa-sol is also reminiscent of the opening motives of Jo et pressentia and Fes me la vida.

70 Example 25. Mompou, Can de la fira, Measures 113.

The greatest contrast in the song occurs as the evening stars fill the sky at the beginning of the B section in m. 66. The tempo slows to a tranquillo, and the melody changes from rhythmic and active lines with small skips to long, lyric, and legato phrases descending by stepwise motion. The legato lines are enhanced with chromatic passing tones. An example of this highly effective chromatic passing tone is seen in m. 68 and m. 72 as D-sharp slips down to D-natural in the melody of the voice and piano (see Example 26). Semplice and dolce are to be observed by both voice and piano as the text becomes more introspective.

71 Example 26. Mompou, Can de la fira, Measures 6675.

A mention of a shooting star briefly prompts a return to primo tempo in m. 84 with the question Glateixes per copsar lestrella? (Do you yearn to catch that star?). In spite of the excitement of the days events at the fair, the music slows with the indication of meno mosso e pi nostalgico as a reminder that the innocence of childhood is fleeting and too quickly gone. Deux Mlodies Mompou set two poems of Juan Ramon Jimnez (1881-1958), the famous Andalusian poet. Jimnez wrote more than three hundred poems relating to many common themes of nature, love, loss, and death. It seems only fitting that Mompou would have been drawn to the deeply meaningful and thought-provoking themes found in Jimnezs poetry.

72 Pastoral Date of publication: 1945 Language: Catalan Range: E4 F-sharp5 Tessitura: C-sharp5 Meter: 4/4 Tempo: Lento Form: Through Composed Poet: Juan Ramn Jimnez (1881-1958) dominated Spanish poetry for the first three decades of the twentieth-century.36 He led a modern literary movement in his Andalusian homeland and throughout all of Spain. Known to most of his countrymen as Juan Ramn, he was inspired by French Parnassian poets, French symbolism, and German romanticism. At the outbreak of the Spanish Civil War, Jimnez and his wife, Zenobia, moved to Puerto Rico. The couple spent considerable time traveling in the United States and South America. He even spent some time teaching Spanish literature at the University of Maryland in the 1940s alongside notable American colleagues that included Ezra Pound and Robert Frost. In 1956, he received the Nobel Prize for literature in recognition of his poetry. Three days after he received the prestigious award, his wife, Zenobia, died of cancer. He ceased all writing and died two years after his beloved wife. Translation: A Spanish Song Companion by Jacqueline Cockburn and Richard Stokes

36

Howard T. Young, Juan Ramn Jimenez, in Dictionary of Literary Biography: Twentieth-Century Spanish Poets, Second Series, Vol. 134, Ed. by Jerry Phillips Winfield, (Washington DC, Gale Research Inc, 1994), 215.

73 Pastoral Los caminos de la tarde se hace nuno, con la noche. Por l he de ir a t, amo que tanto te escondes. Por l he de ir a t, como la luz de los montes, como la brisa del mar, como el olor de las flores. Pastorale The paths of evening merge into one at night. Upon that path I must go to you, my love, who always hides. Upon that path I must go to you, like the light of the mountains, like the breeze of the sea, like the scent of the flowers.

Pastoral is another example of Mompous preference for lento tempi and subdued dynamics. The F-sharp minor rolled chords in the one-measure introduction are imitating a guitars ability to strum and roll chords. The rolled chords are used in the first nine bars of the song while supporting the voice as the melody moves in legato two-bar phrases. F-sharp minor is implied by the repetition of F-sharp in the bass clef, but the accompanying chords lack a third and obscures the F-sharp major tonal center. Neither voice nor piano contains the third of the key until the downbeat of measure 7 and can be seen in Example 27. In spite of the appearance of the third, the cadence is imperfect and does not enforce a strong harmonic center.

74 Example 27. Mompou, Pastoral, Measures 110.

The static and declamatory melody features consistent two-bar phrases throughout the song. The vocal phrases span ranges of fourths or fifths, and the phrase endings feature a descending skip of a fourth as seen in the ends of measures 3 and 5 of Example 27. The climax appears in the second half of the song with the text Por l he de ir a t (Upon that path I must go to you) with forte dynamic markings and a sustained two-bar phrase moving stepwise around F-sharp5. The solitary forte phrase subsides toward more subdued piano colors as the song concludes. Rolled half notes in the accompaniment create a static sense with little rhythmic motion, especially in the opening phrases. The rhythmic intensity increases slightly in m. 10 as the piano begins a solo featuring a continuous line of eighth notes that embellish the initial vocal melody, as if in response to the text. Steady eighth notes persist for the

75 remainder of the song helping to create a sense of forward motion. As usual, the phrase endings are accompanied by ritardando markings. Llueve sobre el ro Date of publication: 1945 Language: Catalan Range: B-flat3 F5 Tessitura: C5 Meter: 2/4 Tempo: Lento Form: Through composed Poet: Juan Ramn Jimnez Translation: A Spanish Song Companion by Jacqueline Cockburn and Richard Stokes

Llueve sobre el ro Llueve sobre el ro El agua estremece Los fragantes juncos De la orilla verde Ay, qu ansioso olor a ptalo fro! Llueve sobre el ro Mi barca parece mi sueo, En un vago mundo. Orilla verde! Ay, barca sin junco! Ay, corazn fro! Llueve sobre el ro

It rains on the river It rains on the river The water stirs the fragrant reeds on the green shore Ah, what an uneasy scent of cold petals! It rains on the river My boat seems to be my dream in a hazy world. Green shore! Ah, boat adrift! Ah, cold heart! It rains on the river

76 Falling raindrops on the river are created in the unifying musical motive of this song and are introduced immediately in the three voice piano texture. The piano maintains the sense of the rain throughout the song by steady moving eighth notes. No key signature is indicated in the score and the song is highly chromatic. The opening harmonies revolve around F minor but the introduction moves to the first authentic cadence in B-flat minor in measure 8 in conjunction with the primary melodic motive and the text Llueve sobre el ro (It rains on the river). Major-minor seventh chords, fully diminished seventh chords, and added note chords appear often. The B section of the song is highly chromatic but a return to the opening material re-establishes B-flat minor harmonies and concludes with an authentic cadence. The three note melodic motive begins with a three note motive corresponding with the text Llueve sobre el ro Again in mm.7-9 is another example of the motive featuring descending minor third with an embellishing upper neighbor. A dissonant minor second as the upper neighbor expresses the sorrow of the poetry (see Example 28).

Example 28. Mompou, Llueve sobre el rio, Measures 59.

77 The largely stepwise melody of the opening phrases is contrasted in the emotional and musical pinnacle of the song in mm. 20-24. Example 29 shows the exclamation of Ay, qu ansioso olor a ptalo fro! (Ah, what an uneasy scent of cold petals!) set as a descending diminished seventh chord in the voice. The top voice of the piano line doubles the descending diminished seventh chord, and also features highly chromatic minor-major seventh chords with a sharp-5. These striking chords certainly enhance the drama of the text and clearly define the pinnacle of the song. The piano follows the vocal exclamation with another series of descending diminished seventh chords in an echo to the voice in mm. 24-27 bringing the B section to a close.

Example 29. Mompou,Llueve sobre el rio, Measures 2027.

The lento tempo remains consistent throughout as steady pulsing eighth notes imitate falling raindrops. The intensity of the rhythm and the rain is increased starting in

78 m. 20, when the dominant two-voice texture is replaced by thick, chromatic, and tightly clustered descending chords. The change in rhythmic intensity reflects the emotional distress and sorrow of the poetry. The flow of the B section resides and slows back to a lento pace at the songs finale. Cantar del alma Date of publication: 1951 Language: Catalan Range: A3 E5 Tessitura: A4 B4 Meter: 4/4 Tempo: Lento Form: Strophic Poet: San Juan de la Cruz (1542-1591) was an important poet and leader of the Catholic Church in Spain. His many volumes of lyric poetry reflect his piety and devotion to his faith. Born as Juan de Yepes in Fontiveros, Avila, Spain he attended Jesuit school at age 17 where he studied humanities and theology. He became an ordained Catholic priest in 1567 and changed his name. De la Cruz believed there was a great need for reform in the church and together with Teresa of Avila, founded the Discalced Carmelites in 1568. De la Cruz suffered persecution from the church and spent numerous times in prison because of his desire for reform. He composed many mystical poems during his time in prison. In his lifetime, the mystic experience was thought to be the union of the intellect with a

79 divine force.37 His poems focus on an internal spiritual journey seeking the spirit of God. De la Cruzs life and poetry show a desire for a simple and reformed religious life. Translation: A Spanish Song Companion by Jacqueline Cockburn and Richard Stokes

Cantar del alma Aquella eternal fuente est escondida, que bien s yo d tiene su manida, aunque es de noche. Su origen no lo s, pues no le tiene, mas s que todo origen de ella viene, aunque es de noche. S que no puede ser cosa tan bella y que cielos ya tierra beben de ella, aunque es de noche. S ser tan caudalosas sus corrientes que infernos, cielos riegan y las gentes, aunque es de noche. El corriente que nace de esta fuente, bien s que es tan capaz y tan potente, aunque es de noche. Aquesta viva fuente que yo deseo, en este pan de vida yo la veo, aunque es de noche.

Song of the soul That eternal spring is hidden, but well I know where it rises, though it is night. I do not know its source, for it has none, but I know that all things stem from it, though it is night. I know there is nothing more beautiful and that sky and earth drink from it, Though it is night. I know its streams to be so full that they water hell, heaven and mankind, though it is night. The stream that rises from this spring is, well I know, so broad and mighty, though it is night. This living spring that I desire I see as the bread of life, though it is night.

This song indicates the song is to be performed dans le style grgorian. Mompou was interested in the rich musical and literary traditions of monastic life in

37

Marilyn Stone, San Juan de la Cruz, in Dictionary of Literary Biography, Vol. 318: Sixteenth-Century Spanish Writers, Ed. Gregory B. Kaplan, (Farmington Hills, MI: Thompson Gale., 2006), 121.

80 Catalunya and this song is vaguely reminiscent of chant,but it is not written in Gregorian notation. The song features two sections: one section for solo piano and another section for unaccompanied voice. The solo piano section, in E melodic minor, again features simple diatonic progressions with little chromaticism. The piano texture is a simple hymn-style setting usually in three to four voices (see Example 30). The same piano solo repeats three times at the beginning, middle, and end of the song while reflecting the meditative nature of the song. The piano accompaniment is certainly not in the style of Gregorian chant, but the hymn like character of voicing and harmonic progression establishes a sacred and solemn character.

Example 30. Mompou, Cantar del Alma, Measures 16.

The unaccompanied voice follows the initial piano solo. The melody is likely fashioned after a hymn, a poetic elaboration of a sacred theme written in strophic form. Cantar del alma features three verses of text set to the same melodic line and same

81 rhythms and is similar in text structure of a chant hymn. Although the melody is fashioned after plainchant, the line is an original composition that merely imitates chant style. The monodic vocal line is syllabic and presents the text in a direct, straightforward way. The melody is elegant, legato, and meditative in nature. Phrases are largely stepwise although some skips of thirds or fourths are seen in individual phrases (see Example 31). The vocal melody lacks any barlines and the phrases lengths are determined by the number of syllables in the text. One line of text, aunque es de noche, is repeated at the end of each brief stanza and each repetition of the word noche features an ascending whole step. Not every repetition of aunque es de noche is identical in notated pitch, but the rhythm and the ascending whole step accompanying the word noche is consistent through the song (see Example 31).

Example 31. Mompou, Cantar del Alma, Measure 11.

The lento tempo indicated in the solo piano remains consistent with many of Mompous other songs. The tempo of the song is divided into two sections for the piano solo and the vocal solo. The rhythm of the piano solo is dependent upon by a steady eighth note pulse. In contrast, the vocal melody is unmeasured and in free meter to

82 accommodate the importance of the poetry. Characteristic of phrase and section endings, many ritardando markings occur interrupting the rhythmic motion of the song. Aureana do Sil Date of publication: 1951 Language: Catalan Range: D4 F-sharp5 Tessitura: D5 Meter: 6/8 Tempo: Eighth-note equals 92 Form: Strophic Poet: Ramn Cabanillas (1876-1959) was a Galican poet and writer who worked to preserve the language and culture of his home region. The majority of this writing focused on the unification of the Galican people. He was a strong supporter of the agrarian movement, helping to create a fair distribution of land for rural farmers. He also focused his attention on the interests and needs of a national Gallican aesthetic. Although much of his writing was political in scope, he wrote several volumes of lyric love poetry, including Aureana do Sil. Translation: A Spanish Song Companion by Jacqueline Cockburn and Richard Stokes

Aureana do Sil As arenas de oura, Aureana do Sil, Son asbagoas acedas Que me fas chorar ti. Si queres oura fino, Aureana do Sil,

Aureana do Sil The golden sands, Aureana do Sil, are the bitter tears you make me cry. If you want fine gold, Aureana do Sil,

83 Abre o meu corazn Ts de a topalo a li. Co que collas no rio, Aureana do Sil, Mercaras cando moito Un amor infeliz. Para dar cun cario Verdadero has de vir Enxoitar os meus ollos, Aureana do Sil. open up my heart you shall find I there. With what you glean from the river, Aureana do Sil, you will buy, at most, an unhappy love. To find a true love you must come to bewitch my eyes, Aureana do Sil.

A sorrowful song expressing the pain of an unrequited love, Aureana do Sil begins with a series of descending planing sixth chords that successfully set a mood of lament. Although no key signature is indicated, the songs tonal center is a mixture of B major and minor modes. The highly chromatic harmonies, frequent use of augmented chords, suspensions, resolutions, and large intervallic leaps are combined to intensify the sorrowful emotions of the poem. The opening vocal line descends a minor third by step and then leaps up a fifth as shown in Example 32. The following phrase, Son asbagoas acedas, Que me fas chorar ti (are the bitter tears you make me cry), imitates falling teardrops by an arpeggiated descending D dominant-seventh chord.

84 Example 32. Mompou, Aureana do Sil, Measures 410.

Aureana do Sil shows another excellent example of modal mixture, a common feature of Mompous compositional style. Example 33 shows B major and B minor juxtaposed in adjacent measures to create a sense of lament and to express deeply felt emotions. The chromatic alterations from D-sharp to D-natural in mm. 16-17 effectively demonstrate the modal mixture (see Example 33). The effectiveness of this chromatic alteration is enhanced because it also highly occurs in conjunction with a ritardando recitation of the beloveds name.

85 Example 33. Mompou, Aureana do Sil, Measures 1517.

The song continues with a second stanza of text set to the same music as the first stanza. Eighth notes make up the steady rhythmic pulse of the song but the actual tempo of the song alternates between a tempo and molto ritardando indications at phrase endings. The piano once again concludes this song with a consonant and a quiet B major chord. Sant Mart Date of publication: 1962 Language: Catalan Range: A3 F5 Tessitura: C5 Meter: 6/8 and 3/4 Tempo: Eighth note equals 88. Form: Ternary, ABA Poet: Pre Ribot is the pen name of Peter Ribot Sunyer (19801997) a Catalan writer and rector best known for his deeply religious texts. He received several literary awards for a

86 number of his books and Catalan composers including Mompou and Eduardo Toldra set several of his poems in song. Little biographical information exists about Ribot, except what is found through the Catalan governments Departament de Cultura.38 The poem Sant Mart tells the tale of Saint Martin of Tours (c.316c.397), the patron saint of soldiers and one of the best-known saints in Catholicism. Born in Sabaria (present-day Szombathely, Hungary), his father was a high-ranking officer in the Roman Imperial Horse Guard. When Martin was a young child, the family moved to Tincinum (present-day Pavia) in northern Italy. Martin received his religious calling in life early by choosing to become a catechumen (a candidate for baptism). Against his parents wishes, he attended a Catholic school and insisted he felt called to a life in the clergy. Before Martin entered the clergy, he was required to become a soldier in the Imperial Horse Guard. By age fifteen, Martin was an officer in the Imperial Guard and was stationed at Samarobriva in Gaul (present-day Amiens, France). During his military service in Gaul, Martin became famous for the legend of the cloak.39 One particularly cold day, Martin noticed a cold, starving, and poorly dressed beggar as he approached the gates of the city. Filled with compassion, Martin took his sword from its sheath and cut his own cloak in half to share with the man. There are a couple of versions of the legend regarding the following events. The first version of the legend tells that Martin dreamt that Jesus was the beggar with whom he had shared his cloak. He dreamt that Jesus told the angels that he was now worthy for
38

Department of Culture, Generalitat de Catalunya. www.gencat.cat. Accessed March 19, 2012. Clugnet, Lon. "St. Martin of Tours." The Catholic Encyclopedia. Vol. 9. New York: Robert Appleton Company, 1910. 22 Mar. 2012 <http://www.newadvent.org/cathen/09732b.htm>.

39

87 baptism. The second version of the legend tells that Martins cloak was miraculously restored into one whole piece the following morning. Martins cloak was preserved as a religious relic and it also proved Martins piety and devotion. The result of the legend is that Martin was deemed worthy of baptism and entry into the clergy at age eighteen. Although he was still enlisted in the Imperial Guard, he proclaimed that as a soldier of Christ he could no longer fight in Earthly battles. He was released from his military service at age twenty and dedicated the rest of his life to the church. Translation: A Spanish Song Companion by Jacqueline Cockburn and Richard Stokes

Sant Mart Pedra ferma entre muntanyes. Ull de serp, olor de pi. Sant Mart, rei de les teves entranyes, la ploma, laire I el vi. Respira la teval imatge caritat pep pelegr. Sant Mart, la intimitat del paisatge, tu I jo pel mateix cam. Cavaller del Crist, lespasa mati el serpent I el ver. Sant Mart, vetlli la flama la casa i la veu del Sina

Saint Martin Firm stone amid mountains. Granite stone, pine fragrance. Saint Martin, king in your very being, quill, air, and wine. Your image breathes compassion for the pilgrim. Saint Martin, the intimate landscape you and I on the same path. Knight of Christ, with your sword kill the monster and its poison. Saint Martin, let your flame guard the house and the voice of Sinai.

Sant Mart exists in two versions, the first for voice and piano and a second version orchestrated version for five part strings and piano. The examples shown are for voice and piano. The orchestrated version is not available in print at this time.

88 A lilting, swaying figure in a moderate 6/8 meter imitates traveling by horseback. A three note rocking motive is introduced in the accompaniment in the first two measures of the song (see Example 34, mm. 1-2) and used throughout the accompaniment. F major diatonic harmonies are used in the A section (mm. 1-17), which includes the first stanza of the poem.

Example 34. Mompou, Sant Marti, Measures 19.

Example 34 also shows the legato melody lines are filled with large leaps of fifths and octaves (mm. 5-8). The A section follows a similar melodic shape and character until it is contrasted in the B section. A diminuendo and a fermata mark the end of the A

89 section in m. 17 and the beginning of the B section (mm. 18-36) begins with a meter change to 3/4 and a contrasting lento tempo (see Example 35). Arpeggiated augmented chords that imitate bells provide a striking contrast to the diatonic harmonies of the previous section. The melody repeats the augmented triad twice, each to the text of Sant Mart. The first forte exclamation and the second piano repetition of Sant Mart seem like a prayer for compassion and strength (see Example 35).

Example 35. Mompou, Sant Marti, Measures 2636.

The return of the A section in m. 37 brings back a steady 6/8 meter and a return of the F-major harmonies to conclude the song. The lilting, swaying, and forward motion of the A section returns to conclude the song as Saint Martin and his horse continue on their way.

90 Primeros pasos Date of publication: 1964 Language: Catalan Range: C4 F5 Tessitura: B-flat4 Meter: 4/4 Tempo: Lento Form: Through Composed Poet: Clara Jans (b. 1940) is one of the most respected twentieth century writers in Catalunya. She is known for her poetry, plays, and translations of French, Czech, Turkish, Chinese, and Arabic literary works. The daughter of poet Josep Jans, Clara was raised in an artistic household where music and literature were an important part of family life. She studied philology (a combination of literary studies, literary and linguistic history) at the University of Barcelona and later taught Spanish at the University of Sorbonne. She wrote a variety of genres including poetry, narratives, essays, anthropology, and translating. In 1972, she wrote one of the most authoratative biographies of Mompou. Her most acclaimed literary works were written after 1975. The poetic themes in her works are largely existential in nature and entail death, night, selfliberation, despair, suffering, solitude, and the enigma of human existence.40 Translation: A Spanish Song Companion by Jacqueline Cockburn and Richard Stokes

40

Janet Prez, Clara Jans, in Dictionary of Literary Biography: Twentieth entury Spanish Poets Second Series, Vol. 134, Ed. by Jerry Phillips Winfield, (Detroit, MI: Gale Research Inc., 1994), 209.

91 Primeros pasos Tu cuerpo como un rbol, tus ojos como un lago, y yo soaba hundirme debajo de tu abrazo. Tu tiempo no era tiempo, tu ser era un milagro y te busqu hasta hallarte debajo de tu abrazo. El sol muri en el cielo, tus pasos se alejaron y se qued mi sueo debajo de tu abrazo. First steps Your body like a tree, your eyes like a lake, and I dreamed I was drowning in your embrace. Your time was not time, your existence was a miracle, and I sought you till I found you in your embrace. The sun died away in the sky, your steps faded away, and my dream was left in your embrace.

Quartal and quintal harmonies begin the introduction of this song and are another demonstration of the composers preference for perfect intervals that are found in the bell overtone series. This song lacks a key signature, but analysis shows that F major is the overall tonal center of the song. F major is the tonal center, but the song contains chromaticism and shifting tonal centers that are composed in a contrapuntal texture. Two and three voice contrapuntal textures permeate the entire though composed composition. The contrapuntal writing is similar to the accompaniment of Aquesta nit un mateix vent, but the melodic styles of the two songs are different. The first two melodic phrases of Primeros Pasos are intoned on repetitions of two pitches the first phrase is sung on C5 and the second phrase sung on G4 (see Example 36). A sforzando and crescendo mark the beginning of a new phrase in m. 9 as the line rises and then abruptly falls a seventh to imitate the meaning of the word hundirme (drowning). The presence of the sforzando is a remarkable because it is one of the few instances of this effect being used in Mompous songs. The vocal range of

92 individual phrases is sometimes static, like the first two phrases, but also has phrases with large ascending and descending leaps, as in the third phrase of Example 36.

Example 36. Mompou, Primeros Pasos, Measures 510.

The contrapuntal texture and dotted eighth-sixteenth note rhythms of the piano accompaniment are reminiscent of Aquesta nit un mateix vent from the Combat del somni. The voice and piano are more independent of each other, especially in comparison to other songs. The dotted eighth-sixteenth note rhythm is the driving rhythmic unit in this song and is consistent throughout. The rhythm is the unifying feature in this song as little melodic material is repeated in this through-composed song.

93 CHAPTER 4 TWELVE SONGS Composed late in Mompous career, Le nuage, and the sets Canions Bcquerianas and Cinq Mlodies are Mompous most difficult songs. Jacqueline Cockburn and Richard Stokes believe the poems by Gustavo Adolfo Bcquer and the resulting Canions represented a new literary and musical style for Mompou. The combination of the poetry and the music are more dramatic and romantic than previously seen in his songs.41 Cinq Mlodies sur des textes de Paul Valery were selected from Valerys larger work of poetry, Charmes. These songs are Mompous final contribution for voice and piano. These songs are among Mompous most dramatic, intense, and exquisitely beautiful. Technical demands include large vocal ranges that span a distance of a tenth or twelfth in a single phrase. The tessituras of many of these songs are high and require sustained pianissimo and piano singing, again requiring excellent breath support and vocal flexibility. Melodies are increasingly difficult and contain disjunct vocal lines with large leaps and the melodies are often highly chromatic. The dynamic palette features more contrast between piano and forte, and many of these songs employ more forte passages than in previous songs. Terraced and gradual gradations of dynamics are still common, but these songs feature more juxtapositions of subito and unexpected dynamics. The harmonic scope of these songs continues to be tonal, but there is increasing chromaticsm as demonstrated in many of the disjunct melodic lines. These twelve songs

41

Jacqueline Cockburn and Richard Stokes, The Spanish Song Companion, 146.

94 feature more independent piano and vocal lines, and the piano is largely responsible for introducing thematic and motivic material. Le nuage Date of publication: 1951 Language: French Range: D4 G5 Tessitura: C-sharp4 G-sharp5 Meter: 2/4 Tempo: Lentement Form: Ternary ABA Poet: Mathilde Poms (1886-1997) was a poet, literary critic and translator. She was a friend of Federico Mompou and also provided French translations of the songs Rosa del cam, Cortina de fullatge, Incertitude, and Neu. At the present time, little specific information is published about Poms life or work. Translation: A Spanish Song Companion by Jacqueline Cockburn and Richard Stokes

Le nuage Sembarquer, lente nef, ton bord sans capitaine; sembarquer, blanc vaisseau, a ton bord sans gouvernail, rompues les amarres du souvenir meme, perdu le sextant du dsir concret. aller voguer dans une douce derive, sur une mer sans couleur vers des les sans contour. Voguer, aller, aller Le silence diaphane Tenant lieu pour espace,

The cloud To embark, o languid ship, on your deck devoid of captain; to embark, o white vessel, on your deck devoid of helmsman, the mooring ropes of memory itself broken, the sextant of concrete desire lost. To sail in a sweet drift, on a sea devoid of colour toward islands devoid of shape, to sail, to go, to go The diaphanous silence in lieu of space,

95 Le coeur ne martelant plus la scansion des seconds quen battements touffs. Aller voguer, voguer chaque coup de roulis perdre un peu de sa figure, perdre un peu de sa substance. Voguer, aller usqu ce point ideal o la mer du ciel se comble pour baigner le clair visage dune terre plus fleurie; mon esquif plus frle que neige en avril, fondue au soleil la haute misaine, ltrave ronge par les alizs, du beau port en vue mollement couler the heart now hammering the scansion of seconds with mere stifled beats. To sail, sail, with every roll losing a fraction of ones form, losing a fraction of ones substance. To sail, to go to that ideal point where the sea fills with sky to bathe the bright face of a more blossoming land my skiff more frail than April snow, the high foresail melted in the sun, the stem-post gnawed by trade winds, with the beautiful port in sight, gently gliding

Le nuage is a highly chromatic song again featuring shifting tonal centers and obscured tonalities with no prominent tonal center. The harmonies progress through a variety of tonal centers including B, D, A, A-flat, D-flat, B-flat, D-sharp, and finally end in B major. A brief two-measure piano introduction displays the primary rhythmic motive, a consistent pattern of steady sixteenth notes moving in whole steps (see Example 37).

Example 37. Mompou, Le nuage, Measures. 14.

96 The first twenty measures of the melody feature repetitive, stepwise phrases with a high vocal tessitura. The piano dynamics in a high tessitura present a technical challenge for a soprano or a tenor. A very short three-note melodic motive appears three times throughout the song. This melodic motive appears in conjunction with the text voguer, aller (to sail, to go) and is seen in Example 38, mm. 30-35.

Example 38. Mompou, Le nuage, Measures 3035.

Le nuage is unique among Mompous songs because the final stanzas of poetry are spoken along with the piano rather than being sung. The final twenty-seven measures are indicated as Rcit while the poetry is spoken as the piano brings a return of opening musical material at the beginning of the song. The piano fades away with a final repetition of the three-note voguer, aller motive. Canions Bquerianas Composed in 1971 and published in 1980, the collection of six Spanish poems by Sevillian poet Gustavo Adolfo Bquer may have marked a new direction in the 87-yearold composers literary taste.42 The musical settings of these poems reflect the romantic

42

Jacqueline Cockburn and Richard Stokes, The Spanish Song Companion, 146.

97 nature of the poetry and each of the songs in the set is varied in character, attitude, and emotion. Most notably, Mompous typically introverted and subdued sonorities are replaced with highly chromatic dance rhythms in Yo soy ardiente, yo soy morena. The final song of the set, Olas gigantes, expresses grief so intense as to be considered suicidal. Gustavo Adolfo Bquer (1836-1870) is considered the founder of modern Spanish poetry. He was born into a family of painters and he was skilled as both a painter and a writer. Bquer received moderate acclaim in his lifetime, but his works became more famous throughout Spain after his death. He grew up in Seville as one of eight children, raised by his uncle and aunt. At age seventeen, he moved to Madrid, relying on painting and writing as sources of income. Bquers poetry contains a deep emotional quality that is almost painted into the text. He spoke of adding something that can be felt although it cannot precisely be seen43 in his poetry. Bquers poetry expresses the solitude and restorative qualities of nature, and also of unrequited love. The poetic forms were in short stanzas and musical in nature. The Rimas consisted of 98 poems with more than a thousand lines of poetry in all. Bquers poetic style influenced a later generation of composers including Juan Ramn Jimenz, Antonio Machado, and Federico Garcia Lorca. Hoy la tierra y los cielos me son ren Range: D4 G-flat5 Tessitura: Db5

43

Edmund L. King, Gustavo Adolfo Bquer: From Painter to Poet, (Mexico: Editorial Porrura, S.A, 1953), 22.

98 Meter: 2/4 Rhythm: Tranquillo Form: Through composed Translation: A Spanish Song Companion by Jacqueline Cockburn and Richard Stokes

Hoy la tierra y los cielos me sonren Hoy la tierra y los cielos me sonren, hoy llega al fondo de mi alma el sol, hoy la he visto , la he visto y me ha mirado hoy creo en Dios!

Today the earth and heavens smile on me Today the earth and heavens smile on me, today the sun reaches the depth of my soul, today I saw her saw her and she looked on me today I believe in God!

The lyric legato lines of this song are set to a highly romantic poem creating some of the most beautiful phrases in all of Mompous songs. Yet again, no key signature is indicated but E-flat is tonal center. Open sonorities of perfect fourths, perfect fifths, and octaves are used frequently in the harmonies and also in the melody. The most repeated motive is shown in Example 39, where it appears in the first vocal entrance in mm. 5-6. This two-note melodic motive, moving from E-flat to D, emphasizes the motion of the leading tone to tonic, and this motive repeats four times during the song. This motive is used in both the very first and the final vocal phrases.

99 Example 39. Mompou, Hoy la tierra Measures 516.

In addition to the importance of the leading tone to tonic movement, the previously mentioned motive is further enhanced by other ascending half-step movements. Example 39 further demonstrates the numerous uses of half-step movements in the melody. These half-steps help to enhance the romantic nature of the poem. The lyric, legato lines are filled with intervals of minor seconds that create an undulating melody. The poem itself contains only five lines of text, but the phrase Hoy creo en Dios (I believe in God) is repeated four times. This text repetition is an unusual feature not used in any other of Mompous songs. The melody and the repeated motives are closely related to the rhythm of the song. A simple, steady, homogeneous rhythm of eighth notes is shared by both voice and piano. The subdued and calm character is maintained throughout the song. The

100 tranquillo tempo marking is regularly interrupted by ritardando and a tempo markings at phrase endings. As found in a majority of Mompous songs, the piano concludes with a single piano chord fading away. Los invisibles tomos del aire Range: E4 G-sharp5 Tessitura: C-sharp5 Meter: 4/4 Tempo: Plcido Form: Through composed Translation: A Spanish Song Companion by Jacqueline Cockburn and Richard Stokes

Los invisibles tomos del aire Los invisibles tomos del aire en derredor palpitan y se inflaman, el cielo se deshace en rayos de oro, la tierra se estremece alborozada. Oigo flotando en olas de armonas rumor de besos y batir de alas; mis prpados se cierran Qu sucede? Dime? Silencio! Es el amor que pasa!

The invisible atoms of the air The invisible atoms of the air around me throb and flare, the sky dissolves in rays of gold, the earth shivers in ecstasy. Floating on waves of harmony, I hear the sound of kisses and fluttering wings; my eyelids close What is night? Tell me? Hush! It is love that passes by!

The invisible atoms of the air are introduced immediately by a pianissimo dissonant minor second clash and followed by a tritone (see Example 40). The minimalist sixteenth-note motive is repeated for the first three measures of the song. Harmonic change occurs at a slow and subtle rate of every three to four bars, reflecting the constant but miniscule subatomic motion suggested by the imagery of the poem. Clashing minor

101 seconds and tritones are used most commonly in this song, especially the A-sharp, B, Esharp combination. These dissonant seconds simultaneously juxtapose chromaticism with a harmonic ostinato.

Example 40. Mompou, Los invisibles tomos del aires, Measures 13.

The static melodic phrases moving by half-steps also reflect the plcido tempo. The vocal phrases possess narrow intervallic ranges that remain within a distance of a perfect fifth. Subdued piano and pianissimo dynamics are most prevalent, but Example 41 shows some of the greatest and quickly contrasting dynamics found in all of Mompous songs. The piano begins with a forte and crescendo in m. 16 leading to a subito pianissimo accompanying the question que sucede? (what is night?) in both voice and piano in m. 17. An abrupt sforzando accompanies a second repetition of the question que sucede. Such an abrupt change in dynamics in adjacent measures is rarely seen in Mompous other songs.

102 Example 41. Mompou, Los invisibles tomos del aires, Measures 1618.

The minimalistic style of this composition features steady sixteenth note rhythms that repeat almost continuously for the duration of the song. The static and steady rhythms waver very little from the indicated plcido tempo. The rate of harmonic change varies between two and four bars. The rhythmic motives are repeated for at least two measures before the harmonies are altered. The steady sixteenth notes slowly evolve until the piano again concludes the song. Yo soy ardiente, yo soy morena Range: C4 G5 Tessitura: C-sharp5 Meter: 3/8 Tempo: Ritmo de Polo Form: Modified strophic Translation: A Spanish Song Companion by Jacqueline Cockburn and Richard Stokes

Yo soy ardiente, yo soy morena - Yo soy ardiente, yo soy morena, yo soy el smbolo de la passion, de ansia de goces mi alma est llena. A m me buscas?

I am fiery, I am dark - I am fiery, I am dark, I am the symbol of passion, my soul is filled with a thirst for pleasure. Is it me you seek?

103 - No es a ti: no. - Mi frente es plida, mis trenzs de oro, puedo brindarte dichas sin fin. Yo de ternura guardo un Tesoro. A m llamas? - No: no es a ti. - Yo soy un sueo, un imposible, vano fantasma de niebla y luz; soy incorporeal, soy intangible: no puedo amarte. - Oh , ven; ven t! - No it is not you. No - My brow is pale, my tresses gold, I can offer you boundless joy. A wealth of tenderness I hold. Is it me you call? - No: no it is not you. - I am a dream, an impossibility, a futile phantom of mist and light; I have no body, I am intangible: I cannot love you. - Oh come! Come!

The bold dance rhythms of Yo soy ardiente, yo soy morena create the most extroverted and passionate character of all Mompous songs. The song features the rhythms and style of the polo, an extremely popular dance in Catalunya and also throughout Spain. Israel J. Katz lists the polo as one of forty-four individual types of flamenco dance. The origins of flamenco dance are controversial among scholars, but it is widely accepted that many of the specific dances, including the polo, developed in Andalusia, in southern Spain. The word flamenco is a generic word to describe a combination of song, dance, and instrumental music usually accompanied by guitar. 44 The development of flamenco dance is mostly attributed to a wide variety of Gypsy songs and dances but there are other influences that shaped the genre. Although there are many

44

Katz, "Flamenco." In Grove Music Online. Oxford Music Online, http://www.oxfordmusiconline.com.proxy.lib.uiowa.edu/subscriber/article/grove/ music/09780 (accessed March 23, 2012).

104 theories describing the development of flamenco dance, each philosophy shares a belief of a common way of life exemplified by generosity, boisterousness and recklessness.45 The piano begins the passionate song with a forte presentation of the polo theme that is used frequently in the song. The presentation of three staves for the piano line is a unique feature of the song (see Example 42). Again lacking a key signature, the highly chromatic song is in C-sharp minor. The six-measure piano solo shown in Example 42 is the theme of the song, and is the most recognizable feature of the piece.

Example 42. Mompou, Yo soy ardiente, Measures 16.

Its difficult melody features large ascending and descending leaps as shown in mm. 7-18 in Example 43. The disjunct, angular, and highly chromatic lines provide a distinct melodic contrast to the static and narrow vocal range of Los invisibles atomos. Short declamatory two-bar phrases are consistent throughout the polo-inspired song. The second stanza is a melodic variation of the first stanza, generally following similar rhythms but mildly modified melody.
45

Katz, "Flamenco." In Grove Music Online. Oxford Music Online, (accessed March 23, 2012).

105 Example 43. Mompou, Yo soy ardiente Measures 718.

Yo soy ardiente contains many unique rhythmic characteristics not commonly used in Mompous other songs. The exciting and energetic polo dance rhythms feature displacements of strong metric accents from beats two to three. The rhythmic intensity continues until the very end of the piece with a final sharp abrupt fortissimo and marcato chord to punctuate the ending. Yo s cul el objeto Range: D4 G-sharp5 Tessitura: D5 Meter: 2/4 Tempo: Lento Form: Modified strophic Translation: A Spanish Song Companion by Jacqueline Cockburn and Richard Stokes

106 Yo s cul el objeto Yo s cul el objeto de tus suspiros es. Yo conozco la causa de tu dulce secreta languidez. Te res ? Algn da sabrs, nia por qu: T lo sabes apenas y yo lo s. Yo s cundo t sueas, y lo que en sueas ves; como en un libro puedo lo que callas en tu frente leer. Te res ? Algn da sabrs, nia por qu: T lo sabes apenas y yo lo s. Yo s por qu sonres y lorras a la vez: yo penetro en los senos misteriosos de tu alma de mujer. Te res ? Algn da sabrs, nia por qu: mientras t sientes mucho y nada sabes, yo que no siento ya, todo lo s. I know the reason I know the reason for your sighs. I know the cause of your sweet, secret languor. Your laugh ? Some day, my love, youll know why: you scarcely sense it and I know it. I know when you dream, and what in your dreams you see; Like a book I can read on your brow what you conceal. You laugh ? Someday, my love, youll know why; you scarcely sense it and I know it. I know why you smile and weep in one: I can fathom the mysterious declivities of your womans soul. You laugh ? Some day, my love, youll know why; while you feel many things and know none, I, who can no longer feel, know all.

Yo se cual objeto returns to a lyric and quiet demeanor and is similar in style to Los invisbles atomos. The opening features A minor harmonies with emphasis on intervals of fourths, fifths, and octaves, again reflecting the common intervals of the bells. The descending line of the piano introduction imitates sighing and is shown in Example 44. Open fifths are seen at many cadence points of the song; this sonority is first introduced in mm. 5-6 before the vocal entrance.

107 Example 44. Mompou, Yo s cul el objeto, Measures 112.

Example 44 also shows undulating legato phrases encompassing a range of more than an octave. Leaps of fourths, fifths, and sixths are typical in all vocal phrasesof this song. Four-bar phrase lengths are most common, but some phrases are of irregular twobar or six-bar lengths. This modified strophic song uses the same melody for first two stanzas of text, but the third stanza is mildly modified. A more familiar lento tempo is sustained in this song with a steady eighth note pulse. The phrase endings are accompanied by the characteristic ritardando and a tempo markings. Volvern las oscuras golondrinas Range: D-flat4 G-flat5 Tessitura: D-flat5 Meter: 2/4 Tempo: Molto tranquillo

108 Form: Through composed Translation: A Spanish Song Companion by Jacqueline Cockburn and Richard Stokes

Volvern las oscuras golondrinas Volvern las oscuras golondrinas en tu balcn sus nidos a colgar, y otra vez con el ala a sus cristales jugando llamarn. Pero aqullas que el vuelo refrenaban tu hermosura y mi dicha a contemplar, aqullas que aprendieron nuestros nombres sas no volvern! Volvern las tupidas madreselvas de tu jardn las tapias a esclar y otra vez a la tarde an ms hermosas sus flores se abrirn. Pero aquellas cuajadas de roco cuyas gotas mirbamos temblar y caer como lgrimas del da sas no volvern! Volvern del amor en tus odos las palabras ardientes a sonar, tu corazn de su profundo sueo tal vez despertar. Pero mudo y absorto y de rodillas como se adora a Dios ante su altar, como yo te he querido desengate, as no te querrn!

The darkling swallows will return The darkling swallows will return to hand on your balcony their nests, and brush again your windows with their wings as they playfully call. But those that lingered in their flight to behold your beauty and my joy, those that learned our names those will not return! The dense honeysuckle will return to climb again your garden walls and again at evening, lovelier still, their flowers will unfold. But those that hung bedecked with dew, whose dewdrops we saw tremble and fall like tears of day those will not return! Upon your ears will fall again the sound of ardent words of love; your heart from its deep sleep will then perhaps awake. But mute and rapt and kneeling, as God before His altar is adored, as I loved you, you may be sure, none shall ever love you so!

The fifth song of the Becquerianas shares characteristics with Los invisibles atomos largely because of the rhythmic motive that permeates all but ten measures of

109 the song. A composition totaling one-hundred twelve measures, this six-stanza poem is the longest text that Mompou set. Although F minor harmonies occur at a few cadences in the song, the majority of the song features chromatic harmonies and constantly shifting keys. The most important unifying device of the song is the rhythmic motive that appears in the very first measures of the piece (see Example 45). The motive is divided between right and left hands of the piano, with either a half or quarter note followed by three sixteenth notes in the right hand. The motive shown in measures 1-3 also appears in exact repetition at the ends of the second, fourth, and sixth stanzas.

Example 45. Mompou, Volveran las oscuras, Measures 14.

110 The melodic phrases of Volveran are varied in contour including stepwise, undulating, and disjunct lines. The first vocal phrase, starting in m. 3, has a descending contour with a descending minor third skip while the second phrase, starting in m. 7, is an undulating melody sung at a slightly higher tessitura (see Example 45). No two phrases in this song are exactly alike, although they share similar melodic contours. The drama and intensity of the song is heightened by contrasting melodic phrases, extreme shifts of dynamic contrast from piano to forte, and variations in tempi in adjacent phrases. The contrasts in dynamics and phrases reflect the conflicting emotions presented by pleasant memories with the painful reality of a lost love. Although the tempo of the song is marked molto tranquillo, frequent markings of accelerando, ritardando, and a tempo markings indicate a disturbance in the tranquil intention. Example 46 shows how contrasting phrase contours, dynamics, and tempi combine to create one of the most dramatic moments in the song. A sforzando in the piano in m. 81 leads to a poco accelerando in m. 82. The voice and piano lines both feature rising melodic lines accompanied by a crescendo that lead to the climax in m. 84. However, the intense moment is short lived because the dynamics change back to piano in m. 85 and the texture of the piano is notably thinner than the previous measures.

111 Example 46. Mompou, Volveran las oscuras golondrinas, Measures 8089.

In spite of the moments of great intensity and forte dynamics, subdued and subtle dynamics prevail as the piano resumes playing the opening rhythmic motive. A final thirty-second note flourish at the close of the piece imitates swallows in flight disappearing from the horizon. Olas gigantes Range: E-flat4 G-flat5 Tessitura: D-flat5 Meter: 2/4 Tempo: Con energa Form: Ternary, ABA Translation: A Spanish Song Companion by Jacqueline Cockburn and Richard Stokes

112 Olas gigantes Olas gigantes que os rompis bramando en las playas desiertas y remotas, envuelto entre la sbana de espumas, llevadme con vosotras!\ Rfagas de huracn, que arrebatis del alto bosque las marchitas hojas, arrastrado en el ciego torbellino, llevadme con vosotras! Nubes de tempestad que rompe el rayo y en fuego ornis las desprendidas orlas arrebatado entre la niebla oscura, llevadme con vosotras! Llevadme, por piedad, adonde el vertigo con la razn me arranque la memoria. Por piedad! Tengo miedo de quedarme con mi dolor a solas! Vast waves Vast waves, breaking with a roar on deserted and distant strands, shroud me in a sheet of foam, bear me away with you! Hurricane gusts, snatching the tall woods withered leaves, dragging all along in dark turbulence, bear me away with you! Storm clouds rent by lightning with your edges bordered in fire, snatch me up in a dark mist, bear me away with you! Bear me away, I beg, to where vertigo eradicates my memory and reason Have mercy I dread being left alone with my grief!

The dramatic conclusion of the Caniones Becquerianas is filled with intense grief, despair, and sorrow. Vast waves appear as thirty-second note arpeggios in A-flat minor in the piano introduction and continue through the entire song (see Example 47). A-flat minor is the tonal center of the A and A sections of the song (stanzas one and four). The B section features more chromaticism and shifting harmonies to intensify imagery of vast, gigantic, and tumultuous ocean waves and the protagonists suicidal thoughts.

113 Example 47. Mompou, Olas gigantes, Measures 17.

The opening vocal phrase uses dramatic leaps of a minor sixth and a rhythm of double-dotted eighth and thirty second notes (see Example 47, mm. 3-7). Forte and fortissimo dynamics prevail through the song and are atypical of the colors and dynamics usually identified in Mompous songs. In addition to a fortissimo dynamic, the voice is indicated with the word amplitud in mm. 17-22, the only such indication seen in Mompous songs (see Example 48). This song, specifically this moment in mm. 17-22, is quite operatic and implies singing with full voice and forte dynamics to heighten the emotion and drama of the text.

114 Example 48. Mompou, Olas gigantes, Measures 1722.

The piano is of utmost importance in this song because it is a clear example of text painting of the violent ocean waves. In addition, the accompaniment provides chordal support for the vocal line, but the piano is largely independent from the voice. The piano is responsible for the rhythmic pulse and driving the motion of the song forward until its crashing conclusion with fortissimo repetitions of the giant waves. Cinq Mlodies sur des textes de Paul Valry Paul Valry (1871-1945) was one of the last late nineteenth-century symbolist poets, following the literary traditions established by his predecessors including Charles Baudelaire and Stphane Mallarm. Valry was born in Ste, a small seaport on the Mediterranean coast of France. His family moved to nearby Montpellier where he was educated from childhood through college. Although he completed a law degree, he was

115 never extremely active as an attorney. He served a mandatory military term in 1889-1990 and he met poet Pierre Lous. Through Lous he eventually met other poets, including Stphane Mallarm. Valry composed over 200 poems as a young man but he later dismissed them as being too emotional. In his late adolescence and twenties, he believed in cultivating purely intellectual pursuits including mathetmatics, science, architecture, and music. As an adult, Valry returned to writing poetry with more life experience and a different outlook on life. His mature poetry embraced both emotion and intellect as being important experiences in life. This unconscious awareness of the activities of the unconscious forms46 allowed Valry to focus on complex thoughts, emotions, and uncertainties of life. The collection of Charmes, written by Valry in the 1920s, is one of his most famous collections and features highly complex and rich symbolism. Mompou set five of the poems from Charmes to music in 1973. La fausse morte Date of publication: 1973 Language: French Range: C-sharp4 A-flat5 Tessitura: C5 D5 Meter: 2/4 Tempo: Tranquillo Form: Through composed

46

Charles Chadwick, Paul Valry in Dictionary of Literary Biography Vol. 258: Modern French Poets, Ed. Jean-Franois Leroux, (Farmington Hills, MI: The Gale Group, 2002), 386.

116 Translation: A Spanish Song Companion by Jacqueline Cockburn and Richard Stokes

La fausse morte Humblement, tendrement, sur le tombeau charming, sur linsensibile monument, Que dombres, dabandons, Et damour prodigue, Forme ta grace fatigue, Je meurs, je meurs sur toi, Je tombe et je mabats, Mais peine abattu sur le spulcre bas, Dont la close tendue au cendres me convie, Cette morte apparent, En qui revient la vie, Frmit, rouve les yeux, Millumine et me mord, Et marrache toujours une nouvelle mort Plus prcieuse que la vie.

The woman falsely dead Humbly, tenderly, On the enchanting tomb, Over the insensate monument Which, with a wealth of shadow, Abandon and love, Your exhausted grace forms, I die, I die above you, I fall and subside; But I have scarcely slumped on the low sepulcher Whose narrow confines beckon me to the ashes, than this seeming dead woman, regaining life, quivers, opens again her eyes, illuminates and bites me, and wrests me for another death, more precious than life.

Although La fausse morte begins and ends in D-minor, harmonies shift often to create a sense of ambiguity. Both the voice and piano lines use primary motives that are featured in the opening ten measures. The first piano motive occurs in mm. 1-2 starting with a minor chord in the left hand and followed by a series of suspension and resolutions in steady eighth notes in the right hand (see Example 49). The two-bar motive is heard often throughout the song at cadences, and beginnings of new phrases in a variety of harmonies. Example 49 also shows the second important motive in the piano occurring in mm. 7-10 in conjunction with the appearance of alternating tritones in the bass line of the piano. The highly chromatic passages resolve back to the piano motive as seen in mm. 12. The harmonies of the song are constantly moving between dissonance and resolution.

117 Example 49. Mompou, La fausse morte, Measures 110.

The long, lyric, legato vocal lines are difficult because they contain leaps of octaves, sevenths, and sixths in both ascending and descending directions in a single phrase. Similar to the piano line, the vocal melody uses two primary motives as the foundation of the piece. Example 49 shows the first vocal motive is in mm. 3-4, which is characterized by a descending octave leap. The second motive occurs in mm. 7-10 and is doubled by the right hand of the piano above the moving tritones in the left hand, also seen in Example 49. This highly chromatic passage provides a tremendous challenge in achieving legato, especially when considering the tranquillo marking of the piece. Another tranquillo tempo reflects an introspective poem and the rhythm is characterized by steady eighth notes interrupted by frequent ritardando and a tempo

118 markings that correspond with phrase endings. The through-composed song is unified by the frequent repetitions of the piano motives. Linsinuant Date of publication: 1973 Language: French Range: D4 A5 Tessitura: C-sharp5 D5 Meter: 2/4 Tempo: Quarter note equals 116 Form: Through composed Translation: A Spanish Song Companion by Jacqueline Cockburn and Richard Stokes

Linsinuant O courbes, meander, Secrets du menteur, Est-il art plus tendre Que cette lenteur? Je sais o je vais, Je ty veux conduire, Mon dessein mauvais Nest pas de te nuire (Quoique souriante En pleine fiert, Tant de libert La dsoriente!) O courbes, meander, Secrets du menteur, Je veux faire attendre Le mot le plus tendre

The hinter O curves, o meanders, Secrets of the liar, Is there an art more tender Than this slow pace? I know where I go, I shall take you there; My evil design Is not to harm you (Though smiling In her full pride, She is thrown By so much freedom) O curves, o meanders, Secrets of the liar, I shall make her wait For that most tender word.

119 It comes as no surprise that the harmonies of Linsinuant are ambiguous and frequently changing based on the first line of the poem O courbes, meander, Secrets du menteur, (O curves, o meanders, secrets of the liar). No key signature is notated and the use of tritones in both the vocal melody and piano accompaniment further obscure the tonalities. A pointillistic texture is created by the sparse texture of the piano and the intervallic distance between the right and left hands of the piano. The piano texture is largely dominated by single notes and few chords are used in this accompaniment. The vocal phrases again feature angular and disjunct contours with large intervallic leaps. Following a sixteen measure introduction, the voice first enters by singing tritones. The voice begins by singing descending tritones from E5 to B-flat4 and the dissonance is echoed by the top voice of the piano (see Example 50). The ending of the first phrase features an ascending leap of a tenth from F4 to A5, as shown in m. 19 in Example 50. The second vocal phrase imitates the opening phrase by moving down a whole step as shown in mm. 20-24.

120 Example 50. Mompou, Linsinuant, Measures 1425.

The tempo of Linsinuant is one of a handful of songs given a specific metronome marking. With a quarter note equaling 116, this song is quicker than most of Mompous songs. However, the piece is still marked with a number of ritardandi at phrase endings. Although the music is through composed, the first line of text is repeated in the final vocal phrases of the song. The final stanza concludes textually with a statement and musically with an authentic cadence rather than the question posed in the first stanza. Le vin perdu Date of publication: 1973 Language: French Range: C4 G5

121 Tessitura: C5 D5 Meter: 2/4 Tempo: Moderato Form: Through composed Translation: A Spanish Song Companion by Jacqueline Cockburn and Richard Stokes

Le vin perdu Jai, quelque jour, dans locan, (Mais je ne sais plus sous quells cieux,) Jet, comme offrande au nant, Tout un peu de vin prcieux Qui voulut ta perte, liqueur? Jobis, peut-tre au devin? Peut-tre au souci de mon Coeur, Songeant au sang, versant le vin? Sa transparence accoutume Aprs une rose fume Reprit aussi pure la mer Perdu ce vin, ivres les ondes! Jai vu bondir dans lair amer Les figures les plus profondes

The lost wine One day, into the ocean, (but under which skies I no longer know,) I threw, as an offering to the void, A sprinkling of precious wine Who willed this waste, o liquor? Did I perhaps obey the soothsayer? Or perhaps my hearts anxiety, Dreaming of blood, spilling the wine? Its usual transparence Later a pink spread of cloud Was assumed as purely by the sea Lost this wine, drunken the waves! I saw hurtling through the bitter air The profoundest figurations

The piano accompaniment is prominently featured in Le vin perdu, beginning with a twenty-one measure introduction. A two-voice contrapuntal texture in the piano permeates the majority of the song. Imitative of unpredictable ocean waves, chromatic descending sixteenth-notes consistently appear as a unifying motive in the piece. Example 51 shows a perfect fifth between B and F-sharp in the upper voice of the piano, providing a sense of harmonic stability. The inner voice of the piano features descending

122 chromatic sixteenth notes that descend from B to E-sharp. Example 51 shows the most commonly used pattern of descending sixteenth notes. The descending motive of B, G, Fsharp, and E-sharp outlines a descending fifth that is overshot by a half-step. The descending sixteenth note motive shifts frequently throughout the song, but returns to the B, G, F-sharp, E-sharp motive at important cadences.

Example 51. Mompou, Le vin perdu, Measures 2128.

The vocal lines of the melody are first played by the piano and then repeated exactly in mm. 22-38 and is seen in Example 51. After m. 38, no melodic material is repeated for the remainder of the piece. The difficult vocal melody is again filled with disjunct, angular lines, and large leaps. Irregular phrase lengths range between two to five

123 bars and assist in creating a sense of instability, again reflecting the nature of the text. Further drama is achieved through dramatic variations in dynamics and tempi. Le sylphe Date of publication: 1973 Language: French Range: C4 G5 Tessitura: C5 Meter: 3/8 Tempo: Allegro Form: Through composed Translation: A Spanish Song Companion by Jacqueline Cockburn and Richard Stokes

Le sylphe Ni vu ni connu Je suis le parfum Vivant et dfunt Dans le vent venu! Ni vu ni connu, Hasard ou genie? A peine venu La tche est finie! Ni lu ni compris? Aux meilleurs esprits Que derreurs promises! Ni vu ni connu oLe temps dun sein nu Entre deux chemises!

The sylphe Neither seen nor known I am the perfume Living and dead That came on the wind! Neither seen nor known, Fate or genius? Scarce arrived, My task is done. Neither read nor understood? To the finest of spirits How many have promised errors! Neither seen nor known The moment for a naked breast Between two shirts!

124 Le sylphe supplies an exciting and energetic contrast to the other songs of Cinq Mlodies. The light, playful character piano texture sets the mood for the entire piece by accentuating ascending fifths. The playful dance-like melody is immediately introduced in brief two- and three-bar phrases starting in D major. Although D major is the opening tonal center, this key is short-lived. The conclusion of the first stanza cadences in B-flat major. The remainder of the song remains in B-flat major, with only a brief venture to the dominant F major harmonies, but then returns to conclude solidly in B-flat major. The initial phrases, characterized by leaps of fourths and fifths, are reminiscent of a horn call. These declamatory three-bar phrases are frequently used and can be seen in Example 52. Most of the vocal phrases follow the two and three bar length established in the beginning of the song.

Example 52. Mompou, Le sylphe, Measures 3041.

125 The lively allegro tempo in 3/8 is interrupted numerous times by poco ritardando to match the questions posed in the poetry. The piano makes the final on the song with a flourish of an ascending five-note figure while a decrescendo fades to a pianissimo dynamic. Les pas Date of publication: 1973 Language: French Range: D4 F5 Tessitura: B4 Meter: 2/4 Tempo: Lent Form: Through composed Poet: Paul Valry Translation: A Spanish Song Companion by Jacqueline Cockburn and Richard Stokes

Les pas Tes pas, enfants de mon silence, Saintement, lentement placs, Vers le lit de ma vigilance Procdent muets et glacs. Personne pure, ombre divine, Quils sont doux, tes pas retenus! Dieux! tous les dons que je devine Viennent moi sur ces pieds nus! Si, de tes lvres avances, Tu prepares, pour lapaiser A lhabitant de mes penses La nourriture dun baiser,

The steps Your steps, children of my silence, With slow and saintly tread, Towards my vigils bed Are advancing mute and frozen. Pure person, divine shadow, Your constrained steps, how sweet they are! God! all the gifts that I surmise Come to me on those naked feet! If, with your proffered lips, You prepare, to appease The inhabitant of my thoughts, The nourishment of a kiss,

126 Ne hate pas cet acte tendre, Douceur dtre et de ntre pas, Car jai vcu de vous attendre, Et mon coeur ntait que vos pas. Do not hasten this tender act, Sweetness of being and being not, For I have lived off awaiting you, And my heart was naught but your steps.

Cinq Mlodies concludes with the quiet and restrained quality essential to the personality of the composer. The piano once again presents the most important motive in the very first measures. Example 53 shows the motive as presented in mm. 1-3. The highly repetitive A-sharp, B, E-sharp motive is altered only slightly during the piece. The deliberate, plodding, heavy, and static accompaniment imitates the slow and saintly tread (saintement, lentement places) expressed in the poem. The tonal center of the song is a modally-inflected B. The texture is largely in two voices with the rhythmic motive in the right hand and a single note bass line.

Example 53. Mompou, Les Pas, Measures 18.

127 The vocal melody further supports the imagery of heavy, plodding steps through the small stepwise movement of the phrases. Example 53 shows a two-note motive using notes B and A in mm. 3-5. This two-note motive appears several times in the song and further helps establish B as the tonal center. In contrast to the previous songs of the set, the vocal melody of Les Pas is largely stepwise with considerably fewer large leaps. The lento tempo contains only a few ritardando markings, as the tempo is already slow and steady. The rhythmic motive presented in the opening measures occurs in every measure of the song providing a greater sense of stability from the beginning to the end of the song.

128 CONCLUSION Twentieth-century composer Federico Mompou wrote a relatively small number of songs for voice and piano, but these songs contain a variety of technical and interpretive challenges for singers wishing to explore the Catalan song repertoire. The primary purpose of this essay is to provide analysis of Mompous thirty-five songs as a vocal repertoire guide and secondly to provide a basic pedagogical guide for teachers and performers. Each of the thirty-five songs was analyzed using Jan LaRues Guidelines for Style Analysis with the SHMRG mnemonic (Sound, Harmony, Melody, Rhythm, and Growth). The combination of prose analysis and musical examples of each of the songs provides performers and teachers with an overview of the songs. General charactics of Mompous music are described in the following paragraphs following the SHMRG format. The initial impressions of the songs are characterized by elegance, restraint, simplicity, and a sentiment of nostalgia. One of the most important elements in Mompous songs are the use of small motives that may appear in the harmony, melody, accompaniment, and sometimes in multiple elements. These small motives are important basic ideas that make the songs familiar to the listener but not stagnant. Mompous harmonies are tonal and he commonly uses diatonic and modal progressions in his songs. Mode mixture and chromaticism are important elements of Mompous harmonic language and one of the most common harmonies is a major-minor chord. Harmonies of many songs feature altered scale degrees in succession, the most common chromatic alterations occurring on scale degrees 3, 6, and 7. Open harmonies of fourths, fifths and octaves are another common characteristic in Mompous compositions.

129 Melodies in Mompous songs also feature the perfect intervals of fourths, fifths, and octaves in addition to a variety of melodic shapes. The vocal melodies range from simple, stepwise motion to disjunct, and highly chromatic lines. The majority of the melodies consist of regular two-bar or four-bar phrases and all sung with legato. The vocal melodies are unadorned with melismas or ornaments. Rhythms in the songs are uncomplicated and often feature ostinati. The majority of the songs are designated in simple meters of 2/4, 3/4, and 4/4 and a few compound meters in 6/8. Many of the meters are indicated only with a single numeral in the score. Only a few songs Pito, pito, colorito, Aquesta nit un mateix vent, and Sant Marti contain changing meters with in the song; all other songs retain the same meter for the duration of the piece. The tempi of the songs range from lento to allegro, but Mompou preferred the slow and lento tempi. More than a third of the songs are marked as lento, lentement, placid, or tranquillo. Growth and development in Mompous songs occur in very small scales because he usually wrote brief songs. Spanish scholar Toms Marco has described Mompou as a miniaturist because he preferred to work in small forms. Large scale growth is not common in Mompous songs, instead preferring to modify the motives that are the main musical ideas of each individual composition. The piano plays an important role in Mompous songs because piano was his primary instrument. The vast majority of his compositions were for solo piano, and it is natural that the piano is featured prominently in his songs. Often, the piano doubles the vocal melody in octaves and is highly supportive of the singer. The piano provides a general sense of mood painting in the songs and contains some brief introductions,

130 interludes, and postludes. The piano imitates specific ideas or concepts in some of Mompous later songs. The piano motive imitiates invisible atoms of air in Los atomos invisibles and crashing ocean waves in Olas gigantes both found in the Becquerianas set. The organization of the songs was based on basic pedagogical concepts and the songs were divided into three groups based on difficulty of the songs. The first group of songs features the Comptines, a set of six songs that are particularly good for beginning students. The poetry, written by Mompou, is reminiscent of childhood poems, counting games, dances, and stories. Musical characteristics of the songs include tonal and modal harmonies, vocal ranges of about an octave, rhythmic and melodic ostinati, syllabic melodies, and simple, straightforward rhythms. The largest group includes seventeen songs of intermediate difficulty that are appropriate for intermediate to advanced students. These seventeen songs are more harmonically complex as they are more chromatic, and appear difficult because the songs often lack key signatures. The vocal melodies of these seventeen songs have an average range between and octave and an octave and a half. Many of the vocal melodies require sustained singing in passaggio and demand solid breath support. The piano lines of these songs are supportive of the vocal line, but some of the songs feature more independent lines between voice and piano. The final group of twelve songs includes Mompous most difficult vocal compositions. The song sets Canions Bquerianas and Cinq Mlodies were the last vocal compositions that Mompou composed. These tonal songs feature combinations of mode mixture and chromaticism. The vocal melodies of these difficult songs often

131 contain large leaps of tenths of twelfths in a single phrase. The songs contain a wide range of dynamics, often requiring sustained piano or pianissimo singing at high vocal tessituras. The piano is featured more prominently in these twelve songs and the voice and piano are more independent of each other in these songs. In addition, the piano line contains most of the small motives that are the unifying features of the songs. Analysis of each of these songs gives a more complete idea of how the songs were composed and what individual musical elements are most prominent in the composition. However, no amount of analysis is truly able to convey the meaning and the emotions in the music. Above all, Mompou wished to create music that evoked a highly personal response that transcended place and time. His songs that were of great personal importance to him and he hoped his songs would evoke a strong visceral reaction for those listening to and performing his compositions.

132 APPENDIX A CATALAN PRONUNCIATION AND DICTION GUIDE Catalan is one of the official languages spoken by more than 13 million people in the autonomous Spanish regions of Catalunya, the Balearic Islands, and Valencia. Catalan, a romance language, is linguistically related to French, Spanish, Italian, and Portuguese. Catalan shares many cognates and structural similarities with other romance languages, most notably, Castilian Spanish and Provincial French. There are similarities between the romance languages, but Catalan also possesses many distinctive characteristics that are important for performers to known when preparing Catalan texts. There are a very large group of songs written in Catalan, and the songs of Federico Mompou are only a small number of this total collection of Catalan Singing these songs in their original language is important in helping preserve the rich Catalan culture. Performing Catalan songs in the original language provides a challenge to American performers because there are no currently available Catalan diction guides. Of the Catalan pronunciation guides that are available, they do not include IPA, an especially useful tool for singers. This appendix serves as an introductory guide to Catalan pronunciation and IPA and is not a comprehensive guide to understanding Catalan diction. Furthermore, the appendix is not a substitute for study of the Catalan language and grammar. The following guide is adapted from Teach Yourself Complete Catalan by Anna Poch Gasau and Alan Yates. The chapter entitled Pronunciation and Spelling is particularly helpful in introducing the sounds of the Catalan language. A two-CD set is

133 included as a supplement that provides audio files that correspond with examples in the text. The audio guide is helpful in developing a sense of syllabification, word stress, and allows a listener an opportunity to scribe the IPA symbols. Syllabification In general, Catalan words have as many syllables as the number of vowels in the word. The syllables are stressed and unstressed, as is true of all languages. Monosyllables can be stressed or unstressed depending on the word. Stressed monosyllables include words gros, set, and vuit. Unstressed monosyllables include words que and i, articles (el and la), weak pronouns (em, ens), and some prepositions (a de, en, amb, per). Multi-syllable words fall into two general categories. In a multi-syllable word ending in a vowel, the stress is placed on the penultimate syllable, as in parlo. The stress on the penultimate syllable remains in endings of a final vowel plus s, en, or in. Parlo, parles, and parlen all have penultimate stressed syllables. Other multi-syllable words (i.e. those not ending in vowels) receive stress on the final syllable, as in parlem and parleu. Accents written over a vowel are always stressed in the word, regardless of how many syllables are in the word. The presence grave or acute accents both indicate word stress. Examples include mquina, esglsia, and gimns. Vowels The Catalan language has several regional variations in pronunciation. The conventions of the written language are standardized. The vowel sounds are addressed first in this guide. There are five vowels in written Catalan and there are eight vowel

134 sounds possible with these vowels. There are also two glides. The discussion will begin with the stressed vowels, lead to the unstressed vowels and conclude with the glides. Stressed Vowels There are seven stressed vowel sounds in Catalan. These stressed vowels are pure, sharp, clear, bright and distinct. The stressed vowels, the corresponding IPA symbols, and a description of pronunciation is provided below. Stressed vowels and syllables receive the greatest length in the word.

Vowel a

IPA Symbol [a]

Pronunciation47 The stressed Catalan a is a combination between the English words cat and father. This is always an open sound, and can only take a grave accent when stress is indicated in writing. Examples: pa, anys, catal, germ

[i]

The vowel i sounds like the vowel in the English word feet. Stressed i is always a closed vowel and takes only the acute accent when stress is indicated in writing. Examples: mida, mat

[e]

Closed [e] is a forward sound with a halfclosed mouth position and the lips slightly extended. An acute accent indicates closed [e]. The closed sound closely resembles a closed

47

Examples for pronunciation are based on British English pronunciation and not American English.

135 [e] in Italian. Examples: b, gens, adu e [] Open [] is closely related to the vowel sounds in the English words get and bet. A grave accent indicates open []. Examples: vost, guerra o [o] Closed [o] is described as a backward48 sound with a closed mouth position and rounded lips. This pure vowel closely resembles a closed [o] in Italian. An acute accent indicates closed [o]. Examples: fons, mel, estaci o [] An open [] sounds similar to the vowels in the English words hot and coffee. A grave accent indicates open []. Examples: bona, per, histria u [u] The vowel u sounds like the vowel in the English word hoot. Stressed u is always a closed vowel and takes only the acute accent when stress is indicated in writing. Examples: alguna, menu

Unstressed Vowels There are two main unstressed vowel sounds in Catalan. One of the most difficult tasks for a novice to the Catalan language is determining the stressed and unstressed
48

Ana Gasau and Alan Yates, Complete Catalan, 12.

136 vowels. Careful study of the language and listening to the syntax of the language is the best way to learn these stressed and unstressed vowels. Syllabification is one way to determine if a vowel is stressed or unstressed. Generally, a stressed syllable will contain a stressed vowel. The schwa is the neutral syllable in Catalan, as it is in other languages. In the Catalan language, vowel sounds change depending on whether it is stressed or unstressed. For example, in an unstressed syllable the vowel o becomes an [u] sound.

Vowel a or e

IPA Symbol []

Pronunciation The schwa sound in Catalan is similar to the sounds in the final vowel sounds of the English words sugar or butter. The schwa is a relaxed49 vowel and always unstressed. Examples: el, perdoni, senyor

[u]

In an unstressed syllable, the vowel o is changed to sound like [u]. Examples: sento, ho

Diphthongs Diphthongs are two contiguous vowels that make a single syllable. In Catalan, diphthongs are formed in two ways. The first vowel of the diphthong receives the longest length of the syllable, as is common in diphthongs in other languages. The first type of diphthong is formed with a vowel plus i (except i plus i) and the second type is formed

49

Ana Gasau and Alan Yates, Complete Catalan, 12.

137 with a vowel plus u. Not all vowels plus i or u are diphongs and syllabification helps determine whether two contiguous vowels are diphthongs or separate syllables.

Diphthong ai ei oi ui au eu iu ou

IPA Symbol [a:i] [e:i] [o:i] [u:i] [a:u] [e:u] [i:u] [o:u]

Example esplai llei oi avui sisplau teu riu ous

Glides There are two glides in Catalan and can also be described as semi-vowels.

Letter i

IPA Symbol [j]

Pronunciation Placed between two vowels, an unstressed letter i sounds similar to the beginning of the English word yesterday. Examples: noia, feien The letter y appears only in foreign words that have been assimilated and in a few proper names. The symbol and sound [j] is a glide and also considered a semi-vowel.

[j]

138

Examples: yacht, Ruyra qu or qu [kw] Example: aquesta

Consonants Most of the Catalan consonants are similar to English consonants. As one might expect, there are also some differences between the sounds of the languages. The letters k and w are used only in foreign words and any derivitives. Two examples include kaiser and clown. The letter y is sometimes found in proper names, but it usually only occurs in the combination of ny. It is found in such words as catalunya, espanya, and lluny. The chart below lists the consonants, IPA symbols, a pronunciation guide and any similarities and differences of the sounds of English and Catalan.

Consonant b or v

IPA Symbol [b]

Pronunciation The [b] is similar to the English word bat. Between vowels, the letter b has a softer sound with only minimal contact between the lips. Examples: dbil, hivern

[k]

The letter c is similar to the English word cat. Examples: catal, cantar

c before e and i

[s]

Ce- or Ci- combinations sound similar to the English word acid. Examples: ciutat, acceptar, cntim

[s]

The occurs only before the vowels a, o, and u. It may also appear at the end of a word.

139

Examples: cano, feli d [d] The letter d is more dental than the English d. The sound is pronounced with the tip of the tongue on the teeth. Examples: damunt, del, dedicar d [] An intervocalic letter d is changed to a theta sound, similar to the beginning of the English words they and the. Examples: cada, []

g followed by e or i

The g + e or i combination sounds similar to the French words joli, jeune, and jardin. Examples: germ, Girona

h j

always silent []

Examples: hora, hivern The letter j always makes the same sound as the combinations of ge or gi regardless of the position in the word. Examples: jard, juliol, mitja

[l]

The Catalan pronunciation of l is farther back in the mouth. It is more similar to the English word all. When l is in the final position of the word, the sound of the consonant is perceived even further back in the mouth. Examples: lavabo, abril, total

[m]

The sound is similar to the English word man. Examples: mar, molt, damunt

[n]

Usually n sounds approximately like the English words nothing and nose.

140 Examples: nas, plena, parent n [] The [] sound occurs before final c or g, before initial c, qu, or g. Examples: cinc, sang, encara, tranquil p [p] In most positions, p is pronounced in a similar fashion to the English word poem. Examples: preparar, perdere The p becomes silent following the letter m at the end of a word. It also becomes silent between the letter m and another consonant, except letters l and r. Examples: camp, temps, assumpte qu before e or i [k] The qu combination makes a single sound, unless there is a diaeresis over the u before i or e. Examples: que, quinze qu before a or o [kw] The qu combination before a or o is similar to the English word quit. Examples: quatre, quota, question r [r] A single r is distinguished by a trill (two repetitions of the letter) and is more pronounced than in English. Examples: flores, ara, Carme rr [r:r] The letter r is strongly rolled (three or more repetitions of the letter) when it appears as rr in a word. It is also rolled when it is at the beginning of a word or following the letters l, m, n, or s. Examples: roba, riure, enraonar

141 s [s] The letter s is unvoiced when it is at the beginning or the end of a word. It is also unvoiced when it appears as ss in a word. Examples: sal, capses

[z]

The letter s becomes voiced when it is intervocalic or when it preceds a voiced consonant like m or n. The English word rose is an approximation of the voiced s. Examples: casa, cosa, turisme

[t]

The letter t is unvoiced and is more dental than its English counterpart. The sound is produced by the tip of the tongue on the teeth. Examples: total, sant, turisme

[d]

The sound changes to a voiced [d] when it is before a voiced consonant. rts Examples: viatge, fullatge Exception: The letter t becomes silent following l or n at the end of a word. It also becomes silent in the consonant cluster Examples: molt,content Exception: In consonant clusters of tl,til, or tm, the letter t assimilates to the consonant around it, essentially creating a double vowel. Example: atlas [allas], setmana [semmana]

[b]

The letter v is pronounced as [b] in any position in a word. The sound is a much softer plosive consonant than its English counterpart. The lips make very little contact in the formation of the consonant.

142

The sound is similar to the English word birthday. Examples: vida, conversa, aviat w [b] The letter w occurs only in foreign words that have been assimilated. The sound creates a [b] as found in words with the letters b and v. Examples: water, x [] The first of three sounds x can make sounds like the English sound in the word sherry. This sound usually occurs when x appears at the beginning of words. Examples: xai, xerrar x [ks] The x sounds like [ks] when it is intervocalic or in certain prefixes. The sound is comparable to the English word tax. Examples: taxi, explicar x [gz] The x sounds like [gz] when it is used in certain prefixes. The sound is similar to the English word eggs. Examples: xit, exacte y [j] The letter y appears only in foreign words that have been assimilated and in a few proper names. The symbol and sound [j] is a glide and also considered a semi-vowel. Examples: yacht, Ruyra

143 z [z] The letter z is always voiced in any position in a word. The sound is similar to the English word zoo. Examples: zero

Digraphs In addition to the above listed vowels and consonants, there are digraphs that make single sounds. A digraph is a pair of consonants or a vowel and a consonant that make one sound. There are several digraphs in the Catalan language.

Digraph -ix

IPA Symbol []

Pronunciation Following a vowel the ix combination is pronounced like the sound in the English word sherry. Examples: mateix, caixa,

ny

[]

The ny digraph occurs in few words in Catlan. The sound is similar to the English word onion. Example: Catalunya

ig or tx

[t]

These suffixes sound similar to the English words match and catch. Examples: maig, cotxe

tz

[ds]

The tz digraph sounds similar to the ending of the English word beds. Examples: dotze, tretze

tg or tj tg plus e or i tj plus a, o, or u

[d]

These digraphs sound similar to the English words ledge or hedge. It also sounds similar to the beginning of the name George.

144 Examples: metge, mitj

Liason In many instances, final sounds of words are modified by the initial sound of the following word. This running together of words occurs in French and also in Catalan. Learning where to use liason helps achieve fluency in speech and in singing. The following information outlines rules of liason. 1. Two accented vowels in contact are unaffected. Examples: pi alt [pi at], carrer ample [karre ampl] 2. A schwa [] sound in contact with another vowel is elided. Examples: aquesta eina [akstjn], ma esquerra [maskrra] 3. In the event of two unstressed schwa sounds in contact, only one is pronounced. Examples: quinze amics [kinzmiks], una eglsia [unzglezi] 4. Final nc and ng before a vowel are pronounced [k]. Examples: cinc homes [sak ms], sang i aigua [sak i ajgw] 5. The final b of the word amb is pronounced before a vowel. Examples: pa amb oli [pamb li], amb honor [amb unor] 6. The final t of nt is pronounced before a vowel in the exceptions of sant before a name beginning with a vowel, vint followed by a hypen, and occasionally cent before a vowel. Examples: Sant Hilari [sant ilari], vint-i-dos [bintios], cent homes [sentms] 7. Final f, s, , ix, tx, and ig are voiced before a vowel or a voiced consonant. Examples: baf horrible [bav ur:ribl], les alters [lez altrs], dol o salat [dotz o slat],

145 dibuix antic [dibu ntik], despatx obert [dspad ubrt], passeig meravellos [psd mrbos] 8. Final s before r, s, or x is not pronounced. Examples: dues raons [du r:rons], els sastres [el sastrs], molts xais [mot ajs] 9. Final n before b, m, v, or p is pronounced [m]. Example: un marit [um mrit], Sant Marti [sam marti], mon pare [mum par], bon vi [bom bi], ben b [bem be]

146 APPENDIX B SELECT DISCOGRAPHY FROM 1992-2012 A number of famous singers have recorded Mompous songs, including sopranos Monserrat Caball and Victoria de los Angeles, tenor Jose Carrerras, and mezzo-soprano Teresa Berganza. Most of the recordings were from concerts or studio sessions from the 1950s and 1960s. These recordings were originally made on LPs and are now difficult to locate. In the last twenty years, the original recordings by Caball, de los Angeles, Carrerras, and Berganza have been re-released on CD. Since 1992, there have been over forty records that feature Mompous songs. In addition to the re-released recordings from the 1950s and 60s, one present-day recording label has made an effort to preserve and record the musical traditions of Catalunya. Columna Musica, in Barcelona, specializes in the works of nineteenth and twentieth century composers who remain largely unknown in Western music circles.50 Mompous complete vocal works have been recorded on the Columna Musica label. Recorded Songs on Compilations Combat del somni. On Canciones Espaolas. Jos Carreras, Robin Stapleton, Roberto Benzi, Antoni Ros-Marb, Martin Katz, Jos Padilla, Mara Grever, Francisco Alonso, Agustn Lara, Amadeo Vives, Reveriano Soutullo, and Jos Serrano. Orig.record 1978. Reissued CD, Phillips, 432 745-2, 1992. (Includes Combat del somni Damunt de tu noms les flors, Aquesta nit un mateix vent, Jo et pressentia com la mar.) Combat del somni. On La msica espaola. Alicia de Larrocha, piano ; London Philharmonic Orchestra ; Rafael Frhbeck de Burgos, conductor ; Jos Carreras, tenor, Martin Katz, piano, and Pascal Rog, piano. CD, Madrid Salvat 428 941-2, 1994. (Includes Combat del somni Damunt de tu noms les flors, Aquesta nit un mateix vent, and Jo et pressentia com la mar.)
50

Columna Musicas website clearly states the record labels mission. The website has a complete listing of recordings and provide online program notes for many of the recordings. The website is http://www.columnamusica.com. (Accessed March 29, 2012).

147

Damunt de tu noms les flors. On Songs of Spain. With Victoria de los Angeles, Renata Tarrag, Graciano Tarrag, Jos M Lamaa, Jean-Claude Grard, Enrique Gispert, Oscar Ghiglia, Miguel Zanetti, Gonzalo Soriano, Gerald Moore, Alicia de Larrocha, Domingo Sagu, Luis Antonio Garca Navarro, Rafael Frhbeck de Burgos, Juan Cornago, Diego Pisador, Juan del Vado, Antonio Literes, Manuel Pl, Blas de Laserna, and Jos Palomino. Orig. Recording 1951. Reissued CD, EMI Classics 7243 5 66937 2 2, 1998. (Includes Damunt de tu noms les flors.) Damunt de tu noms les flors. On New York Festival of Song: Spanish Love Songs. With Lorraine Hunt Lieberson, Joseph Kaiser, Steven Blier, and Michael Barrett. CD, New Rochelle, NY Bridge 9228, 2007. (Includes Damunt de tu noms les flors.) Recorded Songs by Recording Artist Alonso, Laura and Juan Manuel Varela. Na boca das camelias. CD, Santiago de Compostela Clave Records 1040, 2004. (Includes Aureana do Sil.) Aragall, Jaume and Salvador Brotons. Pel teu amor. CD, Barcelona Discmedi DM72502, 2002. (Includes Damunt de tu noms les flors.) Badia, Conchita. Enregistraments indits. CD, Barcelona Editat per DK-90 CD1136, 1995. (Includes Canoneta incerta and Damunt de tu noms les flors.) Bustamante, Carmen and Carlos Cebro. Mlodies. CD, Belgium Discover International DICD 920189, 1994. (Includes Combat del somni Damunt de tu noms les flors, Aquesta nit un mateix vent, Jo et pressentia com la mar; Cinq melodies La fausse morte, L'insinuant, Le vin perdu, Le Sylphe, Les pas; Sant Marti, Can de la fira, Aureana do sil, Quatre comptines D'alt d'un cotxe, Frdric tic, tic, Pito, pito, colorito, J'ai vu dans la lune; Becquerianas Hoy la tierra y los cielos me sonrien, Los invisibles tomos del aire, Yo soy ardiente, yo soy morena, Yo s cual el objeto, Volvern las oscuras golondrinas, Olas gigantes, and Cantar del alma.) Bustamante, Carmen and Miguel Zanetti. Histria de la msica catalana, valenciana i balear Del Modernisme a la Guerra Civil (1900-1939). Volume IV. CD, Barcelona Trit Edicions TRHM13-TRHM16, 1998. (Includes Damunt de tu noms les flors.) Bustamante, Carmen and Carmen Bravo. Canons. CD, Barcelona, Picap distribuit per Actual Records Distribuci 910633-02, 2008. (Includes Jo et pressentia com la mar, Ara no s si et veig, encar, Aquesta nit un mateix vent, Fes-me la vida transparent, Damunt de tu noms les flors, Dalt d'un cotxe, Margot, la Pie, J'ai vu dans la lune, Aserrn, aserrn, Petite fille de Pars, Pito pito colorito, Frederic, tic, tic, Canoneta incerta, L'hora grisa.)

148 Bustamante, Carmen and Miguel Zanetti. Canons de Toldr, Guridi, Mompou, Halffter. CD, Barcelona Trit TD0028, 2006. (Includes Combat del somni.) Caball, Montserrat. Casta Diva. Orig. Recording 1963. Reissued CD, RCA Victor Gold Seal 74321-23675-2, 1994. (Includes Damunt de tus noms les flors, Aureana do sil, Cano de la fira, Pastoral.) Caball, Montserrat and Rosa Sabater. A la Unesco. Orig. Recording 1981. CD Barcelona Picap distribut per Actual Records Distribuci 910576-02, 2008 (Includes Damunt detu noms les flors, Aquesta nit un mateix vent, and Jo et pressentia com la mar.) Campos, Maria Dolores and Katharine Durran. Classical Spanish Songs. CD, Herald HAVPCD184, 1995. (Includes Combat del somni Slo las flores sobre t, Esta noche un mismo viento, and Te presenta como el mar. The songs are sung in Spanish rather than the original Catalan.) Carreras, Jos. My Barcelona. Orig. Recording 1976. Reissued CD, Phillips 434 745-2, 1992. (Includes Damunt de tu noms les flors) Casariego, Lola and Aurelio Viribay. Canciones. CD, Asturias Carlota Msica 0205, 2008. Includes Damunt de tu, noms les flors, Aquesta nit un mateix vent, and Jo et presenta com la mar.) Dardiny, Nria and Angel Soler. Salvador Brotons, Miquel Mart Pol, J.V. Foix. CD, Barcelona Edicions Albert Moraleda 0167, 2000. De los Angeles, Victoria. The Fabulous Victoria de los Angeles. Orig. Recording 1960. Reissued CD, EMI CMS5 65061 2, 1993. (Includes Combat del somni Damunt de tu noms les flors, Aquesta nit un mateix vent, Jo et pressentia com la mar.) De los Angeles, Victoria. Canciones para recorder. CD, Barcelona Columna Msica 1CM0231, 2009. (Includes Damunt de tu noms les flors.) De los Angeles, Victoria. The Maiden and the Nightingale: Songs of Spain. Orig. Recording 1962. CD, EMI Classics 7243 5 62905 2 5, 2004. (Includes El combat del somni Damunt de tu noms les flors, Aquesta nit un mateix vent, and Jo et pressentia com la mar.) Ferrante, Maria and Alys Terrien-Queen. Sea Tides and Time. CD, Worcester, MA, Firestar FSD 001, 2010. (Includes Cantar del alma, Jo et pressentia com la mar, and Fes-me la vida transparent.) Frauca, Titn and Montserrat Massaguer. Canons per a veu i piano Vol. I. CD, Jafre, Girona Produccions Anacrusi AC 029, 2002. (Includes L'hora grisa, Quatre melodies Rosa del cam, Cortina de fullatge, Incertitud, Neu ; Canoneta incerta

149 ; Comptines I, II, III, IV, V, VI, VII, VIII; Le nuage, Combat del somni Damunt de tu noms les flors, Aquesta nit un mateix vent, Jo et presentia com la mar, Ara no s si et veig, encar, Fes-me la vida transparent; Dues melodies Pastoral, Anteprimavera; El viaje definitive and Can de la fira.) Frauca, Titn and Montserrat Massaguer. Canons per a veu i piano Vol. II. CD, Jafron, Girona Produccions Anacrusi AC 039, 2003. (Includes Cantar del alma, Aureana do Sil, Sant Mart, Primeros pasos, Becquerianas, and Cinc melodies de Paul Valry.) Gonzalez, Dalmacio and Liliana Maffiotte. Endrea. CD, Barcelona Edicions Albert Moraleda 7372 EAM, 1997. (Includes Lhora grisa and Neu.) Gragera, Elena, Alain Damas, and Antn Card. Integral de la obra para voz y piano. CD, Madrid Iberautor Promociones Culturales SA01157, 2004. (Includes Canoneta incerta, Quatre melodies, L'hora grisa, Comptines I-III, Le nuage, Comptines IV-VI, Pastoral, Llueve sobre el ro, Comptines VII-VIII, Can de la fira, Cantar del alma, Combat del somni, CD 2. Aureana do Sil, Sant Mart, Ave Mara, Primeros pasos, Becquerianas, Cinq mlodies sur des Pomes de Paul Valery.) Ibarra, Ana and Rubn Fernndez. A l'ombra del lledoner. CD, Barcelona RBA Msica ENSAYO ENY-CD-9816, 2001. (Includes Can de la fira.) Martins, Marisa and Mac McClure. Canons & Danses. CD, Barcelona Columna Msica, 2010. (Includes Cinq mlodies de Paul Valry, Pastoral, and Llueve sobre el ro). Martins, Marisa and Mac McClure. Combat del somni. CD, Barcelona Columna Msica 1CM0136, 2004. (Includes Can de la fira, L'hora grisa, Canoneta incerta, Sant Mart, Comptines Dalt d'un cotxe, Margot la pie a fet son nid, J'ai vu dans la lune, Frdric tic tic, Rossignol joli, Aserrn, asern, Petite fille de Paris, Pito, pito, colorito; Quatre melodies Rosa del cam, Cortina del fullatge, Incertitud; Neu, Combat del somni Damunt de tu noms les flors, Fes-me la vida transparent, Jo et pressentia com la mar; Cantar del alma.) Lpez, Begoa and Alejandro Zabala. Rumor de besos y batir de alas. CD, Barcelona, Edicions Albert Moraleda, 2008. (Includes Hoy la tierra, Los invisibles tomos, Yo soy ardiente, Yo s cul el objeto, Volvern las oscuras golondrinas, and Olas gigantes.) Lorengar, Pilar and Miguel Zanetti. Los adioses. CD, Madrid RTVE Msica 65010, 1992. (Includes Cantar del alma, Solo las flores sobre ti, Pastoral, and Aureana do sil.) Merriman, Nan and Gerald Moore. Nan Merriman sings French and Spanish Songs. Orig. Recording 1954. Reissued CD, London Testament SBT 1134, 1998.

150 (Includes Combat del somni Damunt de tu noms les flors, Aquesta nit un mateix vent, Jo et pressentia com la mar.) Montano, Alexandra and Martin Nron. Lheure exquise. CD, New York One Soul Records PLR 2003.11.18, 2000. (Includes Combat du rve sung in French.) Monteyrol, Laurence and Narcs Bonet. Mlodies. CD, Arrou, France Maguelone, 1993. (Includes Cinq melodies La fausse morte, L'insinuant, Le vin perdu, Le sylphe, Les pas; Combat del somni Damunt de tu noms les flors, Aquesta nit un mateix vent, Jo et pressentia com la mar; Comptines Margot la pie; J'ai vu dans la lune; Petite fille de Paris; Rossignol joli; Frdric, tic, tic.) Oelze, Christiane and Rudolf Jansen. Las locas por amor. CD, Berlin Classics DDD 0011892BC , 1999. (Includes Combat del somni Damunt de tu noms les flors, Aquesta nit un mateix vent, and Jo et pressentia com la mar.) Pixn, Joaqun and Alejandro Zabala. Poemas Musicados. CD, Barcelona Columna Musica CM0083, 2001. (Includes Aureana do Sil.) Pons, Josep, Virginia Parramon and Jerzy Artysz. Suburbis. CD, Arles, France, Harmonia Mundi HMC 901482, 1993. (Includes Combat del somni - Damunt de tu noms les flors, Aquesta nit un mateix vent, Jo et pressentia com la mar.) Ricci, Anna and Angel Soler. Anna Ricci canta a Frederic Mompou y su entorno. CD, Madrid RTVE Musica 65034, 1992. (Includes Lhora grisa, Canconeta incerta, Quatre melodies, Comptines, Canc de la fira, Cantar del alma, Sant Marti, Primeros pasos, and Combat del somni.) Salza, Herminia and Gustavo Tauschek. Ensueos- y ol! CD, Argentina, Piscitelli Producciones P-011, 1998. (Includes Combat del Somni - Damunt de tu noms les flors, Aquesta nit un mateix vent, and Jo et pressentia com la mar.) Serra de Larrocha, Olga and Josep Buforn. Canta! CD, Barcelona Santa Maria de Palautordera 07010, 2007. (Includes Damunt de tu noms les flors, Pastoral, and La fausse morte.) Superva, Conchita. The Unknown Supervia. Orig. Record, 1929. Reissued CD, Pearl Records GEMM CD 9969, 1992. (Includes Lhora grisa) Supervia, Conchita. The Complete Conchita Supervia, Vol. 3. With Gaston Micheletti, Andre Vavon, Andre Bernadet, Alejandro Vilalta, Ivor Newton, Pedro Vallribera, Gustave Cloez, Antonio Capdevila, and Paul Minssart. Orig. recording 1930-1932. CD, Swarthmore, PA Marston 520602, 2008. (Includes Lhora grisa.)

151 Tintes- Schuermann, Helen and Winifred Goodwin. Para Entonces: Spanish Poetry in 20th-21st Century Song. CD, Newtown, CT, MSR Music MS1192, 2007. (Includes Cantar del alma, Pastoral, and Llueve sobre el rio.) Varela, Celestino. Las canciones de un tiempo CD, Avils Norte Sur Records NS2046, 2007. (Includes Pastoral.)

152 BIBLIOGRAPHY Bendell, Christine Jean. Federico Mompou: An Analytical and Stylistic Study of the Canciones Y Danzas for Piano. DMA diss, University of Northern Colorado, 1983. Bruyr, Jose. LEcran des Musiciens. Paris: Jose Corti, 1933. Chadwick, Charles. Paul Valry in Dictionary of Literary Biography Vol. 258: Modern French Poets, Ed. Jean-Franois Leroux. Farmington Hills, MI: The Gale Group, 2002. Chase, Gilbert. The Music of Spain. New York: Dover Publications, Inc., 1959. Clugnet, Lon. "St. Martin of Tours." The Catholic Encyclopedia. Vol. 9. New York: Robert Appleton Company, http://www.newadvent.org/cathen/09732b.htm (accessed March 22, 2012). Cockburn, Jacqueline and Richard Stokes. The Spanish Song Companion. Lanham, MD: The Scarecrow Press, Inc., 2006. Elder, Dean. Music is the Expression of Humanity. Pianists at Play. Evanston, IL: The Instrumentalist Company, 1982. Henahan, Donal. Countrymen Pay Homage to Mompou. New York Times, March 27, 1978, C16. Holland, Frieda Elaine. Federico Mompou: A Performers Guide to the Songs for Voice and Piano. DMA diss, University of Texas, 1987. Iglesias, Antonio. Federico Mompou (Su obra para piano). Madrid: Editorial Alpuerto, 1976. Jans, Clara. La vida callada de Federico Mompou. Barcelona: Editorial Ariel, 1975. Johnson, Graham and Richard Stokes. A French Song Companion. New York: Oxford University Press, 2000. Kastner, Santiago. Federico Mompou. Madrid: Consejo Superior de Investigaciones Cientificas, 1946. Katz, Israel J. "Flamenco." In Grove Music Online. Oxford Music Online, http://www.oxfordmusiconline.com.proxy.lib.uiowa.edu/subscriber/article/grove/ music/09780 (accessed March 23, 2012).

153 Kent, Adam. The Use of Catalan Folk Materials in the Works of Federico Mompou and Joaquin Nin-Culmell. DMA diss, Julliard School, 1999. Kimball, Carol. Song: A Guide to Style and Literature. Redmond, WA: PSTInc., 2000. King, Edmund L. Gustavo Adolfo Bquer: From Painter to Poet. Mexico City, Mexico: Editorial Porrura, S.A, 1953. LaRue, Jan. Guidelines for Style Analysis. 2nd ed. . Sterling Heights, MI: Harmonie Park Press, 2011. Marco, Tomas. Spanish Music in the Twentieth Century. Cambridge, MA: Harvard University Press, 1993. __________. Traditionalism in Contemporary Spanish Music. World of Music, 16 (No. 3, 1974): 30-47. Mellers, Wilfrid. Le Jardin retrouve: the Music of Frederic Mompou 1893-1987. York: The Fairfax Press, 1985. Menndez, Aleyxandre and Antoni Piz. "Blancafort, Manuel." In Grove Music Online. Oxford Music Online, http://www.oxfordmusiconline.com.proxy.lib.uiowa.edu/ subscriber/article/grove/music/03217 (accessed March 19, 2012). Mis, Josep. Toms Garcs, Associaci DEscriptors en Llengua Catalana http://www.escriptors.cat/autors/garcest/pagina.php?id_sec=2604 (accessed February 20, 2012). Paine, Richard Peter. Hispanic Traditions in Twentieth-Century Catalan Music: With Particular Reference to Gerhard, Mompou, and Montsalvatge. New York and London: Garland Publishing, Inc. 1989. __________. "Mompou, Frederic." In Grove Music Online. Oxford Music Online, http://www.oxfordmusiconline.com.proxy.lib.uiowa.edu/subscriber/article/grove/ music/18925 (accessed October 16, 2011). Prez, Janet. Clara Jans, Dictionary of Literary Biography: Twentieth entury Spanish Poets Second Series, Vol. 134, Ed. by Jerry Phillips Winfield. Detroit, MI: Gale Research Inc., 1994. Soria, Dorle J. Artist Life: Mompou the Magician. Hi Fidelity and Musical America 28 (November 1978): 5-7. Starkie, Walter. Spain: A Musicians Journey through Time and Space. Geneva: Edisli-At Editions Rene Kister, 1958.

154 __________. Federico Mompou. In Groves Dictionary of Music and Musicians, 5th edition, Eric Blom, ed. Vol. 5, 825-826. NY: St. Martins Press, 1959. Stone, Marilyn. San Juan de la Cruz, in Dictionary of Literary Biography, Vol. 318: Sixteenth-Century Spanish Writers, Ed. Gregory B. Kaplan. Farmington Hills, MI: Thompson Gale., 2006. Subirana, Jaume. Josep Carner, a Century of Catalan Culture, Lletra A Catalan Literature Online. http://www.lletra.net/en/author/josep-carner/detail (accessed March 19, 2012). Young, Howard T. Juan Ramn Jimenez, in Dictionary of Literary Biography: Twentieth-Century Spanish Poets, Second Series, Vol. 134, Ed. by Jerry Phillips Winfield. Washington DC, Gale Research Inc, 1994. Zalkind, Ann. A Study of Catalan Composer Federico Mompous (1893-1987) Musica Callada.