Epilogue There are a couple of small pieces that were harmonized by Ponce during the last years of the 30s. According to a Segovia letter, from 13 February 1938, he requested: I would like to ask you for a free transcription of the Blas de la Serna Tonadilla that | am. enclosing. Itis rather gracious and I am sure if you gather some instrumental artfulness it could become a little work to end a whole section... and I need it badly. I think the most suitable key would be D. Ponce did arrange the tonadilla under the title Alborada but it is not known if it was ever played by Segovia. Around the same period Ponce also harmonized Cancién Popular Gallega, one of the melodies also arranged earlier by Miguel Llobet as one of his set of Catalonian song transcriptions under the title El Noy de la Mare. Coraz6n Otero published in her book, quoted above, facsimiles of both songs but attributing an earlier date of more than a decade for its creation. I did record the Cancién for EMI-Angel in 1978, according to another manuscript given to me by Gustavo Alaniz Now that I have presented all of the Ponce solo guitar music, as close as possible as it was conceived or at least written down, what is the conclusion to be reached. Was guitar music better served with Segovia’s intervention? Are we being too hard when judging the work done by him? Was his intervention as editor of most of the music written for him really indispensable? I consider that up to the 50s his editorial procedures were acceptable and justifiable to a certain point, but with the revival of instruments and ways of performing the music of past times, as well as the development of musicological research and editorial 305criteria, his approach became outdated and began to be considered so even by some of his pupils and admirers, However, he kept attracting audiences even in his last recitals, which means that he still had something to offer the public in spite of his physical and therefore natural technical decline. also think he had an aesthetic sonorous ideal and that he tried to adapt everything to it, leaving aside what could not comply with it. Also, as a compensation, he intended to reassure himself by the denial of the aesthetic ideal of others, giving them names that he considered derogatory such as dadaists, futurists Jews or expressionists. 1 am sure that if he had known, when I saw him in 1962, the kind of music I was writing by being immersed in atonality and dodecaphonism, he would have catalogued me as an expressionist or bad artist. However, he was very nice, advised me on several aspects after hearing me play and invited me to attend his courses in Europe; this never materialized, as neither did the invitation to the Festival Estival de Paris from Narciso Yep We all were captivated or at least interested, or perhaps intrigued, the first time we listened to Segovia. There was something magical or special about the experience, a sort of nostalgia as described by Ponce in the review he wrote after attending his first recital and he certainly touched a part of the collective inconscious of his audience. However, in my case, this feeling came much later, since I heard him play for the first time when I was three. I cannot remember consciously what I heard, all I have is a vague recollection of visiting him after the concert in his dressing room with my father who knew him well, and as a child I was so impressed with his big guitar case that I asked him if it was there where he kept his instrument. In any case, it is indisputable that most of Ponce's guitar music was inspired by Segovia and remains as the testimony of a profound and unique kind of friendship. 307Apéndice I Appendix 3 Relea tele ety 7 s i beset tt TP et aor rte iii be 308309