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Federico Mompou

SUITE COMPOSTELANA para guitatra

Fedcrico Mompou SUITE COMPOSTELAI\üA para guitarra

front cover: Francisco Lloréns Díaz (187 4- I 948)

"JARDÍN DEL PAZO DE MARCIAL DEL ADALID" (1918)

(oil on canvas, cm. 187 x I21) reprodwced by kind permission of the "Museo de belas artes" - Coruña (Spain)

back cover: Julio Lopez Hernández

THE AAIDNÉS SZCOVIA MONIJMEIVT Linares, Jaén (Spain)

BERBEAT

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Edizioni nrusicali A^üCONA, Italia

= Copyright 1964 by Edítíons SAIA.BERT - Paris, France. Tutri i dirixi di esecuzione, trctduTione e trascrizione sonr¡ riservati per tutti i paesi. É, p re,s s ame nt e v i e t at a I a r ip ro d u zi o n e .fo t o s t ctt i c ct ".t o con qualsiasi abro procedimento, senza il consenso scritto dell'edit¿¡re. Ogni violazione sard persegLita a termine di legge (R.D.633 del 22.4.1941 - arrt. l7l, 172, 173 e 174). @

FORtrWORD

FEDERTCO MOMPOU (1893-1987) he Catalan composer Federico Mompou y Dencausse was born on April 16th, 1893,

to a Catalan father and a French mother. He began his piano studies at the Conservatorio del liceo in Barcelona, giving his first recital at the

age

of 15. However, his ambition to be a

composer was sealed the following year when he heard Fauré perform some of his own music.

Like many other Spanish musicians, Mompou moved to Paris to further his musical education, arriving there in 1911 with letters of introduction

from Enrique Granados, who had himself studied there twenty years earlier. In Paris, Mompou studied privately with Isidor Philipp and Ferdinand Motte-Lacroix (both for piano) and Marcel Samuel-Rousseau (harmony). Two years later he moved back to Barcelona, remaining there luntll 1921 . From the time of Mompou's first visit to Paris, and his subsequent return to Barcelona, date some of his earliest published compositions (a11 for piano, like so much of his music). First came the Impresiones íntimas (l9lll14), a movement of which (Barca) was later transcribed for the

guitar by Regino Sainz de la Maza and performed by him in Paris in the 1920s.t1)Shortly afterwards came the Scénes d'effints (19151 1 8), orchestrated by Alexandre Tánsman in 1936, and the Cants mdgics (1917119). A description

(1) Sainz de la Maza performed Barc.a in Paris on February 1 Sth. 191-i. at u hat appear-q to har e been his debut concert in ¡he ,-itr.

of the latter pieces by Henri Collet could almost sum up Mompou's st!le:{z)

euyre si bien écrite pour le piano se révéle un tempérament d lafois énergique et réveut volontaire et méditatif. Ony voit parattre des lambeaux mélodiqwes populaires natfs et tendres ou doulowreux et la mise en (Euvre est d'un art qui étonne de la part d'un musicien dont le métier n'a pas été poussé. Et c'est que l'autewr pense la mwsique autant qu'il la sent et qwe chaque swite d'accords s'impose d son esprit avec Ltne logique inexorable. Elles passent sur des pédales floues toutes gonflées de la séve circulante dans le tronc mélodique choisi et s'éteignent dans la tonalité premiére qui ne fwt jamais perdue de vue.» C vl

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This c olle c tion offer s historic aI, pr eviously unp ublished. compositions for guitar written fgr lyarq §egovia uy aisiinguished composers. The original manuscripts belong to Mrs. Emills segoíia, Ma'rquise of salobreñs., who has generously authorized the"ir publication.

@ works.by vicente Arregui, Lennox Berkerey, pierre de Breville, Gaspar cassadó, Henri collet, ñadre fosé Antonio de Donostia, Alois Fornerod, Gilardo Gilardi, Hans Haug, Henri Marte[i, Federico úo*po.r, Federico Moreno-Torrgr,baa Raymond fooulaert, Lionel de pachmann, faime pahissa, carlos pedreil, Raymond petit, Fernande peyrot, vrri?r-nodrigo, Adolfo salazar, Pedro saniuán, cyril scott, H. s. suláberger, Álexandre Tansman.

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Musical editions ANCONA, Italy