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Obra completa para guitarra de Manuel M. Ponce De acuerdo a los manuscritos originales Miguel Alcazar \ A A Soomedr. Méticava 4 (ACONACULTA 2USLa_ Sonata | Written by the middle of 1923, at a request of Andrés Segovia, this work marks the beginning of the production, during this century, of guitar sonatas, In it, Ponce employs in his four movements a style close to impressionism. This is not strange since Ponce already knew y style Debussy's music, as proved by his Scherzino written for piano in 1912 within the Debu: and dedicated to him. And even his piano pupils, Carlos Chavez among them, played a complete recital in June of that year with works of the French composer. The only surviving manuscript of this first guitar sonata was copied by Segovia himself in blue ink and bears his own fingering for the left hand. Ponce’s original manuscript was destroyed in Barcelona in 1936 during the Civil Spanish War. The sonata begins with an Allegro moderato, written in A major and in 2/4, with the indication of humoristico under the first bar and instead of beginning on the A major chord, begins with a minor seventh constructed on B. Ponce uses his musical dexterity for not arriving at the A major chord until bar 131, twelve measures before the ending of this first movement that has a subtle and delicious ronal vagueness that will prevail during the whole work, The first theme is based on a very simple motif, in eighth notes, that appears during the first two measures which is quite similar to the theme of the villancico from Guanajuato Salve, nifio hermoso. In the second theme Ponce employs a hemiola resulting in a syncopation before the strong beat and the development is based, entirely on the first theme, being rather short In the re-exposition, that follows the procedures of the sonata form, I have omitted the harmonics and reminding us of the developments written by Debussy in his last sonatas used by Segovia in his manuscript for the second theme, considering that they do not agree with its character, a suspicion that was confirmed recently when I heard the recording of this sonata, made by Segovia in July of 1962, and in which he does not play them also the rasgueados that he plays in that recording do not appear in his manuscript. In the second movement Andantino affettwoso, written in 5/8, another innovation in the guitar literature, and in D major, a wrong chord appears on the first beat of the second measure in the edition published in 1967 by Peer International Corporation and edited by Carlos Vazquez with the revision and fingering of Manuel Lopez Ramos. After consulting with Lopez Ramos, he assured me that he made no changes for the edition and that he even respected, whenever possible, Segovia's fingering. Consequently, I came to the conclusion that the mistake was probably due to the engraver since in the manuscript two sharps appear together for F and A, sharps that he might have copied wrongly for A and B resulting in an interesting chord based on the whole tone scale but not corresponding to what Ponce wrote Segovia also made changes in his recording of measures 2 and 3, simplifying the wrong chord of the Peer edition but adding the B sharp; and also transposing down an octave the initial chord of the 3rd measure as well as the G sharp that follows, ignoring the harmonics of his own manuscript that did appear in the 1967 edition. In this movement Ponce shows again his harmonic ability using an ascending and descending chromatic scale in the bass, the D major chord not appearing until the end, after a rest of a whole measure that serves as a sort of silent cadence. This rest was ignored by Segovia in his recording, since he changed all the ending, amongst other things that would require too much space to enumerate here The third movement Allegretto, quasi serenata was the first piece written by Ponce for the guitar and the result of his first meeting with Segovia, who knowing that Ponce was a composer asked him to write something for his instrument. The outcome was this little piece that after being approved by Segovia was followed by the other movements that comprise the sonata, Written in 3/8 and in A minor itis related to La sérénade interrompue by Debussy. Both are written in 3/8, with a continuous movement in sixteenth notes, both have a cantabile in eighth notes, both have a serenade ambiance and a similar harmonic atmosphere, except that Ponce at the end, instead of interrupting the serenade makes a quotation of Vamos a tomar atole, a fragment of the Jarabe Tapatio, as a sort of symbolic propitiation for the beginning of his friendship with Segovia. The manuscript that I used for this third movement is Ponce’s original, which is different, as can be seen, from the Segovia manuscript that was used for the Peer publication. In the last movement Allegretto un poco vivace, within the rondo form, Ponce goes back to the A major key and employs for the principal theme a motif derived from the first theme of the opening movement, although this time it appears in A major. Afterwards, in the second al episode, he makes a textual quotation of this theme giving this sonata a cyclical form. The coda is built on a series of parallel chords on a dominant pedal, a procedure employed by Ponce in some of his later works, like the end of the development of the first movement of the Sonatina or the ending of the Homenaje a Tarrega. In this last movement, I have suppressed the harmonics added by Segovia for the re-exposition of the principal theme, as well as the rasgueado that was also left out by Manuel Lopez Ramos in the 1967 edition. Ivis peculiar that in the 70s, according to several programs published in the second volume of the interesting book by Graham Wade and Gerard Garno, A New Look at Segovia His Life @ His Music (Pacific MO: Mel Bay Publication, 1997) Segovia was playing this sonata but excluding the third movement and giving programmatic titles to the other three. So the first movement was baptized: Bailecito del Rebozo; the second: Lo Que Suefia el Ahwehuete; and the fourth: Ritmos y Cantos Aztecas. Segovia was pleased with this first guitar opus by Ponce and it was premiered in Madrid the same year of its composition, according to an undated letter of 1923 in which Segovia still addressed Ponce in the formal way: Besides I am happy to use the occasion of having played recently in Madrid your beautiful sonata with the public’s applause, the critics’ assent and the warm admiration of the musicians. I am sending you a proof of all these three: the public has asked for it again, the critics have praised it without restriction and as an example of the musicians’ liking I will quote Falla, for whom I played the andante and the finale without telling him the name of the composer and he was truly enchanted. His contentment was not diminished when he knew it had been written by you and when I added that you felt towards him great and just admiration. The reason for not having included it before in my programs (since now it has passed I do not mind telling you) has been that in one of my journeys I lost a suitcase full of music and books and it was net recovered until a few days ago. I had not kept a copy of the fingered sonata and I did not want to trust my memory after the manuscripts’ disappearance. Fortunately everything is arranged and after this Madrid audition it will be one of the preferred works of my repertoire. But do not think that I want to limit myself to the sonata and the clever Valentina. I go back to you asking for more, because all are necessary for my many concerts and in all of them I want to see your name. 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