Finale from the homage to Tarrega After a recital played by Segovia in Berlin, during the week that preceded Easter 1931, Segovia met with Federico Garcfa Sénchis who was organizing the construction of a monument dedicated to Tarrega in Madrid and who asked Segovia to collaborate in this endeavor. Ponce developed the idea of the Homenaje a Térrega on the request of Segovia, ina letter without date, where he said the following: For that lecture concert I would like you to make a work to the memory of Térrega, since you are the hero of the guitar and you have made others from which the guitar was further away: — Hommage to Schubert. Get to it enthusiastically... and send me what you make. If you will permit a suggestion, I think it should be something like a fantasy ot a Capriccio, or something very 19th century like. Will you? As the month of February had been fixed for this event to take place, Ponce did not write this homage until the end of that year. And so we find a mention of it in a letter of L1 January 1932: Your work has pleased me much. It is melancholic like the blue flame of alcohol — which means from the spirits but not from the wine... and has a mysterious fraternity with that Andante that you composed in Thorens. Do you remember? Also, itis in E minor. I have looked for it and I play it after the Homage, without perceiving a change of feeling, Burn a bit more wax, and make an Allegro in order that the Sonatina will be complete... As the title of Homenaje a Térrega may be commercially suggestive for Schott, above all after Turina will offer his, we will propose it 233Ponce accepted Segovia's suggestion and wrote the allegro which would be the last movement of the Homenaje a Térrega, having finished it on 14 January of that year. The manuscript can be found in the green copy book that has the preludes, before them, from folio 34 to 35, under the title Final del Homenaje a Tarrega. This work is quite interesting because it marks the return to Ponce’s own musical Janguage and anticipates the idiom used in the mazurka composed in 1933. As the only survivor of this ill fated Homenaje a Térrega —since the two first movements perished in Barcelona victims of the Spanish Civil War— this last movement was published in 1984 by Angelo Gilardino under the title of Homenaje a Tarrega with Edizioni Bérben, in Ancona, Italy. 235(Geng =) srg wR pe 2TG he ti sted) Fie oe 3 Gina gp) ee ae wood 4 , = __ (6% pe ee wae Wa Seay 2 a ? 3 le aa Tp ea A IG yg PP 237Sea g Me ted | (6% yas hat + we fe Iwo Syl oe (ge aE gat a gee 1d Fe ig Fa = pee ee - (3 Hh 5 i 238239