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The Mompou Trio in 1984: Juan Luis Jordá (violin), Luciano
González Sarmiento (piano) and Pilar Serrano (cello)


For Violin, Violoncello and Piano

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Contemporary creation not only does not emerge ex novo, but its validity comes from its more or less explicit support in tradition. For this reason, it is obliged to act in two apparently opposite directions, but fundamentally complementary: that of the future, laying the foundations of a new language through research on new procedures and resources, and that of the projection of results in this way obtained towards the past, understood as the use of both traditional instruments and their most typical combinations, as well as the great classical construction forms, whose rigor is neutralized by the use of non-tonal harmonic elements that contribute to enrich and provide a new physiognomy to the old formal relations derived from tonality and its consequences.
This Trio wishes to be consistent with all of this, by attempting a synthesis between tradition and modernity through adaptation to traditional formal molds (thus, the first movement is a canon between violin and cello, with some piano interventions aimed at accentuating the character of calm sought; the second is a brief scherzo in the old style, while the third movement, perhaps a little more complex, responds to the classical form of sonata) of a current language, with the aim of arriving at a music that, both in its structure and in its rhetoric, produces an immediate understanding when listening, without thereby making concessions to the ease that would derive from the use of primary elements.

Program of the premiere of the Trío (Madrid, 1984)

The Trio was written at the end of 1983 at the request of the Mompou Trio -whose important suggestions have been collected in the final edition-, to whom it is dedicated and by whom it was premiered on December 4, 1984 within the VII Chamber and Polyphony Cycle of the Royal Theater of Madrid. Since then it has been performed on a large number of occasions by different national and foreign groups, and there are currently two recordings of the work (by the Mompou Trio and the Bretón Trio , for the RTVE and Several Records labels, respectively).

Cover of the CD by the Mompou Trio (1993)

Cover of the CD by the Bretón Trio (1995)


Recording: Mompou Trio

I. Adagio molto
II. Allegro molto
III. Molto moderato

Enlace YouTube: First movement; Second movement; Third movement

First page of the Trío


Musical review
By Carlos Gómez-Amat
(Review read during the program De Música (S.E.R.). Madrid, December 5,12:06 01/01/2022 1984)

José Luis Turina, in this very recent Trio, presents us with a new aspect of his personality. Within a genre in which his grandfather achieved some of his luckiest pages, José Luis has written an eminently personal work. There is no concern here for traditional forms, but there is a certain respect for them, which fits perfectly with a language of our time, within that movement that we like to point out with the name of "new consonance". Very much in the current that dominates in these years, the young composer finds maturity without trying useless and sterile experiments, but by making music from the inside out, with fidelity to his convictions, which are firm, thanks above all to the security of his creative technique and his clarity of the ideas.
José Luis Turina’s Trio is divided into three short movements, reserving the center for greater vivacity. The transparency that Luciano González Sarmiento notices in his notes to the program is evident, as well as the balance. In the first movement there is like a return to the thematic melody and the evident transparency of the writing. The author manages to solve the problem of the relationships between the three instruments, always difficult, precisely because of the economy in the sound media. The second movement, a very lively allegro, is a scherzo, that is to say, a game, but a game of a certain aggressiveness that is quickly resolved; the weft is light but with density. The final movement in some way marks the unity of the work, because it has the character of a stylistic statement. It develops in a process of contrasts, not so much dynamic as inherent in the musical discourse itself. This, despite the formal approach, can give, at first ear, a feeling of indeterminacy, but it does not take long to realize that the musician knows very well what he wants and where he is going. The ending, with a very beautiful effect, seems to have a question mark character, of a question to which the composer does not answer in this work, but perhaps in the next.
The members of the Mompou Trio took special care of the new work and performed it very well. The author also corresponded to the long applause.

José Luis Turina's new trio
By Enrique Franco
(Review published in the newspaper El País. Madrid, December 6, 1984)

José Luis Turina demonstrated from his first works (1952) a singular talent as a composer, together with an admirable desire for perfection. This is how we all recognized and applauded in view of Lama Sabacthani? string quartet (1980) or by Pentimento (1983). Between the latter and Ocnos, says the young Turina who dedicated himself to the creation of the Trio (1984), written for those who have premiered it at the Teatro Real, within the Chamber and Polyphony Cycle, that is, for the pianist Luciano González Sarmiento , the violinist Joan Lluís Jordà and the cellist Pilar Serrano, members of the Federico Mompou Trio, a group of high technical and stylistic category.
In the new Turin page, freely imposed on formal traditions, the sound material is working from a current thought, and through a more expressive than structuralist language. The fabric is always transparent, and in all aspects the desire for simplicity, communicativeness and a suitable chamber physiognomy appears. The composer confesses that his work can be understood as a divertimento, although, really, I think it goes much deeper, even though we are not facing dramatic staves or Turina has proposed solutions with problematic content. This smoothness without emptiness, this serenity without conformism, this tenuous continuity with the past that can only be saved thanks to the modifications typical of all evolution and, as always, an underground but noticeable lyricism, give the Trio great power of attraction at the same time as they secure it a place in the repertoire.

José Luis Turina honors his surname
By Fernando Ruiz-Coca
(Review published in the newspaper Ya. Madrid, December 6, 1984)

José Luis Turina, at thirty-two years old and with a catalog of works that is not very extensive yet, but always loaded with meanings, seems to return by virtue of his surname. Like his grandfather, he knows how to be faithful to what his time demands of him. This is what unites the two representatives of the dynasty, who walk along very different paths, based on a well-assimilated technique, with which each creates their own language.
The young Turina, who already surprised us a few years ago with his Crucifixus", finalist in the Golden Harp competition, has reached an admirable first maturity, evident in the natural serenity with which the "Adagio" of his beautiful Trio begins, dated this same year and offered at the first audition. Very well balanced the timbres of the instruments, he develops the discourse of the three movements in which the score is divided, without prejudices or aesthetic superstitions to which the avant-garde is always exposed. The metatonal field is like an obligatory consequence for what he wants to say. Clear in its transparency, logical in its sequences, it turns out to be very modern to the extent that it updates the past. It is dedicated to the Mompou Trio, who performed it making evident the intention of its author, structural based on the expressive.

Contemporary festival in Alicante
By Víctor Burell
(Review published in the newspaper Cinco Días. Madrid, September 19, 1985)

[...] the Mompou Trio, which radically pleased us in the understood, detained and adjusted version of its program, where apart from the «Evocation of Paul Valery», a transcription of the trio itself, stood out above the tiredness of the good construction rooted in the serialism of Benet Casablancas, and the insignificance of the «Trium», by Rogelio Groba, the «Trío 1984», by JL Turina, a composer always confident in musical architecture, in the transparency of his style and, above all, in the imaginative character, where he always has something to say, since, despite the relaxing and calm condition of its creation, there is a certain tension that transforms formal simplicity into a disturbing and personal discourse. Its three movements allow for the connatural elaboration of the essence of the three instruments, in which the timbre, clear, is a function of the result, ultimately constituting a traditional model based on a new but emotional language.

The Mompou Trio
By Florestán
(Review published in the newspaper La Nueva España. Oviedo, October 9, 1985)

To more recent times, which are still in force, it brought us the trio by José Luis Turina, written in a dense way, not at all easy to hear and perform, giving the whole a great density that also always demands clarity and good contrasts between the first slow song, shelled between the performers without ever losing the unity and background, and the allegro with its vigorous constant rhythm at all heights of the sound and not to mention the ending (not so moderate) much more marked in its different sonorities, some canons, vigorous liveliness and more things not easy to summarize in a first audition. Good first impression, thanks to the enthusiastic and precise interpretation of the young artists in such a committed work.

The Mompou Trio and Spanish music
By José Ignacio Miró
(Review published in the newspaper El País. Madrid, December 6, 1985)

The Trío (1983), by José Luis Turina, was written between two orchestral works of great laboriousness and scope: Pentimento and Ocnos, the second of them (still not premiered) based on a book by Luis Cernuda. According to Turina, the Trío was a respite, a "relaxation between them; while maintaining a personal style, I tended towards certain traditional aspects, in particular the form (scherzo, sonata) and the contrapuntal writing (Canon)", he says.
This moderate assessment contrasts with that of Luciano García Sarmiento, pianist and member of the Mompou Trio, for whom "it is a work that surpasses the other two orchestral ones. The lack of great pretensions does not necessarily mean that it is an inferior work; in this case, a technique of great interest manages to elaborate traditional elements with an extremely expressive and dynamic sense of musical discourse".

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(Score and parts without watermarks available at www.asesores-musicales.com )