Composer: Frederic Mompou
Works: Piano Works Vols 1 and 2
Performers: Remei Cortes Ayats (piano)
Recording: Recorded in December 1987 (Vol 1) and Brussels April 1998 (Vol 2)
Label: Pavane
Frederic Mompou, a pivotal figure in 20th-century Catalan music, synthesized the influences of his native Spain with the avant-garde currents of Paris, crafting a repertoire that embodies both simplicity and profound emotional resonance. His piano works, particularly those compiled in these two volumes, reflect a unique blend of childhood nostalgia, folk elements, and modernist aesthetics. Mompou’s compositions are often characterized by their ethereal quality, inviting listeners into a dreamlike state, where the boundaries between memory and imagination blur.
Remei Cortes Ayats’s interpretations present a nuanced view of Mompou’s delicate textures and poignant harmonic language. However, while the technical execution is commendable, there is a notable restraint in the emotional expressiveness that is vital to Mompou’s idiom. In pieces such as “Gitanes I and II,” the intricate interplay between melody and accompaniment could benefit from a more spontaneous interpretation. The gypsy-themed pieces demand an inherent vivacity and warmth that feels somewhat muted in Ayats’s readings. The childlike innocence that Mompou evokes, particularly in “Jeunes filles au jardin,” seems lost, as Ayats adheres to a careful, almost clinical approach.
The recordings themselves offer a clean and clear sound quality, allowing the subtleties of Mompou’s writing to emerge. However, there are moments where the piano’s tonal coloration lacks the richness found in rival interpretations by Alicia de Larrocha or Stephen Hough. For instance, in “Cançons I,” the nuances of dynamic shading and pedal work, which can bring the music to life, feel underexplored. The balance is adequate, yet the emotional depth that should naturally arise from Mompou’s score is not fully realized.
Technical choices in the performance, such as pacing and phrasing, also merit discussion. Ayats maintains a steady tempo that, while appropriate for the introspective nature of the pieces, occasionally borders on the stagnant. The “Préludes,” especially No. 5 and No. 8, require a more fluid interpretation to convey their lyrical qualities effectively. The lack of contrast in these interpretations diminishes the impact of Mompou’s musical language, which thrives on the contrasts between lightness and depth, joy and melancholy.
When juxtaposed with the aforementioned interpretations by Hough and de Larrocha, the recordings by Ayats do not quite stand up to the level of emotional engagement and interpretative insight that these renowned pianists provide. Hough’s interpretations, for instance, imbue the music with a sophisticated grace that evokes the Parisian boulevards where Mompou lived, while de Larrocha accentuates the Spanish rhythms and colors that are intrinsic to Mompou’s heritage.
The ethereal quality of Mompou’s compositions, which invites various interpretations, ultimately requires a performer who can balance technical precision with emotional spontaneity. While Remei Cortes Ayats delivers solid performances, the recordings fail to capture the essence of Mompou’s music in the way that other pianists do. For those seeking a definitive interpretation of Mompou’s piano works, one would be well served exploring the recordings of Alicia de Larrocha or Stephen Hough, which offer a more vibrant and nuanced experience of this enchanting repertoire.
