In the two Dialogues
(1923) the keyboard textures are quite complex and decorative, and the mood is a little solitary and interior—there is an attempt at conversation, if only with oneself. The score is filled with Satiesque asides—‘expliquez’ … ‘questionnez’ … ‘répondez’ … ‘plus suppliant’ … ‘hésitez’ and even, in the second piece, ‘donnez des excuses’. The Dialogues
are rather atypical of Mompou’s style in their keyboard writing and in the slightly self-conscious wit of the score’s extra-musical indications. But they come at a point of transition for the composer, the end of an eremitic path which, some twenty years later, he would return to with the composition of Paisajes
, written for the pianist Carmen Bravo whom he had recently met and who was to become his wife.
from notes by Stephen Hough © 1997