Music from elsewhere, music of memory, these works bring to life unspoken regions of experience, deeply buried.

In Música Calladaa large cycle dating from 1959 to 1967, Mompou speaks to us in his most extreme and denuded style.

Each of these pieces is entirely di erent; yet, remarkably inventive, the whole work has a very particular unity of colour.
The piano itself becomes resonance, light, lament. All registers are magni ed, and the great black monster becomes transparent as star dust.