Frederic Mompou Piano Music: The Sad Smile

£14.99
In stock
Catalogue Number
CRD3553

In the ‘glory days’ of the 1970s recording industry (and, incidentally, the time of CRD Records’ foundation), there was a rush to record the classical canon. Naturally, as a pioneering label, CRD was at the forefront of this trend and had the privilege to work with Paul on the complete piano works of Fauré and Ravel, amongst others. Today, hidden corners of classical continue to be unearthed and we are encouraged to rethink genre boundaries as we elevate long-disregarded voices. Meanwhile, there is another important venture at play: the careful curation of a composer’s works. This is the bent of this release. Frederic Mompou’s piano works have been well-covered, not least by the maestro himself in his own performances recorded in Barcelona in 1974. So why record this repertoire again 50 years later? From our perspective, it is a fitting choice as we celebrate 50 years as a label championing classical repertoire through the performances of world-class artists. But there has to be something more than that. Such is the accessibility of music today and the desire to reach virality that we seem to have forgotten how, for its originator, it could be a definitively private and intimate exploit. Paul invites us to listen to Mompou’s‘ rehearsal of own’. He encourages us, as Mompou did from the outset, to listen for the silences and peer deeply into the shadows. In a world in which our attention is constantly divided, perhaps now more than ever such albums are needed. Emma Pauncefort & Tom Pauncefort

Manufacturer: Wyastone Estate Limited, Wyastone Leys, Monmouth, NP25 3SR
Email: sales@wyastone.co.uk

Reviews:

"The album’s cover features a crayon sketch of Frederic (or Federico) Mompou by the Catalan composer’s brother, with delicate colours and mostly thin lines. This precisely suits his many works for solo piano: influenced by Satie, Mompou never shouted or became tangled in complex textures. Simplicity, wistfulness, fragility: these are his music’s characteristics, and the veteran British pianist Paul Crossley cherishes them with the precision and tenderness expected of someone who has also distinguished himself playing Ravel, Fauré and Takemitsu, each a delicate colourist. The pieces are short. Some have more folk elements than others; several feature bell effects (bell making was a family business). And don’t be put off by the album’s title. In the right hands, as Crossley proves, sad smiles can be the most affecting and comforting smiles of all." The Times
 
 
"The last piece on the programme, the 22nd of the Musica Callada series, speaks with a sweet melancholy that is irresistible. This is resourceful, perfectly calculated pianism tailored to gem-like miniature dimensions that will reward repeated listening." Patrick Rucker, Gramophone 

 


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