Suite Compostelana.pdf

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

=

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.» <
[«In this work, so well written for the piano, is revealed a technique at once vigorous and dreamy, deliberate and meditative. Fragments of popular melodies - naive and tender or doleful - appear here and there; and the workmanship is astonishingly skilful in view of the composer's undeveloped technique. And this is because the composer thought as much as felt the music, and because each progression of chords came into his mind with an inexorable logic. They pass by over fluid pedals, full of vital force from their main melodic stock, and fade away in the original key, which had never been lost sight of.»l

(2) Henri Collet (1885-1951), French composer. u'rirer and authority on Spanish music and culture. His Briyie.scct tbr solo guitar is published in this series. The quoratitrn is taken tiom the Srl¡ben ¡Jitr¡ns J.i:¿l,rlita ,¡. th¡ '¡.t.rl:. ,:,i \1,:rtr,,-.u.

Also from this period comes the first diptych in Mompou's long sequence of Canciones y danzas, of which there were to be eventually fifteen.

danzas was resumed, the fifth appearing that year. Work on the Canciones y danzas was to continue lunttl 1912, when fifteenth and final diptych appeared.

In lg2l Mompou returned to his beloved Paris,

In

where he was befriended by Poulenc and other members of Les srx, though stylistically he had little in common with them. The 1920s were, for Mompou, a period of growing fame, thanks

in part to

some extremely appreciative

comments and articles written by French critics

such as Henri Collet and, notably, Emile Vuillermoz. The 1920s were also a decade of growing fame for the guitarist Andrés Segovia, born in the same year as Mompou. His Paris debut concert on April Jh, 1924, was a turning point in his career, and marked the start of his fame outside Spain and LatinAmerica. Although we have no record of a meeting between Segovia and Mompou in Paris at this time, Segovia's visits to the city were so frequent, and his reputation so high, that Mompou could hardly have been unaware of him. Mompou's legendary shyness may account for his not presenting Segovia with a composition at this time, unlike so many of his fellow composers in Paris - such as Pierre de Breville, Pierre-Octave Ferroud, Joaquín Nin, Raymond Petit and Gustave Samazeuilh (to name just a selection) - who eagerly dedicated compositions to Segovia.{:)

In the 1930s, for no clear reason, Mompou's compositional output dropped drastically. Only a few short pieces were published in this decade, and in 1941 the second world war drove him back to Barcelona, where he remained for the rest of his long life. Shortly after his return to Barcelona, Mompou met the pianist Carmen Bravo, who was later to become his wife. With this meeting came a resumption of composing activity. In 1942 the sequence of Canciones y

(3) Pierre de Breville's Fantaisie (1926), Pierre-Octave Ferroud's Spiritual (1926) and Ravmond Petit's Sicilienne ir i. ¡¡,;¡r r I

1,962 Mompou composed

the

Suite compostelana - the first of his three guitar works - for Andrés Segovia. Segovia's edition was published tn 1964 by the French publishing house of Salabert. Presumably on account oÍ Segovia's enthusiasm for the Suite conlpostelana, Mompou set about creating another guitar work for him. Returning to the tenth Canción y danza, which already existed in version for piano and choir, Mompou made his own guitar transcription, which remained unpublished (and unknown) until its rediscovery

in May 200I by Angelo Gilardino in

the

collection of manuscripts that also containec the manuscript of the Suite compostelanct Mompou's guitar arrangement of his tentt

Cancióny danza is also published in this series fn 1972 Mompou composed his third and, a: far as we know, final guitar piece: the thirteentt Canción y danza, one of only two of the set ol Canciones y danzas that does not also exist as piano piece.

¿

Other particularly significant works from thr second half of Mompou's life include thi remarkable Música callada (1959161), in fou; books, amounting to twenty-eight piano piece: and lasting over an hour; and Improperio: (1963), a sacred work for solo baritone (or bass I choir and orchestra, which denies the notion tha Mompou was unable to write large-scale work: for large-scale forces. Mompou continued tt compose into his eighties, and, occasionalll'. tt travel abroad. In 1978 he suffered a cerebra haemorrhage, which effectively ended hi, composing career. He lived a further nine years confined to a wheelchair, and died on June 30= l98l,just four weeks after the death of André Segovia.

Allan Clive Jones \ortharlptonshir e I L-K ,. Januarr

l[l(l]

THE COMPOSITION autograph manuscript of Mompou's Th. L Suite compostelana for guitar was found in the papers of Andrés Segovia, which I inspected at Linares, in the Segovia museum, on May 7th,

2001. Composed

in

1962, the work was the

consequence of a friendly connection established (or reinforced) the year before

between the composer andAndrés Segovia, and having the town of Santiago de Compostela in northern Spain as its magnificent scenario. The famous international summer school where

both musicians were teaching

-

-

was the

occasion of their meeting, and this is recorded warmly and clearly in a note added by Mompou to the title page of the manuscript: «With the emb rac e of c ordialiQ and admiration which tie s owr friendship to the memory of Santiago de Compostela.»é)

The work was, then, the result of an inspiring time spent by Mompou in Galicia. Following Segovia's performances of the work in the concert ha1l and on record, the Swite compostelanahas become one of the highlights of the guitar's twentieth-century repertoire, and many guitarists all over the world have performed it. A list of famous concert players

who have recorded it on their CDs would represent a sort of Who's who of the contemporary guitar wor1d. Until the appearance of the present edition of the Suite compostelana, all these performances were based upon the Andrés Segovia edition, published in 7964 fy Éditlons Salaberr. Why, then, offering

a

new edition of Mompou's

guitar masterpiece ? Let me begin with a reason which never existed in my mind: that of dismissing the work of Segovia. Segovia's edition is clearly the production of a master who knows exactly what he wants for himself from each single note and - as with all the other

t1) uCott el ubro:o cle corclíaliclad

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editions and transcriptions he made - it is a document which belongs to the history of the guitar. Those guitarists who feel perfectly at home with Segovia's text and fingering will assuredly not find here any invitation to change their mind. Let me enumerate instead the motives that inspire my decision to offer readers a new text for their studies. 1)

Segovia's edition does not offer the opportunity for the player to check the edited text against the original text. The present

edition, which includes a facsimile reproduction of the manuscript, allows the most proficient guitarist to decide what to do at each point of the work where a literal rendering of the composer's indications is either impossible or not as effective as a very advanced master of the instrument can make

it. Besides, those performers who

have adopted the Segovia edition and feel satisfied with it will enjoy the unique opportunity to see, step by step, how the maestro elaborated his edition from the original score which Mompou delivered to him. A11of this would surely be sufficient to justify the publication of a facsimile reproduction of the manuscript by itself. But there are further reasons for presenting this edition. 2) A large number of less skilled players - for example: good advanced students who can

be entrusted with the learning of such a rewarding work by their teachers - need a working edition that is conceived not as an individually elaborated text for a personal use of the editor (as in the case of Segovia's edition), but as a text ready for performance which lies as close as possible to the original. 5) Mompou's autograph manuscript, though legible, is not a"clean" score. For instance. there are places where it is not clear whether certain deletions are intended; and in other places there are additions that har.e apparently been made by neither Mompou nor Segovia. I discuss these points at -sreater length below. A publication of Mompou's manuscript in facsimile br itself u ould

Also from this period comes the first diptych in Mompou's long sequence of Canciones y danzas, of which there were to be eventuallv fifteen.

danzas was resumed, the fifth appearing tha year. Work on the Canciones y danzas was tc continue unttl 1912, when fifteenth and fina diptych appeared.

In 1921Mompou returned to his beloved Paris,

In

where he was befriended by Poulenc and other members of Les si¿ though stylistically he had little in common with them. The 1920s were, for Mompou, a period of growing fame, thanks

compostelana-the first of his three guitar worki - for Andrés Segovia. Segovia's edition wal published in 7964 by the French publishin¡ house of Salabert. Presumably on account ol Segovia's enthusiasm for the Suite cont. postelana, Mompou set about creating anothet

in part to

some extremely appreciative

comments and articles written by French critics

such as Henri Collet and, notably, Emile Vuillermoz. The 1920s were also a decade of growing fame for the guitarist Andrés Segovia, born in the same year as Mompou. His Paris debut concert on April Jt', 1924, was a turning point in his career, and marked the start of his fame outside Spain and LatinAmerica. Although we have no record of a meeting between Segovia and Mompou in Paris at this time, Segovia's visits to the city were so frequent, and his reputation so high, that Mompou could hardly have been unaware of him. Mompou's legendary shyness may account for his not presenting Segovia with a composition at this time, unlike so many of his fellow composers in Paris - such as Pierre de Breville, Pierre-Octave Ferroud, Joaquín Nin, Raymond Petit and Gustave Samazeuilh (to name just a selection) - who eagerly dedicated compositions to Segovia.{:)

In the 1930s, for no clear reason, Mompou's compositional output dropped drastically. Only a few shortpieces were published in this decade, and in l94l the second world war drove him back to Barcelona, where he remained for the rest of his long life. Shortly after his return to Barcelona, Mompou met the pianist Carmen Bravo, who was later to become his wife. With this meeting came a resumption of composing activity. In 1942 the sequence of Canciones y

(3) Pierre de Breville's Fantoisie (1926), Pierre-Octave Ferroud's Spiritual (1926) and Raymond Petit's Sicilienne (1925) are published in this series.

1962 Mompou composed the Suitt

guitar work for him. Returning to the tentl Canción y danza, which already existed ir version for piano and choir, Mompou made hi: own guitar transcription, which remainec

unpublished (and unknown) until its rediscoven in May 2001 by Angelo Gilardino in the collection of manuscripts that also containec

the manuscript of the Suite compostelana Mompou's guitar arrangement of his tentt

Cancióny danza is also published in this series In 7912 Mompou composed his third and, ai far as we know, final guitar piece: the thirteentt Canción y danza, one of only two of the set ol Canciones y danzas that does not also exist as piano piece.

¿

Other particularly significant works from the second half of Mompou's life include the remarkable Música callada (1959161), in four books, amounting to twenty-eight piano pieces and lasting over an hour; and Improperios (1963), a sacred work for solo baritone (orbass) choir and orchestra, which denies the notion that Mompou was unable to write large-scale works for large-scale forces. Mompou continued tc compose into his eighties, and, occasionally, tc travel abroad. In 1978 he suffered a cerebral haemorrhage, which effectively ended his composing career. He lived a further nine years. confined to a wheelchair, and died on June 30,h, 198l,just four weeks after the death of Andrés Segovia.

Allan Clive Jones Northamptonshire

(

U K),

January 2002.

therefore notbe sufñcient, and hence another reason for this edition.

All of these considerations lead me to conclude that my editorial responsibility is to offer to the

reader,

in addition to a facsimile of the

manuscript, a score that is as near as possible to a clean version of Mompou's manuscript.

THE MANUSCRIPT AND THIS EDITION s I mentioned above, the manuscript of the I I lSuite compostelana ptesents the editor

with severalpuzzles relating to such matters as problematic deletions and occasional additions of uncertain provenance. The most significant puzzle relates to the places where one or more measures have been lightly - one could say "transparently" - erased, allowing what was written under the cancellation marks to be read

perfectly clearly. What do these tentative cancellations mean? It would be unorthodox to leave in a final manuscript a discarded passage with apparently the same status as the intended text, especially for so fastidious a composer as Mompou (perfectionist as he was in his notation).

It

seems reasonable to guess that Mompou submitted atextto Segovia with the expectation that the great guitarist would suggest ways to make his piece perfectly guitaristic. In fact, correspondence between the two musicians,

whereas those who consider them important for the consistency of the musical form can incorporate them in their reading.

Further questions of a different kind are raised by the fact that the manuscript shows in the fourth movement (Recitativo) some occasional

barré marks, a few additional notes, and a correction of a note. In the case of the latter correction, the note to be inserted in place of an Aflat is written as a note-name ("Do") rather than in music notation. We cannot imagine these things being written by Mompou, who was certainly not interested in the barré technique

and who would never have corrected

I have taken an exception to the general rule of missing phrasing slurs in guitar notation, and I have faithfully reproduced all of them, as thev appear in the manuscript, at the risk of producing a score with some passages which look rather crowded.

Acknowledgements I am grateful to:

- Mrs. Emilia Segovia de Salobreña (the owner of the manuscript which belonged to her

whilst not indicative specifically on

these deleted passages, shows beyond any doubt that Mompou granted Segovia total freedom to adapt the work to the guitar and to his own taste. It seems likely therefore that Segovia chose not to include certain measures in his edition. and that Mompou accepted his verdict.

I have reproduced

the passages concerned in smaller sized noteheads. Those players who decide, in accordance with Segovia, that these measures should not be performed need only skip them, without any further complication,

a

(supposedly) wrong note in one of his pieces in the way we observe in the document. I have not included these barré marks nor the added notes, but I have accepted the note C (" Do,' ) in place of the notatedAflat,becatse the Cbetter fits the logic of the voice it belongs to.

husband, Andrés Segovia) for the permission she generously gave me to use it as a source

document for this edition.

-

Mrs. Nelly Quérol (general manager ol Editions Salabert, the owners of the copyri-sht of the work), who allowed this publication.

-

Señora Carmen Bravo (the Spanish pianist and wife of Federico Mompou) whose great

competence and gracious advice har-e continuousiy accompanied the preparation of this edition.

- \It- co-editor Luigi Biscaldi (the unerring filter of all of my editorial work) and my colleagues and friend the guitarists Stanley Yates and Frédéric Zigante, for their useful advice given at the stage of proof correction.

-Alian Clive

Jones, my helpful co-operator in the search for and studies about the Sesor-ia repertoire.

Angelo Gilardino Vercelli (Italy), January 2002.

is a pleosure for me to express my complete approval of this nev, edition of the ,,Suite ft Lcompostelana"

by Federico Mompou, prepared by the guitarist-composer and musicologist Angelo Gilardino. His edition, based on a close study of the original manwscript, is a carefwl and rigorous one, with no prejudice to the valuable work of Andrés Segovia (to whom the work is declicated). I hope this publication will prove verry wseful to all interpreters of the coruposition. CARMEN BRAVO (wift of the late Federico Mompow) Bctrcelona, Janua: 22"d, 2002.

From left to right: Federico Mompou, Francis Poulenc and Xavier Turwll (Barcelonct, I95g).

a

Atdrés Segot'ia

SUITE COMPOSTELANA para guitarra Edited by

Federico Mompou

Angelo Gilardino and Luigi Biscaldi

(1

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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