Manuel M. Ponce and The Guitar, by Corazón Otero ©

 

MANUEL M. PONCE AND THE GUI GUIT TAR 

BY

CORAZÓN OTERO

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Translated: by JOHN D. ROBER ROBERTS TS Published in paper by THE BOLD STRUMMER LIMITED

 

Manuel M. Ponce

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To Fernando absolute reflection of this conception  

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PREFACE

  I have collected with great passion all the elements that have helped to form this book; I have felt intensely each new discovery discovery,, each new piece of information, as it came before me.   The music of the great Mexican composer Manuel Ponce is so  beautiful and nevertheless so little known, that if the desire to hear it is  born in any reader of these pages, page s, I shall feel most happy and content.   Manuel Maria Ponce is without a doubt one of our greatest composers. compos ers. His ex extraordi traordinary nary ggenius enius has cre created ated a marvell marvellous ous bbody ody of music inspired chiefly in the themes of the purest Mexican folklore. With his exceptional talents he has enriched these simple forms, till he has  brought them to the concert halls of the whole world in his beautiful compositions.   He initiated in Mexico the present guitaristic movement, and his contribution to the general repertoire has been of the greatest importance. He composed music for almost every instrument and produced practically every form; study, prelude, fugue, mazurka, gavotte, voice and piano, voice and orchestra, duo, trio, quartet, choir a cappella, symphonic work, concerto... Corazón Otero

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PRELUDE    

PRELIMINARY PRELIMI NARY REMARKS BY FEDERICO MORENO TORROBA Madrid, 10.3.80

 

In speaking of Maestro Ponce, great musician, great composer not only for the guitar but in other regions of music also, I am bound to make public my admiration for his work.   It was Andrés Segovia who in the year 1923 invited me to write for the guitar. guitar. I refused at first because I am not a player of the instrument, and I had some qualms about undertaking a labour for which I had not enough experience to be successful; but  by his insistence he made me start my guitaristic toil, that today has reached a good number of works, for guitar and orchestra as well as guitar.   At that time Andrés Segovia got to know Manuel Ponce in a Mexican tour, and on his return Spain praisedPonce’ this great master me as deserved. I was sufficien sufficiently interested to to study Manuel Ponce’s s work thoroughly thorotoughly. . he And I was not unaware of tly so great a master’s toil in other fields, including that of light music, where he was famous for his work  Estrellita; but on getting to know his guitar compositions, solo and with orchestra, I was altogether captivated by his art, of a delicacy, classicism and beauty  justifying the round statement that he was a composer worthy of the front rank  particularly for the guitar. guitar.   His facility in composing was extraordinary. extraordinary. Segovia told me that once in Paris he wrote, over a cafe table, half in jest, half in earnest, a study in imitation of Bach; so that today when listening to this improvisation it needs an expert to tell who fathered the work, Ponce or the great German composer.   In one of my journeys to Mexico, when Ponce already had the illness that deprived him of his ability to compose, I realised I was faced with a man endowed with virtues not only as a musician but but as a human being. I saw a man endowed with vvirtues irtues not only as a musician but but as a human being. I saw in which, combined with everything he signified in music, made me consider him an exceptional artist.   To sum up, I would like these lines to be taken by those who read them as a testimony of admiration for Manuel Ponce, composer and friend.

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FANTASIA Portrait of a Creative Life

  Don Felipe Ponce arrived hurriedly at Fresnillo, Fresnillo , Zacatecas, Zacatecas , from Aguascalientes, on the fall of Maximilian’s empire, in the régime of which he had collaborated. Don Felipe was afraid of political reprisals from his republican countrymen who had had returned triumphan triumphant.t. He had therefore decided decided to take his family to Fresnillo, accepting an offer made by Don Antonio Pugar, a merchant of the region, to look after the accounts of his business.   On December 8th, 1882, Manuel, 12th child of the couple Felipe Ponce and María de Jesús Cuellar, Cuellar, was born, in Zacatecas. From his crad cradle le on Manuel Manuel had the good fortune to have a mother of great artistic temperament, who was always anxious for her child to study music; so much so that the child learnt the notes of music before the letters of the alphabet. The Ponce family returned to the city of Zacatecas when Manuel was only two months old. There they had a large ho house use near the church church of San Juan de Dios, with  patios, fountains and trees that were the joy of Manuel’ Manuel’ss infancy infancy..   His sister Josefina noticed that Manuel was surprisingly precocious musically, musically, and gave him his first lessons in piano and solfa solfa when he was four years old. Manuel showed himself an obedient child, silent and studious.   At five he caught the small pox, and during his convalescence he composed his first work, The Dance of the Small Pox.   One of his favourite pieces was the popular March of Zacatecas, which he could  play the piano at sixatwith ease andsent fire.round The neighbours heard and wondered. One of them,onhaving a party his house, to ask for the “loan” of the child who  played the piano, so that his guest could hear him. Manuel’s Manuel’s mother was afraid that he would not agree, owing to his great great timidity. timidity. She was very astonished when her son happily accepted the invitation. invitation. Quickly, Quickly, almost afraid that he would change his mind, they put on his overcoat, for he was in poor health, and took him by the hand to the neighbour’s house.   Manuel played the famous march with brio, and in the general enthusiasm the wife of the governor of Aguascalientes, who was among the guests, congratulated him and place in his hand a shining piece of silver. So did Manuel receive his first  payment. 6

 

  Every day along the street in front of his house there passed a tram drawn by mules. Manuel enjoyed getting on the tram while it was moving. moving. The bad-tempered bad-tempered driver gee’d up his mules to avoid giving the boy a free ride, but in vain, because he was agile and always got on.   Nearly every afternoon he went with his sister Refugio to the Plaza de Armas and to sit in the Garden of of San Marcos to see the procession procession of people out taking the air.. Manuel remained absorbed air absorbed in looking looking at the passing people, and enjoyed enjoyed settling down to write, whistling merrily merrily..   He went to school and was so precocious in his studies that he finished the first course in three years only. only. His mother saw his improvement in music and sought out a  piano teacher; the licenciado Cipriano Ávila was his first regular master. master. At ten years of age, advised by his brother Fray Antonio, Manuel entered the children’s choir in the church of San Diego. At thirteen he was already assistant or organist ganist in the church, and at fifteen obtained the coveted post of titular organist. Unfortunately the Archbishop of Mexico sent out a pastoral letter prohibiting the use in churches of any music except Gregorian, which meant for Ponce a definitive expulsion service. Hefrom had the his church abundant hair parted in the middle and his gaze gaze was brilliant. At eighteen he was scarcely one and a half metres tall and walked with short rapid steps.

Manuel M. Ponce 7

 

  Looking for wider horizons he decided to move to the capital. In Mexico City he stayed with the Spanish pianist Vicente Vicente Mañas, who gav gavee him lessons. The Italian Maestro Vicente Gabrielli gave him lessons in harmony, and counsels that sowed in him the seeds of ambition and unrest.   Manuel decided to enter the Conservatorio Nacional. He was now 19 and  proudly played a great number of his own compositions. He usually used smaller forms such as the Mazurka, Gavotte and Danza. With his friends, the painter Saturnino Herrán and the poet Ramón López Velarde he was in frequent attendance at artistic gatherings.   In the Conservatorio he learned nothing new, new, as the classes were given on an antiquated basis. He was was horribly horribly bored, and decided to return return to Aguascalientes. In this city he gave classes of piano and solfa, s olfa, saving enough to buy a grand piano.   He was obsessed by music, and would drop everything at any moment to start writing. He often left the house in thought, thought, stopped suddenly, suddenly, ran back and entered the house without a work, went to his room and set to writing.  Bajío singers Every got yeartogether in Aguascalientes, people,in bullfighters, theatrical people, at the Fair of trades San Marcos, the typical surroundings of the Mexican Fair. Fair. Here, with many others, others, were found Herrán, Velarde, and and Ponce. The artistic nationalism of these three inno innovators vators owes a great deal to this locality. locality. The rhapsodes and singers who went from fair to fair were a magnificent source from which to learn the Mexican popular songs. Ponce made good good use of these jewels of music, music, incorporating them into his music with sensitivity and talent. San Marcos became rooted in his soul when as a child he played in its gardens, and in his youth youth he planned a national revolutio revolutionn in music. It was here that he met a singular personage who sang songs of the different regions of the country, accompanying himself in his wandering life with an old harp, and launching his songs on the air in a coarse voice and in great style. Ponce also often heard Severiana Severi ana Rodriguez, a famous rhapsode in these parts, a blind woman whom he frequently asked for different songs that gave him interesting musical ideas.   Even the cries of the market stimulated his musical talent. No detail of the soul of the Mexican people escaped him musical genius.

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Ponce at the Fair of San Marcos

  Following once more the instinct of his art, Ponce decided to leave for Europe; to do this he was forced forced to sell his piano. After a long journey journey he installed himself in Bologna and enrolled in the Liceo Rossini. Rossini. He was 23, and studied composition with Luigi Torcchi Torcchi and later with Dall’Olio, a pupil of Puccini. He worked peacefully peacefully with his masters and composed the first and second movements of his Trio for piano, violin and viola, the first Piano Sonata, and Four Mazurkas. Some time later he decided to leave for Germany, looking for a more modern discipline. He enrolled in the class of Martin Krause at the Stern Conservatoire Conservatoire in Berlin, to complete his piano piano studies. He called on the Director, Director, Fieltz, who was also a distinguished conductor conductor and composer composer.. After a few minutes Prof. Krause, Krause, a pupil of Liszt, appeared. He was of medium height, with a beard of French cut. After the Study and a Sonata of  Hummel . Krause noticed the introductions, Ponce played his, and Study uneven rhythms of the asked him to play it again. Ponce understood immediately what was in question, and repeated it stressing the first note of each bar. The Director said in German, with an ironical smile: “Italian style”. From this phrase Ponce understood the whole pride of the Germans, who felt themselves musically superior to the Italians, since all modern composers followed more or less the path marked out by the colossus Wagner.   In Germany, Germany, Ponce fulfilled his tasks as the most persevering of students. He submitted willingly to the iron German discipline, took part in some public  performances, played a Concert Study at a student’s concert at the Conservatoire, and met and lived with famous players.

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  In 1908 his economic position was shaky, shaky, and he had to give piano lessons again to keep going, until, with nothing better in view, he decided to return to Mexico.   A little previously he had had the satisfaction of playing in the Beethoven Hall of Berlin, with an extraordinary success.   Back in Mexico, Ponce dreamt of carrying out what so many masters have done in other countries, and and making use of folklore. Are not popular songs to be found in Bach Chorales, in the symphonies of Haydn and Beethoven, in the works of Albéniz, etcetera? Why should our popular melodies not become the basis of our own art?   This ideas became became profound profoundly ly engraved engraved in his spirit, spirit, as a result of his stay en Europe and a deep study of its folklore. He worked hard to bring his ideas to a successful result. How he fought fought against the the prejudices that existed against against everything that signified ‘popular’ or ‘indigenous’! Hoy many forecasts of failure were made by his colleagues when Ponce announced that he would play a  Mexican Rhapsody in concert! He was not spared irony irony,, or cruel phrases.   In addition he was pursuing a career as pianist-pedagogue, spreading the work of the Impressionists unknown in Mexico. that he so much admired, De Falla, Ravel and Debussy, almost   This year he took over the professorship of piano in the Conservatorio Nacional, left vacant by the death of Ricardo Castro.   His work began to take an ambitious direction. He attacked large musical forms, and not limiting himself to the piano, he began on works of a more conscious nationalism. national ism. He became friends with corresponding correspo nding figures in litera literature; ture; the circle that had gathered round the educator Justo Sierra welcomed him warmly. He visited the shacks of a manufactory of pulque, where they were much moved by the singing of the natives.  

In 1911 he wrote his first large work, the  Piano Concerto. He also wrote a  Dialogue of Love for the piano, with these works in the Dedication: “Keep these little  passionate flowers, cut from the Autumnal garden of my agonising youth... One day, day,  perhaps, they will bring perfume to your your hours of boredom, of rev revulsion.” ulsion.”   At the end of 1912 he took the train to Aguascalientes to spend the holiday with his family and friends. friends. Looking into the starry night, he was inspired to write his song, song,  Estrellita. He composed it without complications complications of counterpoint, following following the lines of the Mexican Bajío Bajío songs. It was for voice and and piano, and he wrote the words also.   10

 

                   

First phrase: Estrellita del lejano cielo que miras mi dolor, dolor, que sabes mi sufrir, baja y dime si me quiere un poco porque yo no puedo sin su amor vivir. vivir. Second: Tú eres, oh estrella!, mi faro de amor, amor, tu sabes que pronto he de morir. morir. Ritornello: Baja y dime si me quiere un poco porque yo no puedo sin su amor vivir. vivir.

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  Ponce founded a piano academy, academy, and Carlos Chávez was prominent among his  pupils.   Ponce initiated the nationalist Mexican school, that has influenced not only our composers, but has passed our frontiers, some composers writing works with Mexican themes.   We find him in full production producti on of works with national nationa l themes, themes , composing composi ng and harmonising. He intended to ennoble the Mexican song, raising it to the level of the concert hall. He made arrangements of  La Pajarera  and  La Valentina for voice an  piano. He wrote some very interesting works such as  Balada Mexicana,  Arrulladora  Mexicana, and  Barcar  Barcarola ola Mexicana. In spite of of these obvious titles, his nationalism was not wholly pure, for he was already under European influence. In 1913 he gave his first lecture, “Music and the Mexican Songs”, causing a real upheaval among the intellectuals. intellectuals. In this he noted the rise of a national musical musical consciousness, and a new evaluation of folklore.  

At a concert he met the contralto Clementina Maurel, of French extraction. They were in complete sympathy, and with Ponce at the piano she, now and again, interpreted his music. They became engaged, engaged, and she left for for Europe.

  Clementina Maurel 12

 

  In March 1915, Ponce went into voluntary exile in Cuba, settling in Havana with two friends, the poet Luis G. Urbina Urbina and the violinist Pedro Valdés Fraga. There he nourish nourished ed himself on a sensual and syncopated syncopat ed type of music. His Sonata for cello and piano is under Cuban influence, as is also the Suite Cubana,  Paz de Ocaso (Sunset Peace) and Rapsodia Cubana. He made friends with the most distinguished of Cuban artists and thinkers.   Havana was a musical centre of considerable importance. Its concert halls were a necessary stage for all European artists on the American tour. and Ponce soon attached himself to this rich concert activity. activity.   He founded the Academia Beethoven that had a quick success and enabled him to live on teaching. At the same time he wrote wrote articles on music in the papers and reviews.

 

Manuel M. Ponce

 

In 1916, he went to New York to give a recital of his works. Back in Cuba, he wrote to Clema, 4th May, May, 1917

 

“Dear Clema: Today being Holy Thursday I have no afternoon classes. I have  put aside the Beethoven score that I have been studying with great attention. And the sweet emotion that your memory arouses joins with the emotion of the music that I have been listening to without ears... 13

 

 

   

My life, you have arrived in my heart enveloped in immortal harmonies, your face filled with light, your divine eyes filled with love, your mouth, the nest of my happiness, filled with kisses... You have arrived in my solitary room and your hands of nard caress my ashen head, grown grey on the long road of my sufferings. YOur hands give me new life. Your lips know know how to pour out the miraculous wine that makes my heart drunk with joy and kills all ancient sorrows. And now my soul speaks with your in the peace of the evening, speaking and singing all the phrases of love... O my Clema, if you could understand all my immense love, you would never have doubts doubts about it. I sigh for you, you, my angel. When will you be here? When will I have have the happiness of enclosing you in my arms?... Manuel de Clema”

  In March 1917 Ponce was named professor at the Conservatorio Nacional of Mexico and decided decided to return to his country. country. In this same boat from New York he meets his bride-to-be, Clema. Clema. How enjoyable was the journey from Cuba Cuba to Mexico!   On September 3rd of this year they were married. The National Symphony Orchestra played during the wedding.

 

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  As a result of his wife’s wife’s French origin, Ponce began to feel the influence of France, and most of his compositions are dedicated dedicated to her her.. He had great verbal facility, facility, and whenever he spoke to Clema he did so in verse.   Clemita, as everybody called her, always took care that the maestro could compose peacefully, peacefully, and tried to avoid the slightest sound. She made the servants wear shoes with rubber soles, and walk on tiptoe. The telephone telepho ne and the doorbell were wrapped in cotton so that they could not ring too too loudly. loudly. She liked to sit on guard at the door of his study.   A barrel organist took a fancy to playing under one of the windows. Clema ran out, gave him a peso and told hhim im to go, as the maestro was composing. The organist, organist, very astute, came every day at the same time, knowing that he was certain of a peso  before he even began to play. play. The revolution had left a gap in the artistic artistic movement of Mexico. A directorate directorate of Fine Arts was therefore created, charged with co-ordinating, centralising, and generating initiatives with regard to Art. Ponce was nominated Director of the National Symphony Orchestra. His  proverbial kindness and the respect in which he was held were important factors in i n the smooth running of this musical body which was then so disorganised. This experience with the National Symphony awoke awoke in him an ambition for large large musical forms. In 1919, he decided for political reasons to give up directing the Orchestra, and to dedicate himself to composing and teaching. In April of this year he founded the Revista Musical de México.  

The preparation of lectures and the organisation of concerts of his works took

up most of his time; and so he began more and more to confront his listeners as a great Mexican musician.   The doors of Ponce’s Ponce’s house were always open to all: he was most hospitable and generous, and of a peaceful peacefu l character, charact er, enthusiastic enthusi astic in conversation. conversa tion. He had a good knowledge of dates, names and anecdotes, anecdotes, conversed always with sparkling eyes. He was much sought after in society, spoke several tongues, French, Italian, English and German, as well as Spanish.

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ALLELUIA Ponce’ss creation for the guitar begins Ponce’

  In 1923 the Spanish guitarist Andrés Segovia went to Mexico for the first time and met Ponce, who who was impressed by the beautiful sound sound of his guitar. guitar. He wrote an article about Segovia’s first concert.  

Musical Chronicles by Ponce in El Universal, 6.5.23

 

“To “To hear the notes of the guitar played by Andrés Segovia is to experience a feeling of intimacy and the well-being of the domestic hearth; it is to evoke remote and tender emotions wrapped in the mysterious enchantment of things of the past; it is to open the spirit to dreams, and to live some delicious moments in

 

the surroundings of pure art that the great Spanish artist knows how to create... Andrés Segovia is an intelligent and intrepid collaborator with the young Spanish musicians who write for the guitar. guitar. His musical culture culture allows him to transmit faithfully through his instrument the composer’s thought and so to enrich daily the guitar’ guitar ’s not very extensive repertoire... At the end of his recital he played the Sonatina of Moreno Torroba, which in my modest opinion was the most important work of the programme, magisterially  performed by Andrés Segovia in his introductory recital before the Mexican  public. This Sonatina shows us a composer full of melodic ideas, a musician who understands classic forms, a knowledgeable folklorist who knows how to

 

construct,of with elements of rhythm and popular melodies, works important  because their development, and harmonic harmonic tendencies. Casals and Segovia are among the few artists who have at once made themselves masters of the admiration and enthusiasm of our public...”

 

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Andrés Segovia

  Andrés Segovia asked Ponce to write a work to increase the scanty repertoire of the guitar.. Ponce was not guitar not slow in finding inspiration for such a beautiful instrument instrument and composed his first guitar work: Allegretto quasi Serenata.   Some months later he included this work as the third movement of his Sonata  Mexicana, which he sent to Andrés Segovia together with a guitar arrangement of  La Valentina. modera to,  Andantino affetuoso,   The Sonata consisted of 4 movements,  Allegro moderato  Intermezzo and  Allegretto un poco vivace.

In this this Sonata he used popular themes of Mexican folklore. folklore. The first movement is in sonata form, using native rhythms rhythms in a graceful manner. manner. The second is written, oddly enough, in 5/8. In spite of its irregularity he uses the measure measure to attain a very tender aand nd expressive effect. The third is an  Allegretto  with the movement of a Serenade, using the theme of the  Jarabe Tapatío. The fourth is a somewhat somewhat nostalgic Allegro of great virtuosity. Segovia played the Sonata. The public applauded enthusiastically, enthusiastically, aand nd asked for it in other concerts. The critics praised it unbounded unboundedly ly and the Spanish composer Manuel De Falla was altogether enchanted when Segovia played it to him.   Segovia was happy, happy, and began to receive works from European composers who took part in his efforts to re vindicate the guitar. guitar. 17

 

 

Segovia to Ponce, Paris 1924:

 

“...Seeing this whole group who are exalting my beautiful instrument, I think every time with more gratitude of those who answered my call, that is, Torroba and you (after Torroba Torroba and before you it was De Falla who wrote his Homage to Debussy) and again I want to give you my sincerest thanks. But don’t imagine that I intend to limit myself to the Sonata and the ingenious Valenti alentina. na. I am coming back to ask you for more things because all are necessary for my numerous concerts, in every one of which I want to see your name. I would enjoy having having something else by by you - have you a mind to it? Adiós, a hug from your good friend who loves and admires you.”

 

 

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In 1925 Luis G. Urbina wrote (El Universal):

 

“Manuel Ponce is an example to be imitated. From the viewpoint of the struggle for existence, he has strength of will. From the viewpoint of musical aesthetics, he is an innovator innovator.. Like all beings who have much to say to themselves, he is rather reserved, rather silent, rather solitary. solitary. Ponce is wrapped in himself, contemplative; contemplative; his moral good health never allows him to be contaminated by envy. envy. Ponce’s Ponce’s talent is not only new, new, but innovatory. innovatory. Fond of flamboyant forms, his music is cast in a mould and style that, exuberant in thought, searches for and finds rhythms, melodies and harmonies of strange textures. All things things that submit to his inspiration take on a personal aspect. He embodies his impressions lyrically, tells his interior life, his whole passion, tenderness and dream. The maestro’s maestro’s fantasy is vast, luminous, his sensibility so delicate that a sigh of of love shakes it. Ponce owes his innovations innovations to Mexican music, in these

   

 

 

delightful tentatives towards clarifying and purifying our popular songs. The great masters well know that the people are the best, most sublime of musicians, because through the years they gather together in their highest  purity the songs of their surroundings and their race. Manuel Ponce, exquisite  poet, contemplative contempla tive soul, young and able, is audacious, audacious , He lifts the melancholy and sonorous soul of our people to the highest glory of Art.”

Clema and Ponce 19

 

PARIS

  At 43, a finished Master, Ponce felt that he was behind many of the innovations and crystallisation of a true contemporaneous language, and was therefore disposed to revise and extend his technique t echnique of composition. In order to reach Europe, the vanguard of musical composing, composing, he obtained obtained a commission commission from the Ministry of Edu Education. cation. On the 25th of May 1925 he embarked for France with his wife Clema.

Ponce, Clema and some friends at the Eiffel Tower 

  He settled in Paris and laid the basis of his great friendship with Andrés Segovia, a friendship that grew to be a close relationship. So did Segovia begin his constant perennial labour of stimulating Ponce to continue composing for the guitar. His continual aim was to make these beautiful compositions known; he preferred Ponce’ss works to those of any other composer and played them incessantly. Ponce’ incessantly. He also helped him in every way to get his music published and whenever possible introduced him to great musicians. Ponce returned him him talent, music, and sincere friendship.

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  Finally Ponce understood the guitar so well that, although he could not play, play, he composed for it copiously copiously and with much much facility facility.. His verdict was: “The guitar is an exquisite instrument, containing a singular world, sensitive, delicate, mysterious.”   In Paris, he felt and thought like a Frenchman, and this can be heard in his works. He changed his hair style, brushing it backwards. The years years had begun to turn his thick hair white, and this, with his lively and tender eyes, gave him a characteristic appearance. corazó n, for the guitar. He wrote He arranged his songs, Estrellita and Por ti mi corazón the Prelude in B minor.   His commission in Paris was to study “The new tendencies in the art of music in its different aspects: pedagogy, pedagogy, folklore, etc., and the procedures used in collecting and classifying popular popular songs. “He sent a report to Mexico of what had to be done to ensure that the music of folklore should no longer be the victim of ignorance and the speculative wishes of “arrangers”. He suggested that that the Government Government should set up a controlling committee that would go to every region and recover the music in its true traditional form. Once the melodies were catalogued and arranged by regions and subjects, a volume of them could be published, furnished with notes and photographs.” At the end of his interesting report, he wrote:  

“From these remote melodies, from these remote melodies, from these sounds, languid or vibrant, plaintive or spirited, Mexican music could one day be born at the breath of a composer of genius, stylised in modern forms in which would  be enclosed notno thelonger simpleoffer melodies, butofthe that perfume, they can diluted create. Then we would the roses ourambience garden. Their in the magnificence of some orchestral poem, would be enough to obtain the supreme desire of the student of Folklore; the work of art as the expression of spirit of a people.”

  In 1926 he composed his  Prelude for guitar and harpsichord. This  Prelude so  pleased the composer Moulaert that he arranged arranged for it to be played in Brussels. Ponce’s exclusive time of production was in the morning, in the concentration of his study. He first constructed the architecture of the work mentally, then awaited the

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maturing of the idea, needing a gestative process in the mind; then, finally, in the  possession of the melodic themes, he attacked the execution, execution, writing on the stave.   Ponce finished his Tema Variado y Final . Based on an original theme of great  beauty,, there are six variations, and a very lively finale of great  beauty great lyricism.    

Andrés Segovia to Ponce, (Geneva, 21.8.26) “I see with regret that you have not decided to visit us; I am sorry for it, for I was hoping that you might hear the Sonata in A minor that I have been working on, the Variations that I brought out in Evian, keeping you a concert  programme. I have also begun to study the Prelude in B minor; I am waiting for for its Fugue with an impatience that is renewed daily... daily... So have I consecrated the summer to Maestro Ponce and to my studies in harmony, for which also I need, and am waiting for you sage counsels; more precious for me than those of any other master because they are impregnated with our good friendship, a powerful inducement to overcome obstacles and to advance further...” further...”

 

Ponce composed two Spanish songs, Canción Gallega and Alborada.

 

Clema and Ponce 22

 

In 1927 he also composed his Sonata III . In this he used a more more contemporary contemporary language. It is in three movements,  Allegro Moderato, Canción,  Allegro non troppo. The first movement movement is in full sonata sonata form. Ponce had now now a greater knowledge knowledge of the technical possibilities of the guitar and used it in this work, a sonata of great difficulty. The second movement is a nostalgic song of great great beauty. beauty. The third in rondo form has a brilliant passage in tremolo, under Spanish influence. There is a fine coda, concluding with a series of very slow dramatic dramatic chords. He sent the work to Segovia who studied studied it at once once and put it in his programmes programmes for London, London, Geneva, and elsewhere.

 

  In the same year Ponce brought out a music review in Paris, La Gaceta Musical. It was the first music review in Spanish to be published in France, and was entirely dedicated to music; it represented a true bond of union between the many musicians of Spanishh speech. Ponce was the soul of the Review, Spanis Review, did everything everyth ing from the reverent analysis of the work of Paul Dukas to the licking of stamps. Together with Mariano Mariano Brull, he worked indefatigably. Segovia helped him to get articles for the review,  putting him in contact with important composers, critics and musicians in Europe, and also introducing him to the house of Schott for the publication of his works. Ponce and his collaborators worked every afternoon from 5 to 7, collecting and going over their material. Great personalities such as José Vasconcelos, Vasconcelos, Joaquín Rodrigo, Manuel De Falla, Alejo Carpentier, Carpentier, Paul Dukas, Salvador de Madariaga and Joaquín Turina among others had given or promised them articles. The first number number of the Gaceta Musical appeared after endless careful work, on January 1, 1928.  

Ponce rose at 7 in the morning to start writing. He had to copy and revise the Tema Variado  which Segovia had already fingered, and send it back to him for  publication. Ponce registered at the Ecole Normal de Musique, in the composition class of Paul Dukas. Here he associated with the Spanish composer Joaquín Rodrigo and the Brazilian Hector Villa-Lobos. Villa-Lobos. They studied in the same class and became good frien friends. ds. Ponce and Clema live in a little simply-furnished apartment and had only the essentials. The piano took pride of place. Here he spent the whole day working; composing, studying, studying, analysing. On Saturdays he ate with a group group of artist friends. Alfonso Reyes and Segovia among others.

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Friends in Ponce’s house

 

Ponce composed the Sonata Romántica Romántic a in four movements, movement s,  Allegro moderato,  Andante expressivo,  Allegro vivo - piú lento espressivo,  Allegro non troppo e serioso. He produced this Sonata in homage to Schubert, displaying his knowledge of the different styles of of composition. He made an exceptional exploration of the sonorities of the guitar, its colours, contrasts and contrapuntal possibilities. It is a difficult Sonata, a challenge to guitarists.  

 

The Maestro Paul Dukas told Ponce: “You “You are no pupil; you are an illustrious musician who does me the honour of listening to me.”

Pupils in the class of Paul Dukas 24

 

 

Segovia to Ponce, (Thorens, Switzerland, 20.7.28)

 

“I am in the full revision of your works. Sonata III is ready. I have accepted the ending of the first movement, since the other hasn’t come, and I have become very fond of it, - It is all very beautiful beautiful and it is a work of importance for for the guitar, the player player and the public. I thank you once more wholeheartedly wholeheartedly.. I have got the Prelude in F sharp into playing order - I mean in B minor - or if you like in both keys, since until the end the key is undefined. I don’t know if you remember, but from the first, ever since you brought it to me at the Hotel on Christmas Day Day,, it has seemed to me one of the most beautiful things you have produced, in spite of its title and therefore of its size. This is still my opinion today and I am playing it with real enthusiasm. The capotasto softens the normal sonority of the guitar a bit, which thus gains in subtlety and  poetry.. The finale of your Prelude takes on the lightest texture of silken  poetry harmony. I have also cleaned up the Andante that you put your signature to in Thorens; I

 

 

have been playing it all day with a dematerialised sonority. sonority. You know that the guitar lends itself to pianissimo as does no other instrument. And so this Andante is as you have dreamt dreamt it. Sometimes a phrase ends in dissolution, imprecise, like an image reflected in a polished surface; and between both ideas it floats like a mist, stretching out towards the repeat. When you hear it you will see that everything that I am telling you is just, exact, and not empty words. At least that is my impression. I am working also on the Sonata in A minor. minor. I started on it yesterday. yesterday. And that’s not all, I have begun to revise attentively the Theme and Variations, getting it in order for printing, if you agree with me that it should be the first of

your works to be printed...”   Isaac Albeniz’s Albeniz ’s daughter Laura approached approache d Ponce to revise one of her father’s father ’s works. She wrote from from Huesca, Spain, 11.7.28: 11.7.28:  

“...From a letter I received from my good friend Dukas, I learnt a few days ago that you were writing me to accept the commission of the opera “Merlín”, by my father. father. The maestro will have told you that this work work is one one of the most important that my father composed, and he dedicated many years of his life to it. I am arranging that the score for piano and voice is sent you at once once so that you can get a better idea of it”.

25

 

 

 

“I wrote to Dukas asking him for the name of some good musician who might attend to these corrections correcti ons and he mentioned mentione d you. We know that the task is long and laborious and that it needs courage to undertake it, but as long as it gets done we are are not in a hurry. hurry. My mother is so anxious anxious to see this work saved saved from neglect that she would give anything to see it finished. Taking all this into account, we shall be eternally grateful.”

  Ponce’s Ponce’s economic situation was not good; the money that should have been sent from Mexico did not arrive, and Clema decided to return, to arrange matters so that they could continue living in Paris, where Ponce had a wider field for development, in his studies as much as in the diffusion of his works.

Clema

 

Segovia to Clema (Paris, 5.9.28):

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“I have just been to a part of America which is not as pleasant as your delicious Mexico, and exactly for that reason I thought frequently about it. Manuel opened his arms at the station, and I rushed into them. I am very sorry you are not here, though I am glad to think that you are enjoying the fresh auras of summer. Manuel have been to Avenue Mark Malaun, and there he made me listen to the Sonata to Schubert, which has shattered me. Now I have work for the Geneva! I am going away without yielding to the temptations of friendship that bind me to Manuel, with whom I can spend a great deal of time without feeling it. Till soon. An affectionate greeting from your gook friend Andrés.”

  Ponce laboured intensely for the guitar. guitar. He dominated every style of composition with such facility that, to strengthen and diversify the guitar repertoire, he agreed with Segovia to compose secretly, under different pseudonyms, works that Segovia would then propagate. In this way they perpetrated a series of jokes that the  public and the critics innocently accepted. So that Prembulos and Pavanes of one or other ancient vihuelista began to appear in Segovia’s programm programmes. es.   Ponce composed the Suite in A at Segovia’s Segovia’s request; this time Segovia wanted to play a joke on Kreisler, who put in the first part of his concerts works by Pugnani, of the 18th century, century, of V Vivaldi, ivaldi, of Corelli, which were in fact his own. Segovia was going to share a concert with him and asked Ponce to write a work in the style of Bach; Ponce composed this marvellous Suite. One day he met Segovia with a beautiful Sarabande  by Weiss, Weiss, and Segovia said: “Look, this is the composer to whom we are going to attribute your work.”   Suite in A: five movements, Prelude, Allemande, Sarabande, Gavotte, Gigue. Suite  Ponce displays his knowledge of Barroque counterpoint;  one canInfeel thishisbeautiful personality throughout the whole work.

Segovia to Ponce (Geneva, 30.9.28):  

“I threw myself at the ending like a hungry dog... and I despair of the guitar. guitar. For the first time, your music turned out to be impossible! and where you would least imagine - in the arpeggios. YOu have come up against the same type of difficulty that makes the violin Prelude in E Major of Bach inaccessible to the guitar.. The difficulty guitar difficulty in both cases consists in this, this, that one has to make make a succession of steps on one string while maintaining a position, at times exaggerated, to get the separated note of the arpeggio. Do you understand? On 27

 

   

 

 

the guitar the technique of the arpeggio is derived almost exclusively from the  block chord. Whatever cannot be done with a block chord will not be possible in an arpeggio sequence, except in slow movements. How is this to be dealt with? I am really in despair, because it pleases me enormously as it is. Please, save it in some way! Don’t change either either the rhythm or the melodic placing of the the chords. Change the form of the arpeggios. arpeggios. You will see how well the three previous movements go. The Andante is delicious; one of the best that Schubert omitted to compose. I spend the day in delicious guitar playing. It’s It’s all difficult, but it’s it’s moving forward slowly. slowly. I am anxious to get it fingered to sent it to Schott. It does honour honour to the the instrument. I shall be in Paris on the 6th, or perhaps on the evening of the 5th. I shall  probably go to the Hotel Roblin. I will let you know. know. A hug from Andrés.”

  Andrés Segovia continued to play Ponce’s Ponce’s works, with great success. He gave a series of concerts in Berlin to packed houses; the works of Ponce were much applauded  by a knowledgeable public and many many musicians.   In Madrid it was proposed to raise a monument to the composer Francisco Tárrega. To help in tis work work Segovia was to give give a lecture-recital, and asked Ponce to compose a piece in Tárrega’s memory.  

Ponce to Clema (Paris, 1928):

 

“...yesterday I was working at the office and Edgar Vârese came looking for me. He had been there there twice already without without finding me. He invited me to his

 

house; naturally, naturally , I accepted. Roussel, Florentwere Schmitt, thewith pianist pianwriters, ist Terán, Terán,painters, Hector Villa-Lobos, Cotapos the Chilean composer there, sculptors, sculpt ors, etc. Among the women there was Madame Roussel who remembered remember ed you and sends greetings. greetings. There was also the Countess Countess of Polignac, the lady who invited us to a concert at Versailles, you remember? Villa-Lobos was very amiable to me, invited me to visit him. The whole world knew me by name name either through Segovia or the Gaceta. Villa-Lobos, in his curious trilingual dialect (French, Spanish, Portuguese) tells me that his music comes directly from the Brazilian forests. It evokes his far-off Amazonas, the violence of savages rhythms, negro melodies twisted in their  bodies’ syncopations, in the frenzy of dances which this composer’s genius has

28

 

   

managed to link together in the prodigious ‘Choros’, one of which caused a scandal in the Pasdeloup concerts. Choros, explains Villa-Lobos, means weeping, and this name applies to the serenade of a lover as well as to the native ceremonies...”

  Ponce went to Barcelona and won a prize with his work  Miniatures for string quartet. In this work he wrote the part of each instrument instrument in a different key key.. During his stay in Spain he filled himself with Spanish music, which, after Mexican, was the type that had most influence over him.   Segovia begged him to compose a concerto for guitar and orchestra, which was his greatest desire. Ponce instead composed 24 Preludes in all the major and minor keys.    

 

   

 

Segovia to Ponce (Geneva, 1928): “...I am greatly delighted with your success in Barcelona. I am sending you Tokyo programmes with your name on them. The Sonata Romántica was much applauded. In Shanghai they liked the Theme and Variations. I made the experiment of playing as encores the Sarabande and Gavotte from the Classic Suite, which caused great enthusiasm. To sum up, yours are the works in all the literature of the guitar, guitar, that have the most value value for me, and for all the musicians who who hear them. And you,  personally,, of all those who have approached me and  personally and whom I have known. I would like you to make some brilliant variations on the theme of the  Folías of Spain, a copy of which I am sending you from the manuscript in Berlin, in an XVIIIth century Italian classic style. I beg this of of you on my knees... If you don’t want to sign it we can ascribe it to Giuliani, of whom many things remain to be discovered. Make altogether about 12 or 14 variations, a work for a whole section of the  programme, which will not be tedious because of the contrast of each variation with the ones preceding and following. The theme is adorable adorable As you know, know, this is an old request of mine, going back to the first days of your sojourn in Paris. Do you remember? It was three or four years ago. Don’t refuse to give me this pleasure. Ask in exchange any any sacrifice from me, except that of renouncing them. them. If you set to work, work, send me me the fragments fragments as you compose them. To return to an earlier idea. If you are on your won in Paris, why not come here at once, with us? It would give us the greatest pleasure. A hug.”

29

 

  Segovia chatted to Casals about the concerto that Ponce was doing for him; Casals at once once became became enthusiastic enthusiastic and and asked Segovia Segovia to reserve reserve the first first pe perf rfor orma manc ncee to be played with his Barcelona Orchestra.   Ponce’s economic situation did not disentangle itself, and it cost him much labour to maintain himself in Paris. Segovia gave him assistance towards some of his scanty necessities.  

 

Ponce to Clema (Paris, 11.10.29): 11.10.29): “I wrote to you on the 8th and sent you some press cutting and a letter from Andrés. Today Today I sent off to Geneva the remainder of the Variations Variations of the Folías. I have worked without stopping. Now remains the Fugu Fuguee on the same theme, theme, of which I have written a third. As one is dealing with the guitar, guitar, difficulties difficulties multiply,, since one has to take into account the possibilities of this instrument. multiply Thanks to God I have been well. I see no-one. You will understand that to be at  peace I need to be absolutely alone. At the moment I am in full production...”

 

Ponce finished finishe d the  Fugue and called the piece Variations and  Fugue on the Theme of the Folias of Spain. This is one of the monumental works of the guitar. Ponce makes use of the virtuoso guitar, profiting by all the resources of the instrument, in technique techniqu e and expression. express ion. The Variations  are masterly, ending with a  Fugue  on a three-bar subject that bears witness to an extraordinary mastery of counterpoint.

Andrés Segovia 30

 

 

Segovia to Ponce (Geneva, 20.10.29):

 

“...The three Variations I have just received are admirable. What emotions I feel!... The first three are very fine and I like especially the second of this group. But these these last three are greatly superior to their companions. The major major is delicious, delicate and deeply musical, smoothly situated as evidenced by all the notes that chain and unchain the chords. The preceding Variations is chaconnesque, that is to say as beautiful as any in the Bach Chanonne. And No. 4, Presto, rather Russian in the beautiful succession succes sion of chords, is truly splendid in rhythm and movement. movement . You are a great musician, dear Manuel, and it makes me enormously glad that in you a great talent and a great soul are mingled. mingled. Moreover I am impatient for for everyone to know you, to love and admire you as I do, so much so that at times I lose all  judgement. But anyway, anyway, you will be appreciated. Returning Returni ng to the Variations. ariatio ns. What about calling callin g them  Diferencias  as in old times?

   

Are you coming? Have you heard anything of Clema? Are you going to spend Christmas on your own? No! This last, no! if you need money to get here, let me know! I shall be seriously annoyed, very seriously, more than you may think, if you have been in difficulties, or if you need money and don’t dare to ask for it. It is a family matter, matter, and of the closest, where where you are in question. I embrace you. Andrés.”

  Ponce had a lot of work, and decided to spend Christmas alone. He worked late hours because there was so much much hubbub in the building that he could could not sleep. He  began to write the Concerto for guitar and orchestra. money problems and not he had trouble his health, His which meant meant that he grew hardlycontinually ever went more out. serious, Clema was at his side with to assist him and look after him; he had to deal with everything on his own. The last day of the year he spent likewise on his own, working.   In Mexico, Clema gave a concert of Ponce’s work with great success. succes s. The couple missed each other and wrote daily, but Clema could not return until financial matters were settled. Since Ponce could not meet the monthly fee of 250 francs, he decided sadly to give up his composition class with Dukas.   On hearing of his resolution, Dukas wrote to him:

31

 

   

“I am really upset, and I want to know what has moved you to abandon my Course. I hope in any case that the Mexican matters will settle themselves as soon as possible. In spite of this you have my very cordial wishes for your personal triumph, more than for those you might have obtained at the Ecole Normale. I have considered for some time that the few counsels that I have been able to give, for the works you create, are directed more to a colleague colleag ue than to a pupil. You are more necessary to me as a listener than I would be missed by you as a teacher. And as far as I personally am concerned, my classroom will always be cordially open to you, as if it were you own home. On the other hand, regarding your relations with M. Mangeot, with whom I spoke the other day about your decision, it is a simple question of coming to an agreement with him, for I think he is disposed to agree with anything you may suggest. Think about all this and and if your determination determination is that you cannot cannot return, or whatever else you decide, be sure you can always count on my friendship and sympathy.”

  On receiving this letter from his teacher, Ponce was much moved, and grateful to him, and inscribed himself as an onlooker, to continue following his wise counsels. In this way he reduce the monthly fee to 125 125 francs. He continued composing and working on the piece by Albéniz. In obedience to his great admiration for Claude Debussy, he went to the cemetery of Passy, looking in the forest of crosse and marbles for the sepulchre of the great musician. Finally in a corner apart he found a simple stone stone of black black marble. Without a cross, without an ornament, without a date... The stone flat on the ground with the letters C Dinenlaced as his they appear appear on title pages of his works. ‘If no monument is raised Passy to memory’, saidthePonce, ‘the affection of his friends and the admiration of the musical world will raise one in some poetical corner of Paris’. And together with Paul Dukas he began negotiations to raise this monument.   He wrote to Clema daily giving details of his life in Paris.  

Ponce to Clema (Paris, 1930):

 

“...The letter arrived from Andrés, at last! He sent me a cheque for 1000 francs and said that at the moment it is impossible for him to come, as these days he is moving house. He offers to come for a few days in October October..

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I shall write to thank him, for he seems to have guessed this is the sum I needed. You can well imagine how opportune this present has been...”

  Segovia was enchanted with the Variations on the Folias; it had the corrections made by Ponce at his suggestion, and he was thinking of playing it soon.    

   

   

 

   

   

Segovia to Ponce (New York, 1930): “I got your letter and with it the Prelude and Variations, which I have now studied. It comes out very well, you have hit the mark with this solutions of the repeated notes. Nothing less was was to be expected of such a consummate consummate master of the guitar as you... Indeed, it’s now very good. The left hand difficulty has disappeared, and those that remain lie within the logic logic of the instrument. I have now studied it, and and it is  possible that I shall play it with the Fugue as an ancore at the next concert. I feel very enthusiastic about the work, it is a chaconne of the guitar, guitar, sufficient to raise the reputation of an instrument, however far it may have fallen, to the height of the most noble; and not for a passing epoch, but for the whole of the future. God willing I shall be in Paris about March 20th. I am taking once again the sumptuous floating palace called the ‘Bremen’. Adiós, many thanks for asking God to protect me. May it be sol I am doing everything possible to merit your petition and His aid because I harm no-one and I am dedicated to the truest and most noble; and most disinterested of human occupations! Adiós, dear Manuel. May He be clement to you also and to the persons whom we both love. And may He not be too rigorous towards towards those whom we do nnot ot love! I hug you.” Ponce to Clema (Paris, 1930): “I am very busy finishing off the work of revision of Albéniz’s Albéniz’s piece, because the lady in Barcelona is asking for it, and I had got behind-hand third act next Friday and I will send it off to her at once. As to the Ecole Normale, I am present as an ‘auditor’. Paulito is enchanted with the decision and so are the companions. I leave you because Merlin is awaiting awaiti ng me. At this moment I am correcting correcti ng a very interesting dance. There is no dou doubt bt that Albéniz had genius... I received you two notes with cuttings, and also a cheque for 100 dollars. A thousand thanks and another thousand for everything. 33

 

 

 

Your success succes s gives me infinite infinit e pleasure, pleasure , and I congratulate congratu late you on having triumphantly endured the trial, which wasn’t easy, given the difficulty of the Romances. I am really really curious curious to hear hear the orchestration. Perhaps later on on we shall be able to hear them here. I have just finished writing a Gran Estudio de Tremolo for Andrés, as he has  been asking me for it for some time. I think he will be pleased with it...”

  Segovia asked Ponce to do a guitar arrangement of a Sonata  by Paganini. Paganini. He also wanted him to hurry up and finish the Concerto, since in various places he was  being asked for it. They suggested to Schott that the Tremolo Study should be printed. Segovia invited Ponce to come and spend the summer in his house by the sea. At that time Ponce had moved to cheaper cheaper living quarters. He found himself in poor poor health, and so was unable to accept Segovia’s invitation.   He finished the Sonata of Paganini, in three movements:  Allegro Risoluto,  Romance (più tosto largo),  Andantino Variato Variato. It is based on on the Grand Sonata for solo guitar with violin accompaniment. accompaniment. The procedure procedure followed by Ponce was to use the melodies of the original, but with complete liberty of enrichment, by ornamentation, changing of harmony, and addition of counterpoint. counterpo int. In the Andantino he uses the theme as a basis for seven variations. The result is a beautiful sonata.

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Segovia to Ponce (Geneva 1930):

 

“I have received the rejuvenated Sonata of Paganini. Before it was impossible to  play it. Now, Now, it is impossible not to play it. The transformation has beautified it to the point that I have had it on the music stand since it came, and all other thingss follow behind thing behind it. The first movemen movementt is now very good good thanks to the intelligent substitutions substitutions you have found. found. The Romance, Romance, exquisite. exquisite. Even the Theme of the third movement has improved, and an artist can now play it without blushing. The V Variations, ariations, specially the Andante and the last, are very good. To sum up, the Sonata has a stronger claim to inclusion in the programme than that of being a new curiosity. And now a doubt; how are we going to announce it on the programme? As a free version, using the title or sub-title that you put on your manuscript? Won’t critics like Möser, Salazar, etc. fall on it? (Their clearest intention being to  prove that they are capable of preferring the authentic version.) On the other hand, to play it without mentioning the changes and the author won’t be correct

 

 

       

 

either, because, since the work has been published, the thickest of critics with the score in his his hand will be able to see the modifications. So what’ what’ss to be done? I believe you will be able to find a more skilful expedient. expedient . Ask Pincherle what name Kreisler gave to rehabilitations rehabilitations of this class. And if it seems good to you follow his example. In any case, in the last analysis the sole excuse and explanation seems to be that of the ‘free version’. If you consider consider that the guitar has only a tiny repertoire, repertoire, and that you are trying to enrich it by continual labour, then the rehabilitation of another’s work could well be part of it... Did you get my last letter? What do you think of the idea of a Sonatina of Spanish character? Wouldn’t Wouldn’t youtempted like to dotoit?explain I desirewhy it ardently. ardently . offered the Whenever I write to you I am I haven’t  Prelude,  Folias and Fugue  to Schott. Then I forget, or I’m in too much of a hurry. Today it shall not escape me. O everything everythi ng you have written writte n for the guitar, the piece that I most love  -a level of feeling higher that I like - is this one. Next comes the Sonata to Schubert , then the Weiss Weiss Suite... and all the others. Between those that I like least of yours, and those that I like of other composers, there is a great distance, in your favour favour. Having made this declaration, which which you will not mind because you have known it for some time, I am going on to tell you the reason why the work hasn’t been published. In the first place Schott wants to space out the publication of difficult works. 35

 

 

   

The Sonata of Manen has been under consideration for two years and will be out in a few days. A work such as yours which is even more more difficult difficult technically and musically has to wait a bit, and in the meantime your Tremolo will appear. While this period is passing passin g I can go on playing the work, giving it a first hearing in well-known places. Do you agree? I embrace you with all my heart.”

   

Ponce wrote the Sonata Clásica (Homage to Sor). He struck this Sonata in classic mould, with its division into four movements:  Allegro,  Andante,  Minuet  and   and Trío,  Allegro. He caught the essence of the classic style and the music of Sor, Sor, permeating it with a personal vision. vision . The  Andante’s lyric poetry and the beautiful melody of the  Minuet , contrasting with the splendid Trio, should be noted. Segovia to Ponce (Geneva, 31.8.30):   “I am finishing finishi ng off copying and fingering the Variations ariati ons so that I have them

   

 

ready when they are offered to Strecker, and I see that the Fugue is missing, I don’t know know where it could have have hidden itself. Today I have turned over my whole musical library, manuscript and printed, I have looked inside note-books, and I haven’t been able to find it. It is so well kept that it doesn’t doesn’t appear, appear, and one fine day when it is no longer needed it will rise up from the bosom of the library.. For the moment library moment it is a fugitive... Do you think you could take the trouble to copy it out again and send it to me? For I am afraid of committing some fault of musical orthography if I write it down from memory. memory. (A thousand pardons, and a thousand thanks.) thanks.) I am afraid that in spite of propitious surroundings you are not going on with the Concerto. What are youthat working on at present? I am jealous anything anythinwork, g which is stealing the attention you should be consecrating to thisofearlier on which many hopes are built. After all, it is better if you don’t hurry, hurry, but prefer to distil this work drop by drop and pay no attention to my impatience. But while the Concerto advances, while it is reaching the age of virility, why don’t you write a Sonatina - not a Sonata of a purely Spanish character? It could be offered to Schott, to go in the series of medium difficulty. difficulty. Why don’t you do so? I wish enormously you would write it. Make your mind up. up. Here you have themes enough, although in reality you don’t even need them. Well, send me an answer. You know how much you are loved and admired by Andrés.” 36

 

  Finally Clema returned from Mexico and the couple met once more in Paris. Ponce continued working working intensely. intensely. He composed, prepared prepared his lessons for the course with Paul Dukas, and each month edited La Gaceta.  

Ponce and Clema

  Turina to Ponce (Paris, 1930):    

 

“I received your kind letter and the cheque. A million thanks. The article seen in the Gazette seems a bit short; in the next I shall have to add a couple of  paragraphs. I have also received your three vocal works. The one actually that most pleases me is ‘La Mort’. It It is a true bull’s bull’s eye, and I congratulate congratulate you. I am going to lend it to Crisena Galatti to sing, if you don’t mind. Concerning the Ivo Songs, I assume they are difficult because of the time signature 5/8; you know already how badly singers keep time. A thousand thanks for everything and an affectionate greeting from your good friend. Joaquín Turina. Say hullo to Carpentier for me.” 37

 

  Ponce composed  Preambulo. He finished his Sonata for guitar and harpsichord. This combination was a happy find of his, producing an effect full of richnesses of timbre. There are three movements:  Allegro Moderato,  Andantino,  Allegro non troppo e piacevole. When he had had finished it he sent it to Segovia. Segovia to Ponce (Athens, 1931):  

“I have agreed to the proposal of playing in the Paris Opera. It will be on May 19th, in the evening. evening. I made quite a resistance, but but the impresario was so  persistent that I have agreed. I am almost certain, from your information and from what I remember, remember, that the concert will be well heard. The only thing that worries me is the programme. programme . I am thinking of including includin g the Variations on the  Folias, without the  Prelude, but with the  Fugue. I should like to play the Gigue and perhaps one other movement of the Weiss Suite  ...I will play four or five things of Bach and I will open the second part with the  Preambulo  you have

 

now made for me, which sounds well and vigorous... I beg you to arrange the  piece I send you, and to return it to the Acropole Acropole Palace; Athens, without loss of time. Tell me also to whom we are to ascribe the  Preambulo. I am much afraid of those contrary movements in the  Maestoso. If you think they will pass, leave them; if they are likely to raise any angry suspicions, modify them... But  por  Dios write to me at once because because it is urgent for me to give the programme. In any case telegraph the name of the composer, so that I can send off the list of them for the posters. How are things going? Do you need anything? Ask for it!

 

A hug from your friend Andrés.” Andrés. ”

 

  Segovia put Ponce in contact with Manuel De Falla, and they loved and admired each other. other. Falla introduced Ponce to his publisher. publisher.  

De Falla to Ponce (Granada, 1931):

   

“Querido Compañero: You owe me no gratitude; my interest is an interest in justice for music itself, and my keenest wish is that the business may come to a successful conclusion. So, before you begin, let me point out the risks you run if you don’t take some

38

 

   

       

indispensable precautions with the publisher (however much your friend he may  be, and however excellent). Please be so kind as to let me know, know, from the list of your works, two or three of distinct importance that you want to have published first, so s o that the pourparlers  can be initiated. Otherwise there is a danger that the publisher disadvantage disadvantage to their evaluation from the publishing point of view. view. The best thing in my judgement is to choose three: one that is easy to sell, another of less easy outlet, and more expensive because of its instrumental material, and another small one which comes to a sort of tip for the publisher. publisher. Other precautions must be taken with regard to the recording rights, exclusive rights, etc, and above above all, meditate serenely before signing the contract. contract. Answer me as soon as possible so that negotiations can begin at once. My respects to your wife, and to yourself a very cordial greeting from your most affectionate comrade.” Ponce composed four pieces,  Mazurka, Waltz , Trópico and Rumba, each with its

own enchantment. The Mazurka has a Spanish flavour, the Waltz  captures the charm of the Mexican waltzes, the Trópico and Rumba are two pieces full of Cuban rhythm.   Ponce suffered a relapse into sickness that robbed him of all peace. Clema looked after him with loving attention. The days passed, and with them, happily happily,, his most painful sufferings. He was able to compose once more and finished the Suite Antigua, in five movements:  Preambulo, Courante, Sarabande, Tempo di Gavotte, Gigue. It is in the Baroque style, and in it we see again his knowledge of every style. Chapultepec which he had begun in 1922, and He his finished his symphonic workhis Sonatina Meridional  and  Homage to Tarrega Tarrega. composed   The Sonatina Meridional is in three movements: Campo, Copla, Fiesta, of great great charm and under Spanish, S panish, particularly Andalucian, influence.

   

Segovia to Ponce (Geneva, 1932): “...If you could see how splendidly the Sonatina has turned out!!! That reminds me, I tried the Andante and the Allegro Allegro in the concert here, and afterwards there wasn’t a musician in the hall who didn’t talk of it to me with enthusiasm. I don’t know what task to give you to employ your spare time. Another Suite Antigua, or a Fantasia on the two or three most beautiful songs of Castile that

39

 

   

you have there. Either of those two things would seem like pearls to me. It is for you to decide. Greetings to Clema and a hug to you from Andrés.”

  In July 1932 Ponce finished the Course of Paul Dukas and received his degree of composition from the Normal School of Music of Paris. Visibly moved, Duka Du kass declared:   “The compositions of Ponce carry the stamp of a most distinguished talent and for a long time have not been classifiable class ifiable as scholastic work. I find it difficult to give a marking, even the highest, that expresses my satisfaction in having had such a distinguished student.”

 

Paul Dukas

  He was given a marking of thirty in place of the conventional conventi onal ten. As a leavetaking to Ponce, some of his works were played in the Ecole Normale.

40

 

INTERMEZZO  Nine years respite

  Clema stayed in Paris while Ponce went to Mexico, traveling with Segovia. The weather was bad, the boat was very unsteady, unsteady, and they were sick, especially Ponce, who was in very poor health.  

Ponce to Clema (on board the Espagne, February 1933):

  “Today, “Today, the eve of our arrival at Veracruz, is the first time I have been able to write to you at length. As perhaps you you have had through Brull, Brull, news of the the state in which I reached Havana, I don’t want you to get alarmed, and in any case, God be thanked, I can tell you that I am completely well and sailing through our Gulf in splendid weather. ...As I told you in my card from Havana, for ten days we had atrocious weather...   I can never repay Andrés all his delicate attentions, the generosity, generosity, the patience with which he has has treated and con continues tinues to treat me. Write a few lines, thanking thanking him for his infinite generosity towards me. me. Such a friend is really a treasure, rarer and more  precious that radium in the depths of the earth. earth.   We are thinking of going straight straig ht on to the Capital tomorrow. I love you and send you a thousand besitos.”

 

Ponce and Segovia 41

 

  Ponce and Segovia reached Mexico City. City. They were very well received and all their friends welcomed them. Ponce was offered classes at the Conservatorio and in the University. University. Although the salary was poor poor,, he was forced to accept, for he needed it to live.   Ponce to Clema (Mexico City, 28.3.33):  

“I have accepted the classes of the History of Music and of Piano at the Conservatorio Conserva torio and another one of Composition at the University. You can well imagine how I have been been burdened preparing preparing the History classes - which are twice a week - for which I have to read a lot and make summaries that will interest the students. After my first History History class, Revueltas came to tell me that the students were ‘enchanted’, ‘enchanted’, and that he congratulated congratulated me. The University University class is not only in Composition but in ‘aesthetic application, technique and  pedagogy’. It only has pupils who are doing the last year of their curriculum, so that I have violinist,s pianists, singers, composers, etc. For the instrumentalists I correct their interpretation in general and explain the significance of the work in musical literature, supply facts about the composition, the tradition, etc. For composers I analyse the works they bring, and make suitable observations. The class is very tiring, but I had to accept, considering how difficult it is at  present to get money here. I spoke to Wagner Wagner and Levien asking if they could let me have a small hall twice a week for special classes. With their usual kindness they said they indeed had one which was very well suited, so that I shall soon start these classes, which will bring me in a few more pesos.

 

 

Our Segovia finished his for season the where same success whichforheEurope. began.  Now he leaves Havana Newwith York, he willwith embark According to his calculations he will be in Paris on April 10th or 11th. Arrange with him what best suits. In accordance with what we have talked of so often, I agree that you should seize the opportunity and prepare a little  programme well. Perhaps Lublinsky will be able to arrange a recital on good terms. Find out in due curse how much you wo would uld need in a given case, Also tell me if I have to send s end you 1000 francs a month. Thank Andrés for me, and ask him for the score and parts of the ‘Symphonic Sketches’. You can send them to me with the other manuscript manuscript papers. papers. In this way you will have less work when you have to move.

42

 

 

Look after yourself, my love, and try to be peaceful. Yo me las capoteo muy bien (overcome all difficulties with a flourish)  and the world knows that I take only a little rice, vegetables, vegetables, and a small piece of chicken, if that. The whole wor world ld greets you affectionately, affectionately, and I send my heart with a thousand besitos.”

  In May he was named director of the Conservatiorio Nacional de Música, and celebrated his appointment with his delighted friends.  

(From El Jalisciense, Mexico, May 1933):

 

“A grance over the life and works of Ponce is enough to convince us that it would be difficult to find in the Republic at present anybody better prepared for the direction of the Conservatorio. His biographers biographers can tell of the tenacity of the forces consecrated entirely to his art. It would be hard to find a spirit more constant than his, with the rare and precious virtue called: discretion. Far from the fury of passion he meditates and smiles.

         

Hence his sympathy and the don de gentes (the gift of pleasing people) which makes him respected by all. I have never - a thing unheard of among musicians musici ans - heard him speak ill of anyone. Consecrated to the cultivation of his art, he knows that with genius and skill he has everything within him, and that each must bring his message, creating with sincerity. Uniting such gifts, is there anyone better prepared to assume the responsibilities and generate the dynamic enthusiasms that are comprehended in function of directing?

 

T o suchout.” human excellencies Manuel Ponce adds the glory of a great work carried

 

Ponce to Clema (Mexico, 1933):

 

“Yesterday “Yesterday I sent you an air letter; this is going by the ordinary route because the tariff for France has gone up to 75 cents. Paris, how far you are!.. Every day accentuates my nostalgia for Montparnasse! So far the Conservatorio Conserva torio has paid me nothing. There are a thousand negotiations negotia tions to go through. They are going to take from me - as from everybody - a day’s day’s wages for the Revolutionary Party (whose President President gets 5000 pesos a month!), another discount for pensions and another contribution

   

43

 

       

for the monument to the Revolution which will be put up where the skeleton of the Legislative Palace is. Total, some 60 pesos a month less. Do you think this is just? Find out the first class fare on a German or French boat, in this way I can get an idea more or less of what you will need to come back. Make sure you have a talk with Andrés... Till very soon, my life; look after yourself carefully and remember that I never forget you, and I send you a thousand besitos from your Manuel.”

  Ponce worked a great deal, and in his few free moments he finished the work of Albéniz and sent it to the maestro’s widow and daughter, who were deeply grateful and wanted to repay him for such an arduous arduous and difficult task. All that Ponce would accept was a watch that had belonged to Albéniz, as a memorial.   On this 9th of February 1934 a concert was given in Paris dedicated to Ponce’s Ponce’s works. This event closed the fruitful Parisian cycle with a beautifully balanced  programme, including music of his late period as well as of his youthful stage. Clema Ponce sang two songs. The concert was a complete success.

44

 

 

Le Monde (Paris, 29.2.34):

 

“The atmosphere of the melodies of Manuel Ponce is charming, and singers should include this music more frequently in their programmes. Afterwards came three Preludes for ‘cello and piano, interpreted with rare musicality and a fine sound sound by André Huvelin. Other works works of quality were given given in this concert, at which the Parisian public were happy to applaud Manuel Ponce, musician of merit, who has many friends in Paris among the most distinguished representatives of our art.”

  Clema returned to Mexico to rejoin her husband. He continued to encourage the study of folklore at the National School of Music. His great friend the poet Luis G. Urbina died, and in his memory Ponce composed a symphonic work, the Poema Elegíaco. On September 29th 1934, the Palace of Fine Arts was inaugurated and the  principal artists of Mexico were invited to participate, each with his art. Ponce composed the music for the theatrical work The Suspicious Truth  of Juan Ruiz de Alarcón, which was acted during the ceremonies. Andrés Segovia went to Mexico to give some concerts. He stayed with Ponce as usual and the time passed happily for the two friends.   In one concert he played only music by Ponce but with different pseudonymous. (Excelsior, Mexico, October 1934):  

“After the two interesting programmes offered by Segovia it would be difficult to do anything better, whether in elevation of the works or their beauty.  Nevertheless night’s night’ins what programmes surpassed in everyinterpret respectthese the previous ones. In what last manner, a grand style did Segovia classics of the lute! In what oblivion have the composers been lost that he now resuscitates by these portentous interpretations! The great guitarist will permit permi t us to say little, since little is known, even even by the the erudite, about about them. We liste lis tene nedd to th thee Pre Pream ambu bulo lo and and Gavo Gavott ttee of Ales Alessa sand ndro ro Scar Scarla latt tti, i, a c o m p o s e r whose name has remained remained in history history as the highest highest representa representative tive o f a g r e a t epoch. A composer of exceptional value characterised by an extraordinary melo me lodi dicc beau beauty ty.. If th thee Pr Prea eamb mbul uloo is magn magnif ific icen entl tlyy grea great, t, t h e G a v o t t e i s deliciously delicate. The first part part of the programme ended ended with a Suite in A minor by Weiss, Weiss, a great German lute virtuoso, lutenist from 1717 at the Court of Dresden. His stature as a composer is like that of Bach and Handel. This work 45

 

 

of Weiss for the lute made a deeper impression than the Bach Suite played in a former concert. Last night Segovia played two works by Ponce: the original and elegant Waltz, Waltz, and the Diferencias Diferenc ias (Variatio (Variations) ns) on the Folías of Spain. He has created an adequate harmony, strictly bound to the ancient mode of the theme, with a great richness of unusual chords. For us the Diferencias form the most valuable work of Ponce’s for the guitar that we have so far heard. It is a work of the highest value.”

  In 1936, Ponce was once more an editor, of Musical Culture, the organ of the Conservatorio. As always, he was anxious anxious to make the world of music known to the  public through the medium of of print.

Clema and Segovia with friends at Ponce’s house

  Segovia to Ponce (March, 1936):  

“...you have woven an exquisite contrapuntal fabric round your old Prelude, so  beloved of Falla. You prove the inexhaustible resources of your ever-youthful ever-youthful imagination, creating a second body for that little work, so perfect, that they could almost live live independent lives. Nevertheless the relation between the two 46

 

   

is admirable, so that they are indeed two halves of one indivisible beauty. beauty. From now on I renounce it in sole favour of the guitar, guitar, and I await the other part of the suite to form a new aspect of the musical life of my instrument... Tomorrow I shall send you little pieces to Strecker. Strecke r. You will be hearing from him. As from this Autumn, dear Manuel, I have been thinking of reviving the  payment of the performing rights of your works, seeing that the Society of Authors is doing doing nothing for you... May you have plenty of health and  prosperity.. And  prosperity And once more let me ask you for the remaining movements of the Suite a Duo, and something solo for myself.”

  Ponce invited Segovia to Mexico to give concerts. Segovia however had his itinerary planned out and much to his regret it was impossible to accept.   Cassadó asked Ponce for a Concerto or a Sonata, and Heifetz, who had transcribed  Estrellita for the violin, would have played with pleasure any work Ponce composed for him. Segovia to Ponce (10.8.37):    

 

 

“...When this letter arrives, I don’t want it to interrupt whatever you may be doing, for more than a few short minutes. Only enough to ask you, at least, to let us know about your health, if only on a simple postcard. I am astonished at how distant you have become. I have had no answer to the letter I sent from Los Angeles. And the same fate has been experienced by the other messages I sent s ent you throughout our tour. If you want to communicate with us, send your next news to the Hotel Victoria, Geneva, Switzerland. I don’t even darebetter to ask youyour written writteHowever, n anything guitar; assume you have made useif of yohave ur time. However , if for youthe have afterI all, you know perfectly well what great pleasure it would give me to play something new by you, even if just intimate Preludes, without any thought of concert  performance. Send whatever you may have to the Hotel Victoria. Victoria. We leave for Europe on the 6th September. That’s That’s all. Affectionate greetings for Clema, and for yourself a brotherly embrace from Andrés.”

  During the last decade of his life, Ponce went through the hardest, most difficult stage of his career; he was forced to carry out bureaucratic tasks such as those of Inspector of Personnel of Kindergartens; he was professor of Rhythmic Gymnastics and 47

 

 played the piano for children at the school festivals. He was fond of children and did this work patiently, patiently, the result being 20 Pieces for little Mexican pianists and 50 Choral  pieces for Kindergarten. Kindergarten.   In 1938 he was given an annual holiday of three months, keeping the salary of his teaching posts. In this way he gained a little time to finish the many many works he had had already begun. begun. He completed his symphon symphonic ic suite Merlin inspired by the opera of Albéniz. Celestino Gorostiza, head of the music department of the Institute of Fine Arts, arranged a symphonic concert of Ponce’s work.   In 1939 he performed his piano Concerto in a magisterial fashion. Decorations, medals, diplomas began to arrive in abundance; an Act of Homage was organised in the Institute of Fine Arts, and the Government of Cuba granted him a decoration in Arts and Letters.

Manuel M. Ponce

  Although he was a musical eminence and a national figure, as well as a refined, simple, honourable and friendly friendly person, he was ambush ambushed ed by the envious. After having  been a teacher at the Conservatorio, and its Director, Director, he found himself obliged in this same Conservatorio to undergo an absurd examination as pianist and composer to obtain a much-desired pension.  

Segovia to Ponce (26.8.39): 48

 

   

 

   

“Your “Your letter has brought the greatest joy to our household. The one you say you sent to Geneva must have got lost, so we have heard nothing directly from you for more than a year... I had despaired of ever corresponding with you again. The silence with which you have greeted my letters has pained me, and we have often speculated on tthe he origin, the cause, of such a pertinacious indifference. indifference. So I am delighted that you have taken the initiative in writing to me, coming out of your mysterious muteness and telling me that you are better and want to hear something of us... Quesada suggests that I play in Mexico; but I am not accepting his offer until I have your views. You know how much I like Mexico; you can guess the enormous joy it would give me to spend a month month among among you... you... I would would remember our days there in the past with deep emotion. Now let’s let’s talk about music. Castelnuovo-Tedesco Castelnuovo-Tedesco has written a delicious Concerto for for me, for guitar and orchestra. He has been most happy in the choice of themes and in their proper development. ...While he was writing the first movement, I was in Florence, and together we remembered the theme of the one you began. And, believe me, we deplored the fact that you didn’t carry carry on with it. I have given long sessions of your your music to him and to so many others, and it still seems to me the noblest that has been written for the guitar guitar.. Adios, Manuel, look after yourself and don’t fall ill again; and write to me... Perhaps you will have time to send me a few words by air, by return of post -but not if it’s it’s a nuisance-. And if you can find the energy energy to compose once more for your old friend who so loves and admires you, send me your work straight away, for I long for it always, with the same eagerness as when we were together in our unforgettable Paris...

 

P.S. Excuse me forlike asking once more for was whatdestroyed I have asked you for many times already already. . I would -since everything in Barcelonacopies copies of the Sonata I, that you wrote in Mexico, the other one in A minor, movements I and II of the Sonatina dedicated to Tárrega, and finally the Sarabandes in E minor and in A minor, that have tortured me so much in the useless effort to remember them. Send me on onee copy in each letter, letter, and begin with the las two. Can I expect them? Adiós, I embrace you once more.”

 

In 1940 Ponce finished his Symphonic Divertimento Ferial . He suffered a serious relapse into the disease of Uraemia that had crippled him

for so many years. 49

 

  Segovia went to Mexico, and stayed, as always, with Ponce. There he helped Clema to look after him.

 

Ponce with dog Kiki and Segovia

  Segovia played the Concerto in D of Castelnuovo-T Castelnuovo-Tedesco. edesco. Ponce, animated by this Concerto and by Segovia, continued the composition of the one he had begun in Paris. Segovia had to continue his tour of Central and South America. Segovia to Ponce (15.3.40):  

 

“Your “Your last cable has calmed me. I had thought you were back on the road to convalescence and recovery. recovery. And without my presence at your side and the agitation caused involuntarily by the dynamism of my life you will soon be  back to your natural peace and health. health. I got back only 24 hours ago and already I have made important steps with regard to your your possible journey to Montevideo. I rang of Langue just last night night and talked with him at length. We have agreed not to wait for for the Congress to take to invite youSecretary officially of to visit Montevideo; has paralysis this morning talkedplace, aboutbutthis with the SODRE , and whenhethe that 50

 

 

   

   

 

 

Holy Week causes in Uruguayan life is over they will send you the documents in form, leaving a copy in the Mexican Legation and getting the Minister himself to help us. What we want now is for you to tell us the best method to be used to touch the sensitive string of your Government, to wit, the purse; with the intention of getting them to pay for the round trip by air (you needn’t worry about anything else) and to honour themselves by making you a representative. I will talk to my friends in Buenos Aires about extending the organisation of the Homage to them. But I don’t don’t want to do that that till all these these proposals become become realities... It wouldn’t be out of the way if you could send me some orchestral scores, including your Piano Concerto. Don’t forget to finish off quickly the one for the guitar and orchestra, and to make the reduction for guitar and piano, so that I can work on it at once with Paquita. In one of the projected concerts I shall play the solo part of this work. In another I shall give a complete recital of your guitar pieces, in which I could  play the Sonata Clásica, the Mazurka, Waltz and Trópico in the first part; the Variations on the Folias and Fugue in the second, and the Sonatina Meridional and Mexican songs in the third. Langue as well is going off today for a holiday, holiday, and will be back next Monday. Monday. We have agreed to meet then, in order to fix the details and get SODRE moving. We will let you know everything that happens. Tell Clema that the emotion with which I took leave prevented me from thanking her adequately for her hospitality and the tremendous amount of work that everything gave her. her. Also I went off with the door door keys in my pocket; but but I haven’t sent them back for fear they should get lost, and also because I regard them as a sign of my speedy return to your household... Goodbye. a couple of lines. youitare in health, finishhere, the Concerto soWrite that me I can work on it soonAnd andifplay in back Buenos Aires and whether at your Homage or in the concerts I shall give this Winter. Castelnuovo’ss had an unheard of success in Lima. Castelnuovo’ A warm brotherly brotherl y hug for both of you.”

  Segovia continued continue d to encourage Ponce to continue writing writin g the guitar concerto; concerto ; he prepared the Homage in Uruguay while Ponce negotiated to get the Mexican Government to pay his passage while giving him some commission.

51

 

!  !  !  !  !  !

ALLEGRO The Birth of the Concierto del Sur 

  Ponce’s Ponce’s health improved so that finally he could set to work with greater freedom. He sent the first part of the Concerto  to Segovia, who was filled with rejoicing, as he had been worrying worrying Ponce to complete it since 1929. Now the great work began to solidify.    

   

Segovia to Ponce (Montevideo, 5.10.40): “Eureka! The surprise was a true explosion of joy. joy. Paquita and I set ourselves at once to decipher your tiny writing, and we both congratulate you with all our hearts. At the same time we admire admire your your strength of will in doing the supplementary work of reducing the guitar and piano parts to such a clear miniature. I also have set hand hand to the work, an andd I hasten to say that so far all has gone well for my capricious instrument. We are waiting waiti ng for the continuation continu ation and the arrival of each air mails holds us in suspense. Adios. Keep me up-to-date on what the President decides about your journey. journey. Take care, and it will come about. Brotherly embraces.”

  Segovia studied the small part of the Concerto that had been sent, and with continually increasing emotion, emotion, now that he had had it by memory. memory. He asked Ponce to lose no time in sending the continuation. Villa-Lobos was in Montevideo with a cultural embassy from Brazil. Segovia told Ponce to get something similar from the Mexican Government to organise concerts, lectures, and so on, in Uruguay. Villa-Lobos greatly liked the part of the Concerto that Segovia played to him, and kept an affectionate memory of the times when he and Ponce were together in Paris.   They wrote to Ponce: 52

 

 

“After having heard a part of your delicious Concerto we are all sending you an affectionate affection ate and admiring embrace. May you be encouraged encourag ed to complete it and send it at once.”

 

Segovia to Ponce (Montevideo, November 1940):

 

“The continuation of the Concerto has been received, studied and learnt in the space of a few few hours. If this is not not your best work, I don’t don’t know which is! I am mad about what I have worked at so far, and I don’t know what to say to you about it except that I would not like to die without making such delicious music known. I have have modified some little things. For example, the the repeated notes accompanying the development of the second theme (where it appears in fourths in the key of F, F, and a little later, lat er, in A) are weak and will be lost. I have replaced them, naturally using the same chords, but a light rasgueado that adds rhythmic grace and gives this accompaniment by the guitar a certain harmonic halo exclusive to the instrument. One or two other details have been changed. I will send you a copy of all this when I have the whole of the movement. You needn’t send me the score score with your guitar version. All the essential is intact. 53

 

     

 

 

So far the most important modification is what I have mentioned. You can see that it is a matter of minor importance. I beg you not to delay in sending the end of this movement. I have a keen desire to play the whole of it. My bad luck in economic questions continues... the French Bank of Supervielle and Co., in whose care you used to write to me, has crashed and in the shipwreck goes goes my current account... account... I have already lost lost so much in North American and European Banks in the different financial catastrophes that the world has gone through, that this of today leaves me without indignation and with less disquiet than the fact that I am not able to play in North America or Europe... Despite the fact that before I had some reserves left, whereas whereas now... now... Well, it’s God’s will... I am sorry to hear that your journey is slow in being settled... If they give you  permission and the money, money, come at once before they repent of it, it , because even though the season is over you can always wait with us for the next and something will be done. done. I have run out out of paper. paper. I will send you some money money so that the expense of the air mails doesn’t press too heavily on your modest  budget. A hug for Clema and for you all the affections of your Andrés.”

 

By the beginning of December Ponce had finished the first movement of the Concerto and a few days later the beginning of the  Andante. He sent them to Segovia who was enchanted. Segovia’s good friend, Luis Sánchez Pontón, was made Secretary for Public Education in Mexico, and at once Segovia wrote to him to support Ponce with respect to his Uruguayan voyage.    

   

Segovia to Sánchez Pontón (Montevideo, 26.11.40): “I read about your appointment in the papers... In the last days of my stay there Manuel Ponce was more and and more troubled by an increase of urea. urea. So much so that doctors and friends were afraid for his life. I didn’t leave his side except to give my last concerts as announced. The day I left by air for Costa Rica I made them let me know his condition throughout the journey journey.. Luckily he was getting  better and by the time I got to Lima I knew that he was past the crisis. With all your rich spiritual reserves, and above all with as much independence as possible, labour in the high post they have given you... Since I haveand spoken to you before Manuel Ponce, remember that he one of the noblest purest artists of allofAmerica, and that he has been leftisbehind 54

 

 

because of the insolence and the envy of others. Do whatever you can to improve the conditions of his material life, which are very harsh, and by this you will put him in a position to continue with greater peace of mind devoting himself to the honour of his country...” country...”

  Ponce finished the  finale of the  Andante and sent it to Segovia who, delighted,  played it unceasingly, unceasingly, asking for some changes in i n the arpeggios, which could be played only heavily and torpidly owing to the rapid changes of position needed by the triplets, and to the arrangement, that robbed them of fluidity and sonority.   For a month Segovia had no news from Ponce and was in despair. despair. Nevertheless Ponce was continuing his intensive work. He had corrected the arpeggios, which could now be played very very fluently fluently.. He sent them to Segovia, Segovia, who radiated satisfaction, an andd asked him not to be long with the third movement. Finally at the begin beginning ning of January Ponce finished the whole Concerto.   The Concierto del Sur  has   has three movements,  Allegro Moderato,  Andante, and  Allegro Moderato e Festivo. To balance the sonority of the orchestra with the guitar Ponce asks only for flute, clarinet, oboe, bassoon, horn and drums, besides a string quintet. The first movement is in sonata form, with its corresponding sections, including an important cadenza for for the soloist. It suggests the melodic and rhythmic ambience of Andalucia. The oboe begins with a beautiful melody melody which is followed by numerous developments leading to the second theme, given by the guitar over a single ‘cello note’ . An important contrapuntal passage separates this theme from the restatement of the first. We return to the second theme, this time given by the five strings, strings, and a crescendo leads to a beautiful ending. The  Andante recalls the Arabic surroundings of Granada, with a fine melody developed over a pizzicato ostinato in the bass. The last movement movement has all the gaiety of Seville, with the Spanish rasgueo, ending in two chords, the first unresolved.  

He sent the finale to Segovia, who replied (Montevideo, 6.1.41):

  “I want to let you know of my deep and sincere enthusiasm. Paquita and I have  just finished playing what you sent of the last movement. It is joyful, healthy, healthy, gracious,  beautiful, and while belonging completely to high and dignified music, is also melodic, spontaneous and penetrating. It will have a clamourous reception wherever there is a sensitive public accustomed to listen. I cannot tell you how pleased I am.”

55

 

  Torres Bodet charged Ponce with a commission for Uruguay Uruguay.. Segovia prepared the setting in Uruguay for Ponce’s arrival, arranged concerts, lectures, press releases, receptions, etc. The enthusiasm for the Mexican Mexican composer was great, as he deserved. To raise the full fare, he had to pawn some belongings. Clema went to his family in Aguascalientes, while he left for Montevideo.

 

Manuel M. Ponce

 

Ponce to Clema (Montevideo, 29.8.41):

 

“I wrote you a few lines from Buenos Aires, and I left at 8:30 for this city in a littlee plane that made the crossing littl crossi ng of the Rio de la Plata in an hour. What a river! They say that in its narrowest part it is 50 km. I have arrived finally in Montevideo. At the Port, Andrés, (in spite of his cold), Langue and his wife, wife, and other people. people. To get into the city, city, they wanted a deposit of 500 dollars from me. Naturally Andrés explained everything. We went to his house, very pretty, old, in the style of Don Porfirio, well-situated, facing the sea, with a garden. The girls at school, since they come out at five o’clock... They have given me October the the 5th and 11th 11th for the two concerts. In addition, additi on, I shall give a lecture on the 19th September. Meanwhile Meanwhi le we are

 

56

 

 

 

awaiting the arrival of the parcels of music. The night after my arrival Langue gave a reception in my honour. All the most distinguished journalists and musi mu sici cian anss came came al alon ong. g. I was was tr trea eate tedd with with c o r d i a l i t y a n d a ff e c t i o n b y everybody.. I have been invited to Buenos Aires to take part in a concert on everybody September 29th. We shall have to see that that the dates don’t don’t clash. I have have also  been invited by the Chilean Director of Fine Arts -Santa Cruz- to take part in the celebrations for the 4th centenary of the founding of Santiago, and to be one of the judges, with Kastner and another, another, in the composers’ competitio competitionn arranged  by the conservatory of Chile. For the moment write to me always care of Andrés. We are working over his ‘Concerto’. Andrés very amiable, won’t allow me to speak of living (or sleeping) in a hotel. Greet everyone for me and receive as always a thousand besitos and the heart of your Manuel, the Flyer.” Flyer.”

  Ponce and Segovia spent the time in studying and revising the Concerto so that all would go well at the rehearsals; the house was quiet and they could work peacefully. peacefully. The Mexican ambassador in Montevideo, Dr. del Río, received Ponce very affectionately and loaded him with attentions. He was from V Veracruz, eracruz, and showed it by his frankness and merry character. He held a reception to present Ponce to Montevidean society.  

Ponce and Segovia on the beach 57

 

  In spite of the journey, his health did not give him much trouble, only some slight pains that did not hinder hinder him from working. working. He had to copy out the score of the Concerto, a very laborious task. The winter of Montevideo was already ending, and this helped him to feel  better..  better Clema had knitted him some sweaters that he wore continually against the cold.   On September Septemb er the 15th, the Ambassador, Ambass ador, Dr. del Río, invited him to start the  ball rolling at the Legation, in the presence of the President of Uruguay and his Ministers.

Spanish Delegate, Ponce, Segovia

 

On the 20th Ponce gave a lecture on the development of the art of music in

Mexico. 58

 

 

Ponce to Clema (Montevideo, 21.9.41):

 

 

“...Thanks “...Thanks be to God and to Our Lady of Guadalupe! Guadalupe! Last night night I gave my talk with great success. There were about 2000 people in the huge theatre of SODRE. It was a difficult difficult test, but I put my trust in Heaven and set off to improv improvise, ise, as I had written down only the main themes on a little piece of paper paper.. There was absolute silence. I don’t don’t think there could could ever have been been a public more cultured and attentive. I spoke for about forty minutes, slowly, slowly, very clearly, clearly, and without a single mistake. Marvel at it! From pre-Hispanic times to the present day, following followi ng the evolution of music in Mexico. I finished finishe d with the theme of the Mexican song. I had to go back on the stage three times. More than 200 people came to congratulate me. Yesterday morning morning we had the first rehearsal. The musicians of the orchestra orchestra received me with applause. The rehearsal went off very well. ‘Chapultepec’ enchanted them; after the reading through of each section they applauded with enthusiasm. At 6 in the evening was the lecture. Andrés was really surprised, afterwards. I think he didn’t expect me to come out of a difficult situation so well. If God wills, the Buenos Aires concert will be on October the 20th. We will leave this city on the 15th, to give time for rehearsals. I have not yet received the dollars that Torres Bodet offered me. me. Our Minister, Minister, Sr. Sr. del Rio, has has now cabled. Don’t worry, worry, whatever happens, my return journey journey is secure. Manuel the Lecturer.” Lecturer.”

 

From La Mañana (Montevideo, 21.9.41):

 

“Yesterday “Yesterday in the SODRE, before a large audience, the Mexican composer Manuel Ponce gave a lecture, as announced, on the development of the art of music in his country country. He began with the Aztecs and all preHispanic music, down to our own day, in the course of his interesting lecture. One can say, then, that yesterday we were present at a worthy expression of Latin-Americanism.”

 

   

  Ponce was filled with energy at the response of the Uruguayan people, his health was much better and he continued preparing his first programme. After his lecture, there was much enthusiasm for the coming concerts.   He was received by the Society of Composers and Authors of Uruguay, Uruguay, where he metwere met musi musicia cians ns and and and writer writers. s. Ponce Pon hand handed ed in iAndrés n the the Agreem Agr eement entwas of his halso is Synd Syndica icate, te, a n d there embraces, shouts forceMexico. Segovia present. 59

 

 

The concerts were announced for October the 4th and 11th.

Ponce, Segovia and the orchestra made careful preparations in order to fulfil the considerable expectation. At last the much desired Concierto del Sur  was  was performed in Montevideo on the 4th of October 1941, with immense success and unanimous approval.   Ponce to Clema (Montevideo, 5.10.41):    

   

“God be thanked, enormous success last night. I cannot remember how often I had to go out and thank the audience. audienc e. The public was delirious. You You will see from the newspaper accounts what a reception they gave my music... You can imagine how many people came to congratulate us -myself and Andrésafter the concert; ministers, diplomats, musicians, journalists, etc., etc. The President of the Republic was present... I can’t give you the exact date of my return. On the 20th, a concert in Buenos Aires. Afterwards I think we are going to Rosario. Andrés has written to Lima to arrange a concert there. Last night I had a cable from don Carlos Prieto saying that the money had been sent off...  Laus Deo! I will write again at greater greater length. A warm embrace for the girls and a thousand kisses for you from Manuel the Composer.”

 

From El Debate (Montevideo, 5.10.41):

 

“The magnificent concert offered yesterday in the OSSODRE  with music by maestro Ponce, and with the guitarist Andrés Segovia, has left an impression. We have been present at an evening evening of superior art. The music of the the eminent composer Manuel Ponce is magnificently inspired and of extraordinary quality. His guitar concerto, a new work offered in absolutely its first performance, gave much pleasure and drew from the public a long ovation, so that the third movement had to be repeated.”

60

 

   

Supper at the Society of Authors and Composers of Uruguay

From El Diario (Montevideo, 5.10.41):  

“...It is enough to mention the beautiful guitar concerto, played with the  participation of Andrés Segovia, a work of the finest quality bearing witn witness ess to a musician of true nobility, of easy and elegant inspiration and a complete dominion of all means of expression. A true filigrane of music that, magnificently executed, allowed Segovia’s faculties to shine fully, without a trace of banal virtuosity. virtuosity. It earned a most enthusiastic ovation, the last movement having to be repeated. Maestro Ponce was likewise greatly applauded as both composer and interpreter in other parts of the program, in which he conducted his works ‘Suite in the Ancient Style’, ‘Poema Elegíaco’ and ‘Chapultepec’.”

  After the enormous success succes s obtained in Uruguay, Ponce went to Argentina, Argentina , where he gave several talks on Mexican folklore. He also conducted the Concerto, Concerto , with Segovia, Segovia , both receiving receivi ng great praise. praise . In Santiago Santia go de Chile he conducted conducte d a complete memories. programme of his work, returning to Mexico laden with laurels and 61

 

  In the same year the German conductor Erich Kleiber directed the new orchestral version of the  Poema Elegíaco. The sensitive Kleiber’s liking for this work was so great, that he exclaimed during one of the rehearsals: alma ”. “ Este poema está escrito con las lágrimas del alma” (This poem was written with the tears of the soul.)

  In 1943 Ponce finished his Violin concerto. It was the last long work that he composed. The theme of Estrellita is evoked in the second movement.   Concerto with great success in the United   Segovia continued to play the guitar  Concerto States. The New York press overwhelmed overwhelmed Ponce with praise, a rare thing now that  New York has become the musical capital of the world, and does not often concede such eulogy. The reviews in the New York Times and the Herald Tribune resounded forcibly throughout the whole country, and a number of conductors asked Segovia to  play the work. Segovia sent Ponce his dues as the composer of the concerto, which was a help to his uncertain economy.   Charles Seager, Chief of the Musical Section of the Panamerican Union, to Ponce (Washington, 17.11.43):

 

“I am writing to you because I have just learnt that Andrés Segovia is in this country. I have written to Mr. S. Hurok, Segovia’s Segovia ’s impresario, impres ario, asking ir your guitar concerto could be played at a function here. This was on the recommendation recommen dation of Mr. Mr. Ormandy, of the Philadelphia Philad elphia Symphony. Please let me know if I can do anything to get this matter moving and reach a satisfactory result. Let me express my consideration and and esteem.”

  It was not until 1944 that the guitar concerto was performed in Mexico. It had a great success with the Mexican public, who had been waiting for it since its first  performance in Uruguay. Uruguay. It was played by Segovia with Erich Kleiber conducting, and the papers were not slow in praising it. In 1946 Ponce composed Two Vignettes, Vespertina and  Rondino, two short  beautiful pieces.   He was again in delicate health. Various functions were organised in homage to him, but he found it difficult to attend. 62

 

 

(From “Excelsior”, Mexico, 9.1.46):

   

“Ponce By agreement with the Governor of the Federal District, Javier Rojo Gómez, there will be a solemn session in the Hall of the Consultative Council, with the most outstanding and representative personalities of Mexico, to render homage to the Maestro Manuel Ponce. This will be when the Maestro is able to receive it, for he is in very bad health.

   

Cuts

   

It is noteworthy that when Manuel Ponce was informed of this proposal, he received a notice from the Conservatorio informing him that his salary was to  be cut by 50%, because recently he had not been been giving his classes. Segovia

For his part the great guitarist Andrés Segovia, knowing that Ponce has more than 60 pieces for the guitar -in addition to a hundred other works with  Estrellita shining among them, has announced his intention of coming back from South America to give three concerts in the Hall of the FIne Arts, for the great Mexican musician’s benefit.”

  Segovia continued his tireless career as interpreted, playing the  Concerto, this time in New York.  

From the Herald Tribune (New York, 1946):

 

“The celebrated Spanish guitarist, Andrés Segovia, under the auspices of Sol Hurok, gave two surprises surprises to his devoted public public in New York. Till the present we have always heard the Maestro without any accompaniment. This time he  played in the vast auditorium of Carnegie Hall with an accompaniment of 20  players from the Philharmonic Orchestra, conducted by Ignatius Strasvogel. This gave results which one would not have believed possible. Segovia played two concertos written specially for him -Castelnuovo-Tedesco’ -Castelnuovo-Tedesco’ss Concerto in D Mayor , and Ponce’s Concierto del Sur , two works, the first of their kind in musical literature, and the only ones for guitar and orchestra. In the first, which opened the programme, the guitar seemed rather overcome by

 

the the orchestra. which the great talenttonal of weight Segoviaofcould be enjoyedTheoncadenzas, its own, inwere awaited withmusical some 63

 

 

impatience. On the other hand the last concerto, that of M. Ponce, was a marvellous success and a true musical experience, a work so perfectly conceived for guitar and orchestra that it recreated the Andalusian ambience with variety and subtlety, by the amplification and development of Andalusian themes on which it was based, so appropriate to the guitar. The guitar has  perhaps never reached a higher level than was enjoyed by Carnegie Hall listening to Segovia in this admirable concerto.”

  Ponce’s Ponce’s health became at every stage more broken, but his creative talent did not diminish. He composed Six Short Preludes, dedicating them to Juanita Chávez, daughter of the composer Carlos Chávez. As an act of justice the Institute of Fine Fi ne Arts proclaimed Ponce the winner of the  National Prize for Arts and Sciences for 1947, the first time it had been won by a musician. The President of the Republic Miguel Miguel Alemán, presented him him with the prize on the 26th of February F ebruary 1948.

 

President Miguel Alemán hands Ponce the prize in the presence of Carlos Chávez, Clema and Jaime Torres Bodet.

64

 

 

At the ceremony, ceremony, Ponce said:

 

“Paul Valéry has said that Hope is a wall hiding the reality of things from us. Hope dies when the life ends of the man who, on the eve of knowing the great mystery, takes thought and desires to give an ending to the works that, over a long period, he has prepared in his creative dreams. A prize, an assistance arriving in moments in which illusion il lusion is vanishing before a dispiriting dispiri ting reality realit y, serves to fortify Hope and to contribute contribut e to the realisation realis ation of those works which, without the tranquillity that this assistance offers, would remain only projects of works, perhaps important ones... When the generosity of a civilised Government, acting through the Universities, arrives at the right time to urge forward and give new grandeur to that Homeland sung by our unforgettable friend Ramón López Velarde, Hope is reborn with theproblems certainty had of bringing works completion, dreams. that sickness and economic almost those changed intotounrealisable It is reborn with the certainty of bringing those works to completion, that sickness and economic problems had almost changed into unrealisable dreams. It is by these words that I desire to convey my profound thankfulness to Miguel Alemán, President of the Republic, to Wal Vidal, Secretary for Education, to Carlos Chávez, Director of the Institute of Fine Arts, and to the members of the Council of that Institution, for the honour they have been pleased to bestow in granting me this prize, as unexpected as unmerited; which will allow me, if God concedes me a little time, to complete certain works deeply meditated through interminable months of sickness, in which, as Valéry says, Hope like a wall did not allow me to see clearly the closeness of the final journey journey.” .”

  Already very delicate in health, Ponce composed his last work for the guitar, Variations on a Theme of Antonio de Cabezón, dedicating it to the priest Antonio Brambila, his friend and confessor, who had asked him to compose it.

65

 

 

Ponce, the Padre Brambila, and Segovia

 

In this work he uses once more, but in reduced form, the structural plan of the Variations of the Folías of 19 years years earlier. earlier. It consists of the Theme, six variations, and a  Fughetta. The Theme harmonised in A minor is set out in two 8-bar periods; the variations are likewise in two portions, except the last, which is longer, preparing the entrance of the two voices of the Fughetta.

!  !  !  !  !  !

66

 

ELEGY A light goes out

  After continual ups and downs in the painful sickness that had troubled him for years, Ponce grew considerably considerably worse. All efforts to save him were useless.   On the 24th of April 1948, out there in his distant Aguascalientes, the Festival of Saint Mark was in full swing: games, laughter, laughter, songs, dances, mirth. mirth. Here in Mexico City,, mourning began for one of the greatest composers that the American continent has City  produce.  

Manuel María Ponce had died at the age of 66, leaving to all guitarist the delight

of playing his marvellous compositions.

Manuel M. Ponce  67

 

 

Segovia to Clema (New York, 18.5.48):

 

“I have been waiting waitin g for your sorrow to soften a little littl e before writing you this letter.. This irremediable loss, with its enormous significance letter significance for your your life, must inevitably bring you to a resignation that cannot forget...

 

The absent lovedthat onehe willsuffered life ainfilial your smile heart, for freethis of the martyrdoms sufenjoy fered henceforth in real real life.a spiritual And at last holy memory will remain with you... Finally, Finally, Clema, I need not tell you what pain it will give me my whole life, that Manuel has preceded me in the passage to Eternity. Manuel was for me the ideal Friend, Teacher, and Brother. Not to have him in this world as a spiritual support, confidant, guide, is a  profound grief for me. Nor need I say that the affection I felt for him always did, and always will, extend to you.”

     

 

Clema M. Ponce at Ponce’s monument in Aguascalientes 68

 

A note by Carlos Vázquez  

It was in 1936 that I had the good fortune to meet Maestro Ponce. This encounter was to enrich my life for ever. ever. I had the privilege of taking piano lessons withasked him both in the Conservatorio and in his ownIhome. fey days da afterstruck meeting he for my address in Guadalajara; when gave itA him heyswas byhim an extraordinary coincidence, for my address in Guadalajara was exactly the same as his in Aguascalientes: calle Primo Verdad, No. 28, in the borough of San Juan de Dios... From that day on I noted that the Maestro as well as his wife Clemita were more attentive to me, invited me to eat and began to clothe me from head to foot. Clemita  began to call me ‘son’. Our friendship grew daily. daily. Our relationship grew so close that I began to take on the tasks of a true son. When the Maestro became became sick, he gave me a letter so that I could collect his cheque at the Conservatorio.   a teacher He was truth a second father affectionate. As he in was a remarkable guide;toheme, hadalways alwaysgood-tempered valuable advice,and which he gave with mildness but with conviction. We came to be in complete agreement. In the last years of his life, I never left him.   When he died, Clema was left alone and in despair. despair. I asked my mother if whe would live with her, her, and at her request request the whole family family came to live with her her.. I was for a time studying studying in the United States. On my return, I joined them. It was Clema Maurel de Ponce who left in my charge the representation of Manuel Ponce, of all his  possessions, music and memories.   The house that used to belong Ponce is in the street La Acordada, No. 47, Col. San José Insurgentes. Insurgente s. In the Ponce ‘museum’ one can feel his presence, presence , observe his music, books and pictures, as well as a collection of photographs of his friends, artists, covering the walls of his wardrobe. My greatest wish is to continue spreading the work of this great and wonderful Mexican musician.   Although my career as a concert player makes me pay attention to composers of different nationalities and styles, a great part of my activities (concerts, lectures, records, classes) are dedicated with fervour and affection to the music of Manuel Ponce.

69

 

 

Corazón Otero at Ponce’s tomb at Mexico City

70

 

 GUITAR WORKS

SONATA MEXICANA SONAT LA VALENTINA (arr. for guitar by Ponce) LA PAJARERA y POR TÍ MI CORAZÓN (arr. guit. Ponce) ESTRELLITA ESTRELLIT A orig. for voice and piano, arr. for guit. Ponce PRELUDE SONAT SONA TA for guitar and harpsich harpsichord ord TEMA VARIADO Y FINAL ALBORADA y CANCIÓN SONAT SONA TA III SONAT SONA TA ROMÁNTIC ROMÁNTICA A (homenaje a F. Schubert) 24 PRELUDIO PRELUDIOS S 12 PRELUDIOS (from 24 Preludios) PRELUDIO y COURANTE

México 1923 (P) México 1924 (S) París 1925 (Y) París 1925 (Y) París 1925 (S) París 1926 (P) París 1926 (S) París 1927 (Y) París 1927 (S) París 1928 (S) París 1929 (T) (S) París 1929 (Y)

20 VAR.EN Y FUGA ESPAÑA SUITE LA SOBRE LA FOLÍA DE ESPAÑA SUITE EN LA (atribuited to Weiss) POSTLUDE BALLETTO ESTUDIO EN TRÉMOLO SONAT SONA TA DE PAGANINI (versió (versiónn libre de Ponce) ANDANTINO ANDANTI NO VARIA ARIATO TO (from Sonata by Paganini) SONAT SONA TA CLÁSICA (homenaje a F. Sor) SUITE ANTIGUA PRELUDE (guitar and harpsichord) MAZURKA y VALSE TRÓPICO y RUMBA

París 1929 (TR) (S) (B,R) París 1929 (Y) París 1929 (Y) París 1930 (S) París 1930 (Y) (P) París 1930 (S) París 1931 (P) París 1931 (Y) París 1932 (S) París 1932 (SZ)

HOMENAJE HOMENAJ A TÁRREGA SONA SONATINA TINAEMERIDIO MERIDIONAL NAL(only 3rd movement) CONCIERTO DEL SUR (for guitar and orchestr orchestra) a) VESPERTINA y MA MATINAL TINAL 6 PRELUDI PRELUDIOS OS CORTOS CUARTETO CUAR TETO DE CUERDAS (inconcluso) VARIACIONES SOBRE UN TEMA DE ANTONIO DE CABEZÓN

París 1932 (S) (B) México 1941 (P) México 1946 (Y) México 1947 (P) México 1947 (Y)

B = Bérben P = Peer International Internat ional R = Ricordi

SZ = Suvini Zerboni T = Tecla TR = Transatlantiques Transatlant iques

S = Schott’s Schott’s Sohne-Mainz

Y = Yólotl 71

México 1948 (T)

 

 OTHER WORKS BY MANUEL M. PONCE

  ORCHESTRA ESTAMP EST AMPAS AS N NOCTURNA OCTURNAS S CHAPULTEPEC POEMA ELEGÍACO SUITE AL ESTILO ANTIGUO MÚSICA PARA “LA VERDAD SOSPECHOSA” MERLÍN, Suite sinfónica FERIAL INSTANTÁNEAS MEXICANAS  

CHAMBER MUSIC

CUARTETO para cuerdas MINIATURAS cuarteto para cuerdas TRÍO, cuerdas SONATA A DÚO, violín y viola GAVOTA, GA VOTA, trío de cuerdas SCHERZO, instrumentos de cuerdas PAJARITO y PASTORCITO ALEGRE, para flauta y piano TRÍO ROMÁNTICO para violín, cello y piano Varias obras para diversos instrumentos  

VIOLIN

CONCIERTO con orquesta SONAT SONA TA, con piano ROMANZETTA, con piano CANCIÓN DE OTOÑO, con piano JEUNESSE, con piano  

CELLO

SONATA, con piano SONAT GRANADA, con piano

 

 

ORGAN

4 PEQUEÑAS FUGAS PRELUDIO FUGADO TRES PIEZAS, sobre un coral 4 CORALES, sobre un tema de Bach ALBORADA GUADALUPANA  

SONGS

3 POEMAS DE BRULL 3 POEMAS DE LERMONTHOW con piano y orquesta 3 CANTOS DE TAGORE también con orquesta 6 POEMAS ARCAICOS también con orquesta 3 POEMAS DE GONZÁLEZ MARTÍNEZ 5 POESÍAS CHINAS con piano y orquesta 4 POEMAS DE ICAZA 2 POEMAS DE LUIS G. URBINA 3 POEMAS para tres voces femeninas y piano POEMA LXVIII ALELUYA BENDITA SEA TU PUREZA, para voces y órgano HIMNO CATEQUÍSTICO 78 CANCIONES MEXICANAS, originales y arreglos 2 BOLEROS GRANADA ROMANZETTA, ROMANZETT A, SPERANDO, SOGNANDO SI TU POUVAIS VENIR  UN SOIR  TOI LE NAGUE 17 HIMNOS  

CHORAL WORKS

50 COROS para niños 20 COROS para diversos números de voces  

PIANO

CONCIERTO con orquesta BALLADA MEXICANA, con orquesta DOS SONATAS SONATINA 9 PRELUDIOS

73

 

PRELUDIO y FUGA, sobre un tema de Haendel FUGA sobre un tema de Bach 4 PIEZAS, en forma de Suite 14 ESTUDIOS 4 CANCIONES MEXICANAS 12 CANCIONES MEXICANAS, para pequeños pianistas 20 PIEZAS FÁCILES, sobre temas mexicanos BALADA MEXICANA DOS RAPSODIAS MEXICANAS 8 DANZAS MEXICANAS BARCAROLA MEXICANA IDILIO MEXICANA, para 2 pianos PRELUDIO y FUGA, para la mano izquierda DANZA CUBANA SUITE CUBANA 3 MINUETOS 4 SERENATAS RAPSODIA CUBANA 27 MAZURKAS 14 TROZOR ROMÁNTICOS 11 MINIATURAS 5 EVOCACIONES 5 HOJAS DE ALBUM 3 VALSE VALSES S 2 SCHERZINOS 2 ARRULLADORAS 2 NOCTURNOS BOCETOS NOCTURNOS ÁLBUM DE AMOR  GAVOTA 1900 ROMANZA MINUETO INTERMEZZO SERENATA GAVOTTE y MOSETTE BERSAGLIERA LEYENDA ELEGÍA DE LA AUSENCIA Varias piezas en diversas formas musicales

74

 

 

Corazón Otero

THE AUTHOR   

Mexican guitarist and writer Corazón Otero has won wide recognition as a leading authority on the guitar and it’s composers. Her articles can be found in many international music magazines and she is author of ten books on guitar

 

related subjects. Otero is regularly requested to judge international guitar competitions and she lectures extensively about the guitar both in Mexico and Europe.

 

Corazón Otero is founding Director of the Ediciones Musicales Yólotl. She has always felt great admiration for the distinguished Mexican composer, Manuel María Ponce, and has carried out a through investigation of his life and work, especially of his guitar compositions, the results of which she offers us in this informative and handsome book.

75

 

CONTENTS

 

PREFACE

4

 

PRELUDE PRELUD E

5

 

FANTASÍ FANTASÍA A

6

 

ALLELUIA

16

 

PARIS

20

   

INTERMEZZO

41

ALLEGRO

52

 

ELEGY

67

 

A NOTE BY CARLOS VÁZQUEZ VÁZQUE Z

69

 

GUITAR WORKS

71

 

OTHER WORKS BY MANUEL M. PONCE

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THE AUTHOR

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MANUEL M. PONCE AND THE GUITAR    Originally published in Spanish in Mexico FONAPAS 1980  First published in English by New Services Limited in Great Britain 1983 Second published in English by THE BOLD STRUMMER LIMITED in The United States 1994 This Edition Published by Musicebookco.com  Copyright 2011 Corazón Otero

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