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)Shor-
tly 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)
<<Dans cette 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.
In lg2l Mompou returned to his beloved Paris,
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 dedica-
ted 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
r I ir i. ¡¡,;¡r
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 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 conl-
postelana, 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 - edition, which includes a facsimile
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.Ȏ)
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 t ctclmiroción que enlace
t::t€.\tt-ú t¡ti¡rarl. ¡t! ¡'ectt¿rcltt de Sunliti?tt d.e Contposlelct
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
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.
In 1921Mompou returned to his beloved Paris,
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
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 dedica-
ted 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.
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 1962 Mompou composed the Suitt
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
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,
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,
whereas those who consider them important for
the consistency of the musical form can incor-
porate 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 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.
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
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 -Alian Clive Jones, my helpful co-operator in
filter of all of my editorial work) and my the search for and studies about the Sesor-ia
colleagues and friend the guitarists Stanley repertoire.

Yates and Frédéric Zigante, for their useful

Angelo Gilardino
advice given at the stage of proof correction. 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
Angelo Gilardino
Federico Mompou
and Luigi Biscaldi (1 893-1987)
I - PRELUDIO
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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.

: nÉnnElr
Musical editions
ANCONA, Italy
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