I love the sentiment of this interview, the revelation of which Mompou's thoughtful composition finds uniquely inspired music; surrounded by many world influences in his lifetime, yet his work is known by few and loved my many.
One thing I like about Mompou is that he "lets" you feel. And once he did his best, he gets out of your way by ending the piece. He does not "milk" the feeling. But his feelings are more diverse than most composers. He is like Beethoven in that he believes in set it up, feel it, and move on. But I am talking about deeper or heavier feelings. Mozart'a method of moving on (changing mood) has a sense of play even in his overall sad works (which are not many).
Just looked at Artur Pizzaro's version of Mompou's Paisajes.and Artur physically looks exactly like Mompou unless that is a picture of Mompou!?! And he plays the Paisajes wonderfully. And in the Spanish interview above Mompou says he loves the line Faure, Debussy, Ravel but Faure is the source.
14:57 Lástima que el presentador le corta cuando Mompou parece que iba a explicar más sobre la fundición de campanas, algo básico en su mundo sonoro y el estímulo que el sonido y harmónicos de las campanas ha influenciado en su obra.
De los últimos compositores que transmitieron sus sentimientos, o como él llamaba, impresiones íntimas...(It was among the last composers who expressed their intimous emotions)
Although I adore this music, there's something I cannot understand about Mompou's way of playing the piano: the right hand seems always to have a late attack during chords and parts enterings. If you see the "A fondo" episode about him, you can see him playing the first song/dance in this very way too. My question is: is this his style of playing or was it due to other reasons? If someone can shed light on this, quoting some critical sources preferably, I would really be grateful.
Welll i Think its a way of playing which have its roots in the 19th century. Paderewsky and others had way of playing. There's a great book of Kenneth Hamilton: after the golden age
@@marcbuijs4674 You are quite right, although actually this expressive technique goes all the way back to harpsichord technique in the 17th-18th centuries (and by extension also to lute technique). On the harpsichord, the sound has a certain flatness when all the notes are played together, and so unwritten arpeggios were common in expressive passages. This is basically the purpose of the technique: to provide a bed of sound for the soprano to sing over, and to promote a free, organic sound. Of course it can be overdone!
I love the sentiment of this interview, the revelation of which Mompou's thoughtful composition finds uniquely inspired music; surrounded by many world influences in his lifetime, yet his work is known by few and loved my many.
Classe, talento, umiltà.....che uomo e che genio!
I love Mompou..his music is so magical and intimate it's as if I'm hearing a best friend from my childhood..
Dios santo... que espiritu tan especial y distinto. Se nota que no tenia ni media gota de divismo.... y que gran compositor fue
Grandiosa entrevista a este gran Maestro de la sencillez y la profundidad.
...Que siempre suene la Música Callada !
Qué sencillo hombre...
One thing I like about Mompou is that he "lets" you feel. And once he did his best, he gets out of your way by ending the piece. He does not "milk" the feeling. But his feelings are more diverse than most composers. He is like Beethoven in that he believes in set it up, feel it, and move on. But I am talking about deeper or heavier feelings.
Mozart'a method of moving on (changing mood) has a sense of play even in his overall sad works (which are not many).
Wonderful to be transported to the composer's side while he plays his compositions and is interviewed. Great video. Thanks.
Just looked at Artur Pizzaro's version of Mompou's Paisajes.and Artur physically looks exactly like Mompou unless that is a picture of Mompou!?! And he plays the Paisajes wonderfully. And in the Spanish interview above Mompou says he loves the line Faure, Debussy, Ravel but Faure is the source.
I wish there were english subtitles ~ does anyone have links for MOMPOU interview translations?
14:57 Lástima que el presentador le corta cuando Mompou parece que iba a explicar más sobre la fundición de campanas, algo básico en su mundo sonoro y el estímulo que el sonido y harmónicos de las campanas ha influenciado en su obra.
De los últimos compositores que transmitieron sus sentimientos, o como él llamaba, impresiones íntimas...(It was among the last composers who expressed their intimous emotions)
Maravilloso!
Very nice, and rare video. From what year is the production?
Muchas gracias por el vídeo!!!
LOVE this!
Although I adore this music, there's something I cannot understand about Mompou's way of playing the piano: the right hand seems always to have a late attack during chords and parts enterings. If you see the "A fondo" episode about him, you can see him playing the first song/dance in this very way too. My question is: is this his style of playing or was it due to other reasons? If someone can shed light on this, quoting some critical sources preferably, I would really be grateful.
Francesco Russo no idea. What have others said about this?!?
Welll i Think its a way of playing which have its roots in the 19th century. Paderewsky and others had way of playing. There's a great book of Kenneth Hamilton: after the golden age
@@marcbuijs4674 You are quite right, although actually this expressive technique goes all the way back to harpsichord technique in the 17th-18th centuries (and by extension also to lute technique). On the harpsichord, the sound has a certain flatness when all the notes are played together, and so unwritten arpeggios were common in expressive passages. This is basically the purpose of the technique: to provide a bed of sound for the soprano to sing over, and to promote a free, organic sound. Of course it can be overdone!
mito universal español a la altura de debussy y ravel
Catalán
Wow is real??!?!??! 🖤💌😭 RIP 😭😭😭😭😭😭😭😭😭😭😪💔
joyita
34:00
horrible el trato del presentador que inventa cosas sobre el discurso de Mompou