A song cycle often regarded as Mompou's masterpiece among his vocal works. Combined with the symbolic poetic worldview of the poet Josep Janés, a close friend of the composer, and the soft phonetics of the Catalan language, it can be said to be a unique work among vocal compositions. For a long time, the three songs "1, Damunt de tu només las flors (Only Flowers Above You)", "2, Aquesta nit un mateix vent (Tonight the Same Wind)", and "3, Jo et pressentia com la mar (I Felt You Like the Sea)" have been performed as this song cycle. However, in recent years, the five songs, including "4, Transparència (Transparency of My Life)" and "5, Ara no sé si et veig encar (Now I Don't Know If I Still See You)", which were composed from the same poetry collection and the latter unpublished during his lifetime, are sometimes performed together. The score does not specify numbers, so the performance order is either the numerical order assigned here for convenience, or 1, 2, 4, 5, 3, with 3 as the final piece. From a vocal range perspective, songs 1, 2, and 3 are written for a higher mezzo-soprano range, song 4 for a comparatively high range, and only song 5 for a low to mezzo-soprano range. Therefore, it is conceivable that songs 1-3 and songs 4 and 5 might have been conceived for different singers.

1. Damunt de tu només las flors (Only Flowers Above You)

With a total of 107 measures, it is among the longest of Mompou's songs. Upon opening the score, the key signature of F minor and numerous accidental flats are immediately noticeable, appearing as if teardrops are scattered pictorially throughout the music. This can be interpreted as an expression of the speaker's sorrow at losing a loved one, as described in the lyrics. The piano begins to narrate the opening of the vocal melody haltingly. Although the same melody eventually finds its voice, a rit. and a tempo are applied after each phrase, creating a hesitant, almost floating fluctuation. In the first stanza, the music largely remains within the I, IV, and V chords of F minor. However, at the word "còs" (body), a D natural suddenly rings out, and the reduction of flats (representing tears) creates a sense of brightness and buoyancy. A significant rit. is applied here, emphasizing the chord. This note is later used for the words "llum" (light) and "nit" (night), which are crucial keywords in this poem. In other words, contrary to the speaker's sorrow, the idea is suggested that the soul of the deceased, having lost its "body," can abandon "night" and be enveloped in eternal "light."

After the first stanza, there is a long interlude that develops the opening motif. The music modulates from the tonic F minor, with flats gradually increasing, moving to B-flat minor and then E-flat minor. It seems to express the speaker's inexpressible suffering. After approximately one page, the music returns to F minor, and the second stanza is sung with the same melodic pattern as the first. While the lyrics of the first and second stanzas are descriptive of a scene, the third stanza describes the speaker's unfulfillable desires. Here, the lyrics of the third stanza are placed over the aforementioned interlude between stanzas 1 and 2, which features repeated modulations, and the vocal line shifts to a higher register. The sentiments previously expressed in the interlude are now sung. In the fourth stanza, the same melody as the first stanza is repeated, but in the final four measures, the A-flat becomes A natural, negating F minor and concluding as if the soul of the deceased is liberated.

2. Aquesta nit un mateix vent (Tonight the Same Wind)

Compared to the first song, which prominently featured F minor and its related keys, this piece has no key signature and a weaker sense of tonality. Augmented intervals are frequently used throughout the piece, further destabilizing the tonality. The rhythm of dotted eighth notes plus sixteenth notes, combined with various intervallic leaps, creates a unique effect, like undulating waves, almost making the listener seasick. The piano melody of the opening four measures is repeated a whole step lower from the fifth measure, and the vocal line is layered over it as if "boarding midway." The piano repeats the dotted rhythm, freely changing its range and breadth, while the vocal line accompanies it, sometimes adhering closely, sometimes moving away, and sometimes pausing. It is striking that during the lines "Tonight the same wind / And the same single burning sail," the piano and voice precisely form "the same single sound," i.e., a unison. Subsequently, a characteristic Mompou/Janés obsession with "transparency" and "purity" is observed. Words like "cristall" (crystal), "transparencia" (transparency), and "mirall" (mirror) are placed over appoggiatura-laden chords, resembling a waveless water surface. The lyrics conclude with "Our sky may perhaps (omission) be an eternal dream (omission) not a body with sighs," making it the most dreamlike piece within the "battle of dreams" where the world of dreams and ideas intersects with physical reality, and reality is most negated.

3. Jo et pressentia com la mar (I Felt You Like the Sea)

Although marked Andantino, the momentum of the sixteenth notes gives it a considerable sense of speed among Mompou's songs. It has a strong sense of tonality, and for the first six measures, it does not depart from the tonic chord of F-sharp minor. The opening vocal melody consists of F-sharp, B, and C-sharp, a motif also found in Pastoral. A rit. and a tempo are applied after each phrase, again creating a floating effect. Similar to the second song, the vocal line sometimes follows and sometimes departs from the piano's musical flow, but there are fewer sections where the piano speaks alone. The piano, gaining momentum with ascending arpeggios, undergoes dizzying modulations every two measures, moving from a forward-leaning F-sharp minor to A minor, then G minor. However, the piano descends in the section where it negates dreams, stating, "I knew you in my hands / Dreams cannot grasp you." As the right and left hands are densely packed and tense, the voice continues to negate "how you have been perceived until now" in a high register. The subsequent interlude also features the same melodic pattern, over which a simple, folk-song-like melody is placed. After the interlude pauses with molto espressivo and rit., receding as if negating the past, the vocal line returns to the opening melody. In the section where it sang "I had a premonition of you like the sea" at the beginning, it now sings "You are not a sea trapped by the shore." And in the section "or like a vast and free wind," it sings "You are not a wind confined by space," thus half-affirming and half-negating the premonitions from the first half. Subsequently, modulations continue every two measures, depicting a person who was immersed in a lukewarm dream being tossed about by a stormy, tangible presence.

5. Ara no sé si et veig encar (Now I Don't Know If I Still See You)

Despite its enigmatic title, the lyrics can be summarized as: "I see the other person, but it's superficial; I don't feel I grasp their essence. I want to escape this constraint and become one with them." Compared to Somnis (Dreams) 1-3, this song frequently employs a melodicism reminiscent of German late Romanticism and octave descending leaps from high notes, evocative of Poulenc's songs. Furthermore, the vocal range is low. Composers who write many songs generally tend to write in lower vocal ranges in their later periods, making the lyrics easier to hear, and Mompou seems to have been no exception. The tonality begins and ends in B-flat minor, but constantly modulates. The first half is fixated on "veure" (to see). A rit. is applied whenever the aforementioned leaps appear, but compared to those in other songs, it has a more lingering quality, giving the impression of a grand, sweeping gesture. Furthermore, in the ascending sequence on the second page, a cascading accel. is written, revealing a sense of emotional agitation. In the latter half, the piano and voice, which appear to be static at first glance, collaboratively and repeatedly create arpeggiated major triads. Occasionally, the voice alone descends an octave. The melodic movement in this section is similar to that of the second song, revealing a longing for "transparency." The song returns to the opening theme at the end, but in the piano's right hand, an F-note octave leap motif is repeated, like a warning signal or a heartbeat, or as if rapidly moving between two things, and only this remains until the very end.