음악예술학회 음악과 예술 2013-1호

Music and Arts Vol. 2013-1

Federico Mompou’s Pianistic Approach to

Variations sur un thème de Chopin (1938-57)

Ji Young Noh

I. Introduction

Catalan composer Federico Mompou (1893-1987) is one of the

greatest composers of Twentieth-century Spanish music. While
several books and dissertations contain analyses of various
Mompou’s piano compositions such as Cançons i Danses (“Songs
and dances”), Préludes (“Preludes”) and Musica callada (“Silent
Music”), none have sufficiently covered Variations sur un thème
de Chopin, even though this work has been performed and
recorded by many concert pianists. To my knowledge, there is
no existing scholarship that discusses in detail Mompou’s unique
approach to piano technique and compositional style; nor has
there been discussion of critical performance issues of the
Variations. This study provides an investigation of this important
piece, and contributes to the continuing scholarly research of
this Catalan composer and his compositions. It is my aim not
only to offer a comprehensive performer’s guide to Variations
sur un thème de Chopin but also provide a valuable pedagogical
resource. The following analysis and critical discussion is useful
to both the scholar and the performer.
68 Ji Young Noh

Chapter 1 consists of a biographical sketch of Mompou and his

general compositional style and influences. Chapter 2 gives an
overview of Chopin’s work, in particular the Prelude in A Major,
Op. 28 No. 7, from which Mompou took the theme for his set of
variations. Chapter 3 provides not only historical background of
Mompou’s Variations sur un thème de Chopin but also a detailed
study of variation, including a discussion of Mompou’s newly
developed musical language. From the first variation to the third
variation are included in this paper. In order to specifically
identify his innovations, a number of stylistic issues are
examined, including the synthesis of different musical styles and
elements such as form, melody, texture, and harmony. Moreover,
I explore the musical atmospheres created by tempos, dynamics,
and expressive markings in each variation. I conclude with the
argument that Mompou’s Variations sur un thème de Chopin is
valuable work that should be included in the standard repertoire.

II. Chapter I: Federico Mompou

(1) Biographical Information

Federico Mompou was born on April 16th of 1893 in

Barcelona, Spain. With support from his family, he began his
studies a the Conservaroire of the Liceode Barcelona with Pedro
Serra. With the recommendation from Enrique Granados, he
moved to Paris in 1911 to expand his studies under the
direction of Isidore Philipp and Ferdinand Motte Lacroix in piano
and Marcel Samuel Rousseau in composition and harmony.
With the outbreak of World War I in 1914, Mompou was
 Federico Mompou’s Pianistic Approach to Variations sur un thème de Chopin (1938-57) 69

forced to return to Barcelona where he remained for the next

seven years. During this time, he wrote the first of his
compositions for piano solo, including Impresiones Íntimas
(“Intimate Impressions,” 1911–1914), Scènes D’Enfants (“Scenes
of Children,” 1915–1918), Suburbis (“Suburbs,” 1916–1917),
Cants magics (“Magic Chant,” 1920), and Charmes (“Charms,”
1920–1921). Following the end of World War I, Mompou moved
back to Paris in 1921 to continue his musical career. After
hearing Mompou’s music, renowned music critic Emile Vuillermoz
wrote an article praising Mompou’s musical talents in Le Temps,
the French newspaper with the largest circulation and production
of its time. As a result, Mompou soon received international
acclaim. He remained in Paris for the next twenty years and
composed the following important piano works: Dialogues
(“Dialogues,” 1923), Cançons i Danses (“Songs and Dances,”
1921–1979), Préludes (“Preludes,” 1927–1960), and Variations
sur un thème de Chopin (“Variations on a Theme of Chopin,”
1938-1957).
In 1941, World War II brought Mompou back to Barcelona.
During this time his most significant works for piano solo were
Paisajes (“Landscapes,” 1942–1960), Canción de cuna (“Lullaby,”
1951), and Música Callada (“Silent music,” 1959-1967). He was
elected a member of the Academia de Bellas Artes de San Jorge
in 1952, and he married pianist Carmen Bravo in 1957. In 1958
he became professor of composition of the Curso de Santiago de
Compostela.
During his career Mompou received numerous awards including
Chevalier des Arts et Lettres in France and Premio Nacional de
Música in Spain. In 1975, the Spanish recording label Ensayo
released an edition of the complete solo piano music with the
70 Ji Young Noh

composer at the piano. In 1983, he received an homage concert

at Lincoln Center of New York. He died on Jun 30th,1987.

(2) General Musical Characteristics and Influences

Mompou combines a number of distinctive stylistic issues and

different musical ideas. Tristán La Rosa says that Mompou’s
original musical language is the result of an innovative synthesis
of different styles.1) First, Mompou’s music values simplicity and
clarity of its content and its expression. Mompou defines his
style as primitivista, a term he created to describe his use of
minimal means to produce overly expressive music.2) Mompou
described his idea of primitivista as follows:

I always endeavor to make good music. My only

aspiration is to write works that contain neither too little
nor too much. Some people find it difficult to understand
that I don’t have the same feel for grandiose form and
traditional characteristics that they do; for me, nothing
exists except my form and my concept.3)

According to F. E. Kirby, “Mompou’s primitavista includes the

great simplicity with the studious avoidance of normal musical
devices like regular meters, key signatures, and cadential

1) Clara Janés, Federico Mompou: Vida, textos y documentos (Madrid:

Fundación Banco Exterior, 1987), 375.
2) Ann Zalkind, A Study of Catalan Composer Federico Mompou’s
(1893-1987) Música Callada (Lewiston, New York: The Edwin Mellen
Press, 2002), 2.
3) Linton Powell, A History of Spanish Piano Music (Bloomington:
Indiana University Press, 1980), 111.
 Federico Mompou’s Pianistic Approach to Variations sur un thème de Chopin (1938-57) 71

progressions.”4)
One key to understanding Mompou’s connection to primitivista
style is an understanding the legacy of Erik Satie. Satie
expresses himself in the simplest terms possible, nakedly and
without decoration. In emulation of Satie, Mompou shows
extreme simplicity with thin textures and very few voice lines
as well as lack of time signatures, meters, and bar lines.
Moreover, he employs simple rhythms with only basic divisions
of the pulse, the absence of metronome markings, an avoidance
of cadential progressions, and the placements of accidentals only
before the notes to which they immediately apply. Mompou’s
primitivista style is evident throughout his final composition,
Música Callada (Example 1.1). Música Callada was inspired by a
poem on music by the Spanish mystic, St. John of the Cross
(1542-1591). In this work, Mompou emphasizes simplicity,
economy and purity over complexity and conspicuous technical
display. A simple melodic line evoking Gregorian chant and
repeated chords with no extraneous texture all serve to
illustrate Mompou’s primitivista technique.

<Example 1-1> F. Mompou, Música Callada: I. Angelico, mm.1.

4) F.E. Kirby, A Short History of Keyboard Music (New York: The Free
Press, 1966), 436.
72 Ji Young Noh

Second, an important aspect of Mompou’s compositional style

is his use of Catalan folk tunes. Jacqueline Cockburn and
Richard Stokes say Mompou captures in music “the intimate and
transcendental nature of Catalan poetry,”5) and experiences “the
rebirth of a state of unsullied musical innocence.”6) Mompou
uses folkloric sources as inspiration creating original works
based on popular songs and dances form the Catalan region. He
depicts the atmosphere and essence of the rural Catalan
landscape in Scènes D’Enfants and Suburbis. Additionally, in
Canciones y Danzas, he illustrates Catalan life by combing
Catalan folk songs and and dances.7) Example 1-2 shows his
poetic use of a folk song, distributed on three staves, in Canción
No. 2. The melody of “La senyora Isabel” appears in unison at
two octaves with an accompaniment sandwiched in between.
Another Catalan folk song, “El Rossinyol,” is found in in Canción
No. 9 (Example 1-3).
<Example 1-2> F. Mompou, Canciones y Danzas No.2

5) Jacqueline Cockburn and Richard Stokes, The Spanish Song

Companion (Lanham, Maryland: The Scarecrow Press, Inc., 2006), 145.
6) Ibid.
7) Ann Livermore, A Short History of Spanish Music (New York: Vienna
House, 1972), 108.
 Federico Mompou’s Pianistic Approach to Variations sur un thème de Chopin (1938-57) 73

<Example 1-3> F. Mompou, Canciones y Danzas No.9, mm.12-23.

Third, Mompou’s harmonic language is often categorized as

impressionistic. In the words of Joanne Huot, “Mompou’s music
is rooted in an eclectic style, and in this he is perhaps closest
to Manuel de Falla, who like Debussy was more his own
personal guide… The Andalusian art of Falla and the Catalan art
of Mompou have evolved into perhaps the most original styles
of contemporary Spanish music.”8) Linton Powell suggests
Mompou shows French harmonic ideas by not only adding
chromatic seconds and sixths but also using extended dissonant
chords and tenths.9) For instance, in Cants magics (Example
1-4), Mompou harkens to French impressionism by using modal,
whole-tone and pentatonic harmonies, and non-functional chord
progressions. In addition, his mysterious and somewhat eerie
musical sonorities gives an give an atmospheric quality to the
piece.

8) Joanne Marie Huot , The piano music of Federico Mompou (University

of Washington, 1965), 77.
9) Linton Powell, 108.
74 Ji Young Noh

<Example 1-4> F. Mompou, Cants magics, mm.1.

Fourth, Mompou’s music creates a mood of silence and

tranquility. In her book, Federico Mompou: Vida, textos y
documentos, Clara Janés quotes San Juan de la Cruz regarding
Música Callada:

The music is silent and the sense and the natural power
are concentrated. It is a resonant solitude for the spiritual
powers. Because, even though they are alone and empty of
all shapes and natural apprehensions, they can receive the
spiritual sound with precision, which is extremely sonorous
in the spirit.... Also, the soul receives this sonorous music
without solitude and isolation of all things foreign….10)

Ann Livermore states, “Mompou reverses the traditional poetic

evocation of emotion recollected in tranquility, offering instead
his own experience of tranquility remembered in musical
emotionality.”11) In Música Callada, this musical character is

10) Clara Janés, Federico Mompou: Vida, textos y documentos, 266.

 Federico Mompou’s Pianistic Approach to Variations sur un thème de Chopin (1938-57) 75

evident. Each piece is marked Lento. Along with this tempo, he

uses mood description such as calm, placid, tranquil, angelic, and
simple. His harmonies are transparent and shimmering,
sometimes shading into near-atonality. Furthermore, he explores
rhythmic freedom and creates unexpected melodic and harmonic
progressions, evoking images of twilight and mystery.
Fifth, the sound of bells can be heard throughout Mompou’s
works. Mompou's grandfather was a bell-maker, and this musical
device pervades his compositional style. Mompou imitates the
sound of bells in his compositions by using metallic timbres and
exquisite harmonies as well as blocks of big chords, typically
with widely spaced sonorities. He accomplishes this with the use
of the pedals of the piano, often indicating that the pedal should
be held throughout a complete measure and sometimes even
multiple measures. In Cants magics, for example, a soft bell-like
tone is found. (Example 1-4).
By exploring and synthesizing these different musical features,
Mompou creates his own unique musical language. Mompou’s
innovative musical ideas can be found throughout the Variations
sur un thème de Chopin and they will be discussed individually
in subsequent chapters.

11) Ann Livermore, 108.

76 Ji Young Noh

III. Chapter II: F. Chopin’s Prelude in A Major,

Op. 28, No. 7

Mompou uses Chopin’s Prelude in A Major, Op. 28, as the

theme for his set of twelve variations, Variations sur un thème
de Chopin. To fully understand how Mompou transforms Chopin’s
composition into a twentieth century Catalan repertoire standard,
one must begin with an analysis of the original prelude. It is
necessary not only to examine basic musical concepts such as
form, melody and harmony, but also to explore the musical
timbre and atmospheric qualities of the prelude.

<Example 2.1> F. Chopin, Prelude in A Major, Op. 28, No.

7.

The Prelude in A Major, Op. 28, No. 7 is a fine example of

several characteristics of Chopin’s distinctive musical language.
First, the prelude is a miniature character piece, demonstrating
his ability to express brevity and lucidity of formal structure and
 Federico Mompou’s Pianistic Approach to Variations sur un thème de Chopin (1938-57) 77

harmonic progression in a mere sixteen measures. Chopin

follows traditional formal structure with basic regularity in
phrase structure. The sixteen-bar composition can be seen as one
period with an eight-measure antecedent and an eight-measure
consequent creating a simple sectional binary form. The
elementary harmonic language reinforces the simplicity of the
prelude’s form. The harmony appears to follow a straightforward
and minimal progression with successions of V-I pattern.
Second, Chopin explores an innovative harmonic approach by
adding non-harmonic tones and radical and unexpected chords.
At first glance, it appears that the harmonic progression barely
strays from a straightforward dominant-tonic motion. However,
Chopin adds layers to the harmonic language that belie the
apparent simplicity of the basic harmonic structure as outlined in
the table above. Chopin is particularly innovative with his use of
non-harmonic notes. Each phrase begins with an upbeat and an
accented non-harmonic tone on the downbeat of the first
measure. By employing non-harmonic tones at the beginning of
each phrase, Chopin not only decorates the simple harmonic
successions but also escapes the monotony of recurring
rhythmic patterns. These non-harmonic tones are circled in
Example 2-1.
Third, Chopin synthesizes two different musical idioms by
combing the lyrical melodic line inspired by bel canto style from
Italian opera and the simple rhythmic pattern of Polish mazurka.
In this prelude, Italian operatic influence is portrayed perfectly
by songful melodic contours marked with a succession of slurs.
Furthermore, he repeatedly employs the rhythmic pattern typical
of a mazurka, a group of a dotted eighth note and sixteenth
note preceded by two quarter notes in 3/4 time. These elements
78 Ji Young Noh

combine to give the piece a graceful, animated atmosphere

throughout.
Chopin composed one of the most memorable and popular
pieces in the piano repertoire by combining the simplicity of
form, melody and rhythm with unexpected and innovative
harmonic language. Chopin’s Prelude in A Major, Op. 28, No. 7
serves as the theme of Mompou’s set of variations, Variations
sur un thème de Chopin. In the next chapter, I discuss
Mompou’s work in more detail, making comparisons to the
analysis of Chopin’s prelude as well as drawing attention to
Mompou’s general musical characteristics and influences.

Chapter IV: VARIATIONS SUR UN THÈME DE

CHOPIN
1. Historical Background of Mompou’s Variations
sur un thème de Chopin

One of Mompou’s most well-known works for piano solo,

Variations sur un thème de Chopin (1938-57), took nearly
twenty years to compose. While he was living in Paris, his close
friend, the renowned Spanish cellist Gaspar Cassadó, approached
Mompou about composing a set of variations for cello and piano.
Cassadó proposed using Chopin’s Prelude in A Major, Op. 28,
No. 7 as the theme for the composition. In 1938, Mompou
composed four variations which appeared with the title, Three
Variations; however, both Mompou and Cassadó soon abandoned
the project. Mompou himself said of the project:
 Federico Mompou’s Pianistic Approach to Variations sur un thème de Chopin (1938-57) 79

They were born from an idea by Gaspar Cassadó. While

in Paris, where I was living then, around the year 1938,
more or less, he telephoned me saying that we had to
talk.... We talked in a café in the Boulevards, and already
there, he said: “I have a project about writing together a
set of Variations for cello and piano on the theme of
Chopin’s ‘Prelude
No. 7’....” We even made an appointment for another
occasion, to collect and study the work already done....
Afterwards, everything was left as one more project and we
dropped it little by little. However, I took what I had written
and with it I made three or four variations, which I put
away in the hopes that I would continue them....12)

Nineteen years later, London’s Royal Ballet of Covent Garden

suggested using these variations for a ballet. For this, Mompou
completed the full set of 12 variations in 1957. Alas, the plan
for the ballet never came to fruition even though Mompou
intended this adaptation at some time in the future.13) However,
it led to one of the Mompou’s greatest works for solo piano
under the title of Variations sur un thème de Chopin. It was
published by Éditions Salabert and dedicated to Mompou's friend
Pedro Masaveu.

12) Antonio Iglesias, Federico Mompou, su obra parpa piano (Madrid:

Editorial El Puerto, 1977), 200.
13) Stewart Gordon, A History of Keyboard Literature: Music for the
Piano and its Forerunners (New York: Dover Publications, 1966),
411.
80 Ji Young Noh

2. Analysis of Thème and Individual Variations (From

Var. I to V Var. III)

(1) Thème

In Thème, Mompou introduces Chopin’s original melody,

rhythm, harmony, formal structure and tempo marking,
Andantino. However, even though Mompou quotes Chopin’s piece
in the theme, Mompou does not adhere to Chopin’s dynamic
marks and expression markings. Mompou indicates the same
dynamics as Chopin until the antecedent period (mm.1-8).

<Example 3.1> F. Mompou, Variations sur un thème de Chopin,

Thème.
 Federico Mompou’s Pianistic Approach to Variations sur un thème de Chopin (1938-57) 81

However, while Chopin marks detailed dynamics such as

crescendo, f, diminuendo, and pp in the consequent period
(mm.9-16), Mompou just uses the indication of crescendo in
measure 11. Mompou’s simple indication of the dynamic seems
to be more adventurous than Chopin’s in that he seems to
suggest that the performer to experiment with dynamics and
perhaps allows more interpretive freedom by the pianist

(2) Variation I

<Example 3-2>. F. Mompou, Variations sur un thème de Chopin,

Var. I.

In Variation I, Mompou preserves Chopin’s original melody,

rhythm, and formal structure. However, he develops this
variation with different harmonic ideas from the theme as well
as a slightly changed texture influenced by altered harmonies to
82 Ji Young Noh

add some new colorful harmonies. In other words, he allows this

variation to create richer harmonic sonority than Chopin’s
Prelude by using several dissonances and non-harmonic tones.
First, he shows an unexpected harmonic progression by using
the surprise chords in measure 8. Instead of the tonic chord
shown in the theme, he uses vi7 as an unexpected harmonic
sonority. Second, Mompou adds non-harmonic tones and
embellishments. Phrase member one (mm.1-2) projects the
dominant seventh harmony. However, Mompou adds a fourth to
the chord, which resolves to the third at the end of the phrase
member. Like this fourth to the chord, various non-harmonic
tones appear throughout this variation.
Mompou employs the pedal point throughout the variation. It is
circled in the score. By using the repetitive E, a dominant note
of A Major as a pedal point, he connects, as well as supports,
the series of chords. Moreover, he unifies various harmonic
palettes such as dissonances, non-harmonic tones, and
embellishments through the E pedal point.

(3) Variation II

In Variation II, Mompou maintains the A Major tonality of the

Chopin’s original prelude, yet he changes the meter from 3/4 to
6/8. In his book Le Jardin Retrouvé: The Music of Frederic
Mompou 1893-1987, Wilfrid Mellers describes the second
variation as “a tang of Spanish acerbity.”14)

14) Wilfrid Mellers, Le Jardin Retrouve: The Music of Frederic Mompou

1893-1987 (NewYork: The Fairfax Press, 1987), 110.
 Federico Mompou’s Pianistic Approach to Variations sur un thème de Chopin (1938-57) 83

<Example 3-3> F. Mompou Variations sur un thème de

Chopin, Var. II.

The change of pulse to 6/8 in addition to the dotted rhythms

adds a certain degree of Spanish panache. Mompou creates a
graceful and animated musical atmosphere evoking Spanish dance
through continuous dotted rhythmic figures and with the
expression mark, Gracioso.
The second variation shows Mompou’s sense of humor. In
measure 6, he uses a fermata on the second beat. By stopping
the continuous dotted rhythmic patterns immediately with a
fermata, Mompou not only adds musical tension with a sudden
stop but also arouses the listener’s interest and curiosity. After
this short break, the music continues with the same rhythmic
figure shown earlier.
In this variation, Mompou compresses the theme into half of
its original length. The form remains binary; therefore, the
original sixteen-bar period with an eight-bar antecedent and an
eight-bar consequent is now an eight-bar period with a four-bar
antecedent and a four-bar consequent. Each measure now
corresponds to the theme’s two-bar phrase member. For example,
84 Ji Young Noh

measure 1 of Variation II correlates with phrase member one

(mm.1-2) of the theme. Measure 2 of Variation II compares with
phrase member two (mm.3-4) of the theme, and so on.
The harmonic scheme highly resembles the theme, with its
constant dominant-tonic motion and a tonicization of ii in the
consequent. Mompou maintains a deceptive cadence at the end
of the antecedent, seen previously in the first variation. He also
employs the surprise chord, the V7/ii found at the end of the
sixth phrase member (mm.6). By indicating fermata on the chord,
he both delays the resolution of this chord to the next harmony
as well as emphasizes the surprising harmonic nuance.
In Variation II, Mompou takes a step further away from the
original theme. Even though the form is preserved, albeit in an
abbreviated version, the melody, rhythms, and harmonic scheme
are somewhat altered from the original Chopin’s Prelude. The
technique of varying a theme through compression is regarded
as one of Mompou’s innovative compositional ideas in Variations
sur un thème de Chopin and shown in subsequent variations.

(4) Variation III

Variation III includes the instructions “para la mano izquierda”

and “pour la main gauche.” This translates to “for the left
hand,” which means only the performer’s left hand is intended to
play this variation. Mompou composes the third variation in the
theme’s subdominant, D Major, and returns to the original time
signature, 3/4.
 Federico Mompou’s Pianistic Approach to Variations sur un thème de Chopin (1938-57) 85

<Example 3.4> F. Mompou, Variations sur un thème de

Chopin, Variation III.

He preserves Chopin’s melody while excluding the repeated

notes found at the end of each phrase member in the theme.
However, the main melody in Variation III is often intermingled
with accompaniment patterns with arpeggio-like or broken chord
patterns. In the score, the thematic melodic notes are circled.
According to Wilfrid Mellers, this variation resembles Chopin’s
Prelude in B Minor, Op 28, No. 6 because of the prelude’s
reliance on the left hand for melody and the interweaving
arpeggios found in both.15) Example 3-5 shows the opening four
measures of Chopin’s Prelude in B Minor, Op. 28, No. 6.

15) Ibid.
86 Ji Young Noh

<Example 3-5> F. Chopin, Prelude in B Minor, Op. 28, No. 6,

mm.1-4.
Mompou’s Variation III also may refer to Scriabin’s Prelude
and Nocturne for Left Hand, Op.9, No.2 (Example 3.6.). Like
Mompou’s Variation, Scriabin’s work is a composition for the left
hand that combines a lyrical melodic line with arpeggio
figuration as an accompanying pattern.

<Example 3-6>A. Scriabin, Prelude and Nocturne for Left Hand, Op.
9, No. 2.

In variation III, Mompou employs the unique characteristic of

using one hand for all voices as well as expands aspects of the
form, melody, and harmony of original theme. Wilfrid Mellers
describes the third variation as possessing “an undertow of
Catalan lament.”16) By indicating a slow tempo marked Lento,
soft dynamics, and the expression mark molto cantabile e
 Federico Mompou’s Pianistic Approach to Variations sur un thème de Chopin (1938-57) 87

espress, the variation not only creates a musical atmosphere of

sadness and loneliness but is also nostalgic for Catalonia.

V. Conclusion

In his Variations sur un thème de Chopin, Federico Mompou

creates a twentieth-century Catalan repertoire standard using
Chopin’s Prelude in A Major, Op. 28, No. 7. Mompou’s Variations
sur un thème de Chopin is valuable both as performance
repertoire and pedagogical material. He incorporates
twentieth-century elements by using whole tone chords, adds
seconds and fourths, and nonfunctional sevenths and ninths. He
also develops and expands the theme’s form, a period, in most
of the variations.
Variations sur un thème de Chopin is a considerable but often
overlooked part of the solo piano repertoire. The brilliance of
Chopin and Mompou are only amplified by this enchanting piece
of music. In time I believe Variations sur un thème de Chopin
will grow in popularity as many more pianists and teachers look
to the past to find inspiration.

검색어 : 몸푸, 쇼팽 변주곡

Keywords : mompou, chopin variation, catalan

16) Ibid.
88 Ji Young Noh

References

Gordon, Stewart. A History of Keyboard Literature: Music for

the Piano and its Forerunners. New York: Schirmer
Books, 1996.
Huot, Joanne Marie. The Piano Music of Federico Mompou.
University of Washington, 1965.
Iglesias, Antonio. Federico Mompou, su obra parpa piano.
Madrid: Editorial El Puerto, 1977.
______ . “Variations sur un thème de Chopin.” Mompou:
Complete Piano Works. Barcelona: Antonio Armet, 1974.
Janés, Clara. Federico Mompou: Vida, textos y documentos.
Madrid: Fundación Banco Exterior, 1987.
Kirby, F. E. A Short History of Keyboard Music. New York: The
Free Press, 1966.
Livermore, Ann. A Short History of Spanish Music. New York:
Vienna House, 1972.
Mellers, Wilfrid. Le Jardin Retrouvé: The Music of Frederic
Mompou 1893-1987. NewYork: The Fairfax Press, 1987.
Powell, Linton. A History of Spanish Piano Music. Bloomington:
Indiana University Press, 1980.
Zalkind, Ann. A Study of Catalan Composer Federico Mompou’s
(1893-1987) Música Callada. Lewiston, New York: The
Edwin Mellen Press, 2002.
 Federico Mompou’s Pianistic Approach to Variations sur un thème de Chopin (1938-57) 89

<초록>

‘쇼팽주제에 의한 변주곡 (Variations sur un

thème de Chopin)’에서 보여지는 페데리코 몸푸
(Federico Mompou)의 피아니스틱 접근

노지영

페데리코 몸푸 (Federico Mompou)의 쇼팽의 프렐류드 Op.28,

No.7을 기본으로 작곡되어진 ‘쇼팽주제에 의한 변주곡 (Variations sur
un thème de Chopin)’은 연주 레파토리로써 뿐만 아니라 피아노 교수
법적 연구자료로써도 중요한 작품이다. 비록 여러 학술자료에서 몸푸의
피아노 작품들에 대한 연구들을 쉽게 찾아볼 수 있다하더라도, 이 논문
의 주제가 되는 ‘쇼팽주제에 의한 변주곡’에 대한 학술적 정보를 찾는
것은 쉽지 않다. 따라서 이 논문은 연주자들에게 이 곡의 해설을 위한
가이드북의 역할을 함과 동시에 피아노 교수법적 참고문헌으로 그 가
치를 인정받기에 충분하다.
이 논문에서는 몸푸의 생애와 전반적인 그만의 작곡기법과 음악적
특징에 대해 고찰해보고, 쇼팽주제에 의한 변주곡의 기본모티브가 된
쇼팽의 프렐류드에 대한 간략한 소개와 더불어 이 곡의 작곡배경에 대
해 알아본다. 본론에 언급되는 주제와 변주곡 1번부터 3번까지의 연구
에서는, 이 작품의 기본주제로 씌여진 쇼팽의 프렐류드의 모티브, 멜로
디, 화성, 작곡기법과의 비교를 통한 몸푸만의 독창적인 작곡기법과 대
해 알아보며, 다양한 표현방법으로 창조되어지는 이 곡의 음악적인 뉘
앙스 및 분위기에 대해 탐험해본다.
<Abstract>

Federico Mompou’s Pianistic Approach to

Variations sur un thème de Chopin (1938-57)

Ji Young Noh

Variations sur un theme de Chopin of Federico Mompou

was composed, based on Prelude Op. 28, No. 7 of Chopin.
It is an important work as a playing repertoire and as a
research material in piano pedagogy. Even though it is
easy to find the study of Mompou's works, it is not easy
to contact the academic information about Variations sur
un theme de Chopin, the subject of this study. Therefore
the current study could be expected to be as a guidebook
for piano performance and as a reference for piano
pedagogy.

This study discusses Mompou's whole life, composing

techniques, and musical features, and briefly introduce
Chopin's prelude, basic motive of variation by Chopin
subjects as well as the composing background. The
research for the subject in the main text and from
variation 1 to variation 3 studies the Mompou's unique
composing techniques via comparison with motives,
melody, harmony, and composing techniques in Chopin's
 Federico Mompou’s Pianistic Approach to Variations sur un thème de Chopin (1938-57) 91

prelude, which was used as a main subject of the work.

The research also looks over the work's musical nuance
and mood which were created by various expressing
techniques.

투고일: 2013년 2월 2일
심사일: 2013년 2월 3일
게재확정일: 2013년 2월 25일