Setembre 5, 8:00 PM, Kumho Art Hall, Jinha Park, Recital de piano

pianista Jinha Park va interpretar Homenatge a Mompou (Homage to Mompou) de setembre 5, 8:00 PM at Kumho Art Hall in Seoul. The program included Mozart Sonata K. 576, Variacions sobre un tema Rachmaninoff de Corelli, Elisenda Fábregas, Homenatge a Mompou, i Schumann Carnestoltes.

Sempre m'he sentit molt a prop de la música de Mompou. He realitzat per ell a Barcelona a 1978 just abans d'anar a estudiar piano a l'Escola Juilliard a Nova York. Fa uns anys, Mompou havia realitzat i impartit conferències sobre la seva música a l'Escola Juilliard i va ser ben recordat i respectat allà. Mompou era un home molt imponent i alt, amb mans molt grans, però amb una personalitat molt afable i tranquil. Mentre que a Nova York vaig estudiar i vaig fer la major part de la música de Mompou. Les melodies catalanes en la seva música em va fer molta nostàlgia del meu país. Més tard, l'estudi de la música de Mompou va demostrar ser una poderosa influència en el meu propi estil de composició. Quan a l'estiu de 2006 Marcel Worms es va acostar amb la idea d'escriure un Homenatge a Mompou per al 25 aniversari de la seva mort jo estava molt emocionat!Homenaje a Mompou is a set of three short pieces where I use quartal harmony and frequent changes of mood and pace. Because Homenaje a Mompou was commissioned to be premiered at an all-Mompou’s piano recital I decided to focus on the playful, joyous and rhythmic side of Mompou’s music so that my piece would provide some contrast with Mompou’s lyric style.

I. “Crits en el carrer” (Crits al carrer) – I focus on the characteristic melodic and rhythmic motif (ascending and descending major second) of the beginning theme of “Cris dans la rue” from (“Scenes of infants”). My objective was to work with this melodic and rhythmic motif in different moods: from mysterious and longing to playful and energetic. A fragment of this characteristic theme is featured at the climactic center of the piece marked (Energico). Surrounding the theme appear short variations of the above-mentioned motif in diverse moods, sometimes in an abrupt manner without transitions.

II. “Tengo una muñeca vestida de azul” (Tinc una nina amb un vestit blau) – I emulate Mompou’s use of folksongs by featuring a Spanish children’s song: varying it and presenting it with different harmonizations and rhythms. The rhythmic motif of the folksong is a powerful force in this movement and it originates the new theme appearing at the Piu mosso in forte. Afterwards both themes and their variations start a conversation but the first theme has the last word.

III. “Jocs de carrer” (Jocs de carrer) – This movement celebrates the most playful and rhythmic side of Mompou. It is a colorful piece featuring a characteristic propulsive rhythm in the main theme that permeates the whole movement. The use of clusters, glissandi, síncopes, insistent rhythms, and abrupt changes of harmony and register give color and restlessness to this movement. A varied quotation of a chord and melodic progression from Mompou’s Impresiones Intimas (III) appears in bars 56-60.