Ponce Sonata Program

Guitar Sonata No. 1, “Mexicana” 1923

Mov I: Allegro Moderato
Mov II: Andantino Affettuoso
Mov III: Allegretto in tempo di Serenata
Mov IV: Allegretto un poco Vivace

Sonata Clasica “Hommage a Fernando Sor” 1928

Mov I: Allegro
Mov II: Andante
Mov III: Menuet-Trio
Mov IV: Allegro: Rondo on a Theme by Sor

Intermission

Sonate Romantique “Hommage a Schubert 1929

Mov I: Allegro non troppo, semplice
Mov II: Andante
Mov III: Moment Musical: Vivo
Mov IV: Allegro non troppo e serioso

M. Ponce
(1882-1948)

The Friendship and Collaboration of Ponce and Segovia

The three sonatas performed on this program were products of a beautiful collaboration
between the Mexican composer Ponce and the great Andres Segovia. Each Sonata is directly
influenced by a specific musical style, shaping the composition in regards to form and harmony,
while retaining Ponce’s late romantic 20thcentury timbre. Segovia saw the potential in Ponce for
the classical guitar, and worked extensively to add great repertoire to our literature, from a
composer who didn’t play our instrument.

Segovia first met Ponce in 1923 after performing a concert in Mexico. Ponce wrote a fantastic
review for Segovia which included the following statement: “His musical culture allows him to
transmit faithfully through his instrument the composer’s thought and so to enrich daily the
guitar’s not very extensive repertoire”. Upon reading this review, Segovia immediately
contacted Ponce to request original compositions. This led to the development of Sonata
Mexicana, the first of 5 sonatas Ponce would write. Sonata Mexicana is a charming piece that is
overlooked in our repertoire. It is strongly influenced by Mexican folk music, incorporating
themes from the traditional songs, Salve Niño Hermoso (Mov 1) and Vamos a tomar atole (Mov
3).

The majority of repertoire Ponce wrote for the guitar was composed in Paris. Segovia wasn’t
able to visit Ponce as much as he wished, but we can see their close correspondences in a
stunning collection of letters. Segovia was very involved in the process of composing, explaining
different techniques to Ponce and editing scores to make the pieces guitaristic.

In attempt to establish a repertoire for the guitar comparable to other solo instruments,
Segovia requested “pastiches”, a musical work that imitates the style of another
composer/period. Sonata Clasica- Homage to Fernando Sor was commissioned to rival the
piano sonatas of Haydn. As quoted from Segovia in his letters, “since I have the good fortune of
having a real Sor of greater talent than his predecessor writing a sonata for guitar, I do not
want this sonata to be inferior to one of Haydn’s for piano.” To me, it’s ironic that Segovia didn’t
simply asked for an Homage to Haydn, as Sor had already written 5 sonatas for the guitar.
Regardless, the Sonata Clasica has become a fundamental work of our literature, a piece that
non-guitarists can very much appreciate.

Segovia played with a true romantic style, which fit perfectly for his commission of the Sonata
Romantica- Homage a Schubert. This pastiche, out of the three sonatas performed, contains the
greatest influence from the style of music being imitated, sounding romantic throughout. The
voice-leading and true sonata form would make a non-guitarist wonder if this piece was
actually written by Schubert. This piece required great effort from Segovia as described in this
fascinating letter: “I threw myself into the finale like a hungry dog … and I am furious with the
guitar. What you would least imagine – for the first time with your music!! – comes out
impossible: the arpeggios .… And you have coincided with the same type of difficulty that makes
the prelude in the E major by Bach (violin solo) unbridgeable for guitar”. We are very lucky that
Segovia remained determined to make this piece approachable for a guitarist, as it has become
a true gem of our repertoire. Due to their friendship, Segovia and Ponce were able to
collaborate closely, without being afraid of disagreements. Everyone has their own opinion of
Segovia, and while he has caused great frustration to many guitarist (including myself), his
contributions to our literature with Ponce’s music is an invaluable and historical contribution.