After losing his mother in 1953 and subsequently experiencing the death of a friend, Mompou began composing music that was more introspective than ever before. Musica Callada was also composed during this period. The Spanish title “Musica Callada” is sometimes translated as “Silent Music.” In the text accompanying Volume 1, it is noted that the title is a quotation from the poem “La Musica Callada, la Soledad Sonora (Sounding Solitude, Silent Music)” by the poet Saint John of the Cross.

This collection was composed between 1959 and 1967. Across four volumes (Volumes 1 to 4), it comprises small pieces, each no longer than two pages, with 9, 7, 5, and 7 pieces respectively. Indeed, many of the pieces were not written for concert performance but rather as if they were monologues. Only Volume 4 is dedicated to Larrocha.

XXII

2/4 time, Molto lento e tranquillo. Over the sadly descending left hand, the right hand quietly strikes the same notes. A somber atmosphere, as if a light rain is continuously falling, dominates the entire piece.

XXIII

2/4 time, Calme avec clarté. At the beginning, one should consciously play the changing notes and the unchanging notes within the oscillating melodic lines. At Poco più mosso, a sense of flow is added to the music, which had previously been somewhat stagnant. Play expressively.

XXIV

2/4 time, Moderato. Although the accompaniment consistently features eighth notes throughout this piece, it is noteworthy that the music develops with subtle variations in phrase length in the melody. While a heavy atmosphere had persisted since Volume 3, the harmonic resolutions heard in this piece are enveloped in a very warm light.

XXV

2/4 time. This piece is like coloring by bringing out the resonance of each individual note. While pedaling instructions are meticulously indicated, it would also be effective to let the notes resonate with a touch that preserves the lingering sound of the preceding notes, even in the fingering.

XXVI

2/4 time, Lento. An introspective piece sung with cyclical melodic figures. In this piece, perspectival techniques are also effectively employed. Care should be taken to ensure that the long notes, which continue to sound in a place detached from the melody, are always perceived at the same position.

XXVII

Lento molto. It alternates between 2/4 and 3/4 time, but bar lines are only partially indicated. In a hazy atmosphere, one must express extremely delicate fluctuations of sound, requiring a high degree of concentration.

4/4 time, Lento. Compared to the other short pieces, the tonality is clear and easy to grasp. It reaffirms Mompou's approach of pursuing maximum expression through simple and pure music. Fitting as the culmination of the entire collection, it is a piece with a solemn presence.