Loud loneliness

On June 30, 1987, Federico Mompou calmly left the world at the age of ninety-four in Barcelona, ​​the city where he was born. His life was long and simple, and although his time was full of intense turbulence, his personal life was unshakable. However, on the other hand, he is the most unusual. His spiritual world is rooted in the era of fierce change and full of creativity at the turn of the century, and his art and thought use the ideas of that era as his Unique way to pass to this day. Meng Bo has never been the center of intense debate in the music critics, but he has not stayed away from the audience’s vision. He is in such a special position. As his favorite Johnny Cross poem writes: “Quiet night is followed by dawn, silent music, loud loneliness, entertaining feast.” This may be a portrayal of his spiritual life.

Mengbo’s life has been around almost two cities, Barcelona and Paris. Mompo’s father is a Catalan lawyer, and his mother is French, so he seems to be a “reflection match” for Ravel. At the end of the 19th century, Barcelona was the center of Spanish national music activities. The atmosphere of music and art was very strong. He also met composers Granados and others, and completed his own music enlightenment education in this environment. As a boy, Mengbo heard Foley playing his own works, which made him have a strong yearning for Paris. He was then offered the opportunity to study piano at the Conservatory of Paris, where he studied under Isido Philip, and at the same time studied with Ferdinand Mott-La Coroy. During this period, he realized his talent in composition and began to try to compose. After the outbreak of World War I, Mompo returned to Barcelona to evade the war and published his work there for the first time. However, he returned to Paris in 1921 and became a member of the composer circle in Paris, closely related to a group of six his age. For the next two decades, he lived and worked mainly in Paris until he settled again in Barcelona in 1941 and spent the rest of his life there.

Although Meng Bo lives in an era where new styles and new ideas are constantly emerging and colliding, seemingly complicated, his predecessors and contemporaries have some influence on his music style, but these effects cannot mask Meng Bo His unique personality also makes it difficult to simply classify him sometimes. Mengbo’s work has a distinctive Spanish color, which has a direct relationship with his early growth environment, but he is by no means a follower of Albeniz or Granados. Fore and Debussy also showed an early influence on Mongolia. The wave has had an impact. On the surface, Mumble’s musical language seems to have more in common with Saty or Planck, but in terms of music, their tastes are still very different. Mengbo’s preference for romantic music distinguishes him from neoclassical composers. As a typical Latin-born musician, Mengbo’s spiritual world is far from or even incompatible with German and Austrian classical music. of.

Like many pianist-born composers, Mengbo has a lifelong love for Chopin, and there are some subtle “resonances” in their spiritual world. Scriabin is also one of Mengbo’s most appreciated composers. Many of Mengbo’s works have abandoned the tonality and replaced them with a characteristic chord. His preference for increasing the fourth degree is also reminiscent of the former. But Mombo’s thoughts are not as complicated as Scriabin’s. Scriabin tried to cover everything with mysterious chords, while Monbo’s characteristic chords just wanted to represent the beaches of Barcelona. Another iconic image in Meng Bo’s work is to imitate the fixed tone of the bell sound. It is said that this has something to do with the profession of the bell founder engaged by his mother’s family. He also tried to make a living by composing for a while Inherit this profession. The origins of Mengbo’s thoughts are many. His brother is a painter. He also has a strong interest in fine art works. His favorite painters are El Greco and Vermeer. This also seems to suggest several characteristics of his work: the pursuit of spiritual inner performance, delicate musical color and short length.

Meng Bo is not a “step by step” composer. His works are derived from the natural reveal of artistic inspiration. Therefore, he does not like gorgeous and dazzling creations, but instead faithfully records his own ideas, which also makes him There are not a lot of works, but they are full of freshness and no ambiguity. Meng Bo likes to compose on the piano very much. He once said, “I can’t do anything without a piano. I absolutely need to touch its ivory keys …” Therefore, most of his works are for piano. As early as 1911 when he went to Paris to study at the Conservatory, he began to try to compose. His earliest piano suite “Private Impressions” was completed in 1914. In these works, Meng Bo has shown his unusual mature style, exquisite Musical lines and melancholic moods have become common features of Meng Bo’s future works. Subsequently, Meng Bo successively wrote piano suites such as “Children’s Scenery” and “Outskirts”. These works were inspired by his impression of his hometown of Barcelona. He also began to try to cancel the bar line and sometimes used variable time signatures. To pursue the freedom and purity of music.

Mengbo’s most important early work, and his first published work is “Song of Magic”. In this piano suite given to his piano teacher Mott-La Coroy, we can hear “bells” -like motive sounds. The music is very refined and clear, the texture lines are clear, and the use of color Also very restrained. Subsequent works, such as “Magic” and “Distant Rites”, also continued this mysterious style, and its musical connotation tended to express its inner spiritual state more. The important work of Meng Bo’s late period is the four-volume piano suite “Silent Music”, which was composed in the 1950s and 1960s. During this period, his mother and friends died, and Meng Bo began to create this series of works. From the verse of John of the Cross mentioned earlier. This group of works bears a clear personal imprint of Meng Bo, and the musical color is religious, with a melancholy and introspective temperament.

Meng Bo’s best-known works are the fifteen “Songs and Dances”, which have spanned almost his entire musical career. The first one was written in 1918 and the last one was completed in 1972. Except for the thirteenth and fifteenth songs, which were made for guitars and organs, the rest are piano works. These works are deeply influenced by the Catalan folk music form. Each one begins with a slow and melancholic song, followed by a more lively dance music. In addition to piano works, Meng Bo’s artistic songs are also valued. His songwriting style can be considered as an extension of his piano music. These works subtly blend the charm of piano and vocals, emphasizing the lyrical side of his music, while also showing a strong Catalan style. .

Meng Bo’s personality is shy and introverted. He likes to be alone and contemplative. Although he spends most of his time living in a big city, he lives a life of almost seclusion. His life and the outside world are inseparable from each other. He likes to observe the external world and turn it into the subject matter and inspiration of his creation. The difference between Nuer Faya. This personality also limited Meng Bo’s playing career. He only performed his own works in private in his early years. He did not record a few 78 songs in Barcelona until 1950, including the former of his song and dance. Four songs, the eighth “Secret” of “Private Impressions” and his adaptation of Chopin’s “Rondo in A Minor”. His performance was quite influenced by the French piano school, and he dealt with clauses carefully and paid attention to the use of free beats.

In 1974, 81-year-old Meng Bo entered the studio again, recording almost all of his piano works. In addition, Meng Bo also left some video recordings of performances in several television documentaries filmed in the 1960s and 1970s. As a contemporaries of the six-member group, Meng Bo’s performance heritage is still considerable, but as a musician almost living to the contemporary, his leftover materials seem too little. As one of his best performers, Alicia de La Rocha, said in an interview with reporters before a concert in New York, Monbo never promoted himself and his music. However, at this concert, when Carreras sang several songs of Monbo with La Rocha’s accompaniment, the 85-year-old Monbo also rarely appeared on the stage. The audience played “Sad Bird” in his “Private Impressions” suite. This may be the way that Meng Bo communicates with the world: he may not want to establish too many connections with the outside world, but his heart is open to everyone through music.