Program

Variations sur
Folia de Espaa et Fugue
Manuel Maria Ponce (1882-1948) is recognized as a leading twentieth
century Mexican composer, with his style of composition characterized by
his use of traditional Mexican folk melodies.
The great guitarist Andres Segovia, a friend of Ponces, commissioned
Variations sur Folia de Espaa et Fugue in 1928, requesting a
substantial work utilizing all available technical resources. It was to be based
on the Violin Sonata "La Folia," Op. 5, No. 12, by the Italian composer
Arcangelo Corelli (1643-1713). The sonata, in turn, was based on a "La
Folia", a slow dance from the 15th century Renaissance, probably
originating in the Iberian peninsula, probably Portugal, in 3/4 time, with
regular patterns.
Though Segovia was perhaps expecting a composition in the early 19 th
century style of Guiliani, Ponce ended up composing a contemporary work
of high technical demands. The general style of this work is a mixture of
neoclassic treatment of form, neoromantic lyricism and expression, along
with a mix of neoromantic and impressionistic harmonies providing a
compositional matrix allowing each variation to have a distinct character.
Ponces composition contains a theme, twenty variations, and a fugue.
Segovia would later claim The Variations to be one of the greatest works
written for the guitar. A broad selection of the techniques of guitar playing,
including tremolando notes, isolated pizzicato notes, and the rasgueado, are
heard here.
(24:00)
Lute Suite in E-major
BWV 1006a

Johann Sebastian Bach (1685-1750) composed the Lute Suite in E-major in

Cthen around 1719, Originally written as Partita No. 3 in E major (BWV
1006) for solo violin it was later transcribed by Bach for the lute
While Bach was taken greatly by the sound of the lute, as he could not play
one, in around 1740 he had a keyboard instrument built that reproduced the
sound of the lute.

This lautenwerk, or lute-clavier, allowed him to play his transcriptions

directly as well as the compositions of his friend, the great lutenist, Sylvius
Leopold Weiss.
The Suite consists of seven movements:

Prelude: Free in style and the only non-dance composition in the Suite,
it is usually considered an introduction to the suite rather than a part of
it. Some consider it designed to afford the chance to warm up the fingers
and check the tuning of great importance when playing the lute.

Loure: The loure, also known as the gigue lente or slow gigue, is a
French Baroque dance, probably originating in Normandy and named
after the sound of the instrument, a type of musette or bagpipe native to
Normandy.

Gavotte en Rondeau: Of 17th century provenal origin, it is a dance in

Candidate
1-433149854
binary rhythm in moderate
tempo. As withID:
the minuet
and bourre it is
December
9, 2014
usually written in A-B-A form. Bachs treatment
is en rondeau
consisting of a repeated refrain between varied couplets derived from the
structure of the French lyrical poetic rondeau. This technique had great
significance by the late 18th century and led to the rondo form of the
sonata in Mozarts time.

Minuets 1 & 2: Of French origin, the second minuet is of the same form
and key as the first but as contrast with the first. This structure was
introduced into the form of a suite in the late 1600s.

Bourre: A traditional French dance, written in quick double-time

somewhat resembling the gavotte.

Gigue: A fast-moving lively dance, often in 6/8 time, the gigue was
often used for the suites finale. Derived from a English/Irish country
dance the name comes from a kind of bagpipe it consists of two parts
in ternary rhythm that are repeated.

FTCL Recital (Guitar)

Thet Shwe

(21:00)

Total Recital Time:

45:00