MANUEL M.

PONCE AND THE GUITAR

BY

CORAZÓN OTERO

1
 Translated: by
JOHN D. ROBERTS

Published in paper by
THE BOLD STRUMMER LIMITED

Manuel M. Ponce

2
 To Fernando
absolute reflection of this conception

3
 PREFACE

I have collected with great passion all the elements that have helped
to form this book; I have felt intensely each new discovery, each new piece
of information, as it came before me.
The music of the great Mexican composer Manuel Ponce is so
beautiful and nevertheless so little known, that if the desire to hear it is
born in any reader of these pages, I shall feel most happy and content.
Manuel Maria Ponce is without a doubt one of our greatest
composers. His extraordinary genius has created a marvellous body of
music inspired chiefly in the themes of the purest Mexican folklore. With
his exceptional talents he has enriched these simple forms, till he has
brought them to the concert halls of the whole world in his beautiful
compositions.
He initiated in Mexico the present guitaristic movement, and his
contribution to the general repertoire has been of the greatest importance.
He composed music for almost every instrument and produced practically
every form; study, prelude, fugue, mazurka, gavotte, voice and piano,
voice and orchestra, duo, trio, quartet, choir a cappella, symphonic work,
concerto...

Corazón Otero

4
 PRELUDE

PRELIMINARY REMARKS BY FEDERICO MORENO TORROBA

Madrid, 10.3.80

In speaking of Maestro Ponce, great musician, great composer not only for the
guitar but in other regions of music also, I am bound to make public my admiration for
his work.
It was Andrés Segovia who in the year 1923 invited me to write for the guitar. I
refused at first because I am not a player of the instrument, and I had some qualms
about undertaking a labour for which I had not enough experience to be successful; but
by his insistence he made me start my guitaristic toil, that today has reached a good
number of works, for guitar and orchestra as well as guitar.
At that time Andrés Segovia got to know Manuel Ponce in a Mexican tour, and
on his return to Spain praised this great master to me as he deserved. I was sufficiently
interested to study Manuel Ponce’s work thoroughly. And I was not unaware of so
great a master’s toil in other fields, including that of light music, where he was famous
for his work Estrellita; but on getting to know his guitar compositions, solo and with
orchestra, I was altogether captivated by his art, of a delicacy, classicism and beauty
justifying the round statement that he was a composer worthy of the front rank -
particularly for the guitar.
His facility in composing was extraordinary. Segovia told me that once in Paris
he wrote, over a cafe table, half in jest, half in earnest, a study in imitation of Bach; so
that today when listening to this improvisation it needs an expert to tell who fathered
the work, Ponce or the great German composer.
In one of my journeys to Mexico, when Ponce already had the illness that
deprived him of his ability to compose, I realised I was faced with a man endowed with
virtues not only as a musician but as a human being. I saw a man endowed with virtues
not only as a musician but as a human being. I saw in which, combined with
everything he signified in music, made me consider him an exceptional artist.
To sum up, I would like these lines to be taken by those who read them as a
testimony of admiration for Manuel Ponce, composer and friend.

5
 FANTASIA

Portrait of a Creative Life

Don Felipe Ponce arrived hurriedly at Fresnillo, Zacatecas, from

Aguascalientes, on the fall of Maximilian’s empire, in the régime of which he had
collaborated. Don Felipe was afraid of political reprisals from his republican
countrymen who had returned triumphant. He had therefore decided to take his family
to Fresnillo, accepting an offer made by Don Antonio Pugar, a merchant of the region,
to look after the accounts of his business.
On December 8th, 1882, Manuel, 12th child of the couple Felipe Ponce and
María de Jesús Cuellar, was born, in Zacatecas. From his cradle on Manuel had the
good fortune to have a mother of great artistic temperament, who was always anxious
for her child to study music; so much so that the child learnt the notes of music before
the letters of the alphabet.
The Ponce family returned to the city of Zacatecas when Manuel was only two
months old. There they had a large house near the church of San Juan de Dios, with
patios, fountains and trees that were the joy of Manuel’s infancy.
His sister Josefina noticed that Manuel was surprisingly precocious musically,
and gave him his first lessons in piano and solfa when he was four years old. Manuel
showed himself an obedient child, silent and studious.
At five he caught the small pox, and during his convalescence he composed his
first work, The Dance of the Small Pox.
One of his favourite pieces was the popular March of Zacatecas, which he could
play on the piano at six with ease and fire. The neighbours heard and wondered. One of
them, having a party at his house, sent round to ask for the “loan” of the child who
played the piano, so that his guest could hear him. Manuel’s mother was afraid that he
would not agree, owing to his great timidity. She was very astonished when her son
happily accepted the invitation. Quickly, almost afraid that he would change his mind,
they put on his overcoat, for he was in poor health, and took him by the hand to the
neighbour’s house.
Manuel played the famous march with brio, and in the general enthusiasm the
wife of the governor of Aguascalientes, who was among the guests, congratulated him
and place in his hand a shining piece of silver. So did Manuel receive his first
payment.

6
 Every day along the street in front of his house there passed a tram drawn by
mules. Manuel enjoyed getting on the tram while it was moving. The bad-tempered
driver gee’d up his mules to avoid giving the boy a free ride, but in vain, because he
was agile and always got on.
Nearly every afternoon he went with his sister Refugio to the Plaza de Armas
and to sit in the Garden of San Marcos to see the procession of people out taking the
air. Manuel remained absorbed in looking at the passing people, and enjoyed settling
down to write, whistling merrily.
He went to school and was so precocious in his studies that he finished the first
course in three years only. His mother saw his improvement in music and sought out a
piano teacher; the licenciado Cipriano Ávila was his first regular master. At ten years
of age, advised by his brother Fray Antonio, Manuel entered the children’s choir in the
church of San Diego. At thirteen he was already assistant organist in the church, and at
fifteen obtained the coveted post of titular organist.
Unfortunately the Archbishop of Mexico sent out a pastoral letter prohibiting
the use in churches of any music except Gregorian, which meant for Ponce a definitive
expulsion from the church service.
He had his abundant hair parted in the middle and his gaze was brilliant. At
eighteen he was scarcely one and a half metres tall and walked with short rapid steps.

Manuel M. Ponce
7
 Looking for wider horizons he decided to move to the capital. In Mexico City
he stayed with the Spanish pianist Vicente Mañas, who gave him lessons. The Italian
Maestro Vicente Gabrielli gave him lessons in harmony, and counsels that sowed in
him the seeds of ambition and unrest.
Manuel decided to enter the Conservatorio Nacional. He was now 19 and
proudly played a great number of his own compositions. He usually used smaller
forms such as the Mazurka, Gavotte and Danza. With his friends, the painter Saturnino
Herrán and the poet Ramón López Velarde he was in frequent attendance at artistic
gatherings.
In the Conservatorio he learned nothing new, as the classes were given on an
antiquated basis. He was horribly bored, and decided to return to Aguascalientes. In
this city he gave classes of piano and solfa, saving enough to buy a grand piano.
He was obsessed by music, and would drop everything at any moment to start
writing. He often left the house in thought, stopped suddenly, ran back and entered the
house without a work, went to his room and set to writing.

Every year in Aguascalientes, trades people, bullfighters, theatrical people,

Bajío singers got together at the Fair of San Marcos, in the typical surroundings of the
Mexican Fair. Here, with many others, were found Herrán, Velarde, and Ponce. The
artistic nationalism of these three innovators owes a great deal to this locality. The
rhapsodes and singers who went from fair to fair were a magnificent source from which
to learn the Mexican popular songs. Ponce made good use of these jewels of music,
incorporating them into his music with sensitivity and talent.

San Marcos became rooted in his soul when as a child he played in its gardens,
and in his youth he planned a national revolution in music. It was here that he met a
singular personage who sang songs of the different regions of the country,
accompanying himself in his wandering life with an old harp, and launching his songs
on the air in a coarse voice and in great style. Ponce also often heard Severiana
Rodriguez, a famous rhapsode in these parts, a blind woman whom he frequently asked
for different songs that gave him interesting musical ideas.
Even the cries of the market stimulated his musical talent. No detail of the soul
of the Mexican people escaped him musical genius.

8
 Ponce at the Fair of San Marcos

Following once more the instinct of his art, Ponce decided to leave for Europe;
to do this he was forced to sell his piano. After a long journey he installed himself in
Bologna and enrolled in the Liceo Rossini. He was 23, and studied composition with
Luigi Torcchi and later with Dall’Olio, a pupil of Puccini. He worked peacefully with
his masters and composed the first and second movements of his Trio for piano, violin
and viola, the first Piano Sonata, and Four Mazurkas.

Some time later he decided to leave for Germany, looking for a more modern
discipline. He enrolled in the class of Martin Krause at the Stern Conservatoire in
Berlin, to complete his piano studies. He called on the Director, Fieltz, who was also a
distinguished conductor and composer. After a few minutes Prof. Krause, a pupil of
Liszt, appeared. He was of medium height, with a beard of French cut. After the
introductions, Ponce played his Study and a Sonata of Hummel. Krause noticed the
uneven rhythms of the Study, and asked him to play it again. Ponce understood
immediately what was in question, and repeated it stressing the first note of each bar.
The Director said in German, with an ironical smile: “Italian style”. From this phrase
Ponce understood the whole pride of the Germans, who felt themselves musically
superior to the Italians, since all modern composers followed more or less the path
marked out by the colossus Wagner.
In Germany, Ponce fulfilled his tasks as the most persevering of students. He
submitted willingly to the iron German discipline, took part in some public
performances, played a Concert Study at a student’s concert at the Conservatoire, and
met and lived with famous players.

9
 In 1908 his economic position was shaky, and he had to give piano lessons
again to keep going, until, with nothing better in view, he decided to return to Mexico.
A little previously he had had the satisfaction of playing in the Beethoven Hall
of Berlin, with an extraordinary success.

Back in Mexico, Ponce dreamt of carrying out what so many masters have done
in other countries, and making use of folklore. Are not popular songs to be found in
Bach Chorales, in the symphonies of Haydn and Beethoven, in the works of Albéniz,
etcetera? Why should our popular melodies not become the basis of our own art?
This ideas became profoundly engraved in his spirit, as a result of his stay en
Europe and a deep study of its folklore. He worked hard to bring his ideas to a
successful result. How he fought against the prejudices that existed against everything
that signified ‘popular’ or ‘indigenous’! Hoy many forecasts of failure were made by
his colleagues when Ponce announced that he would play a Mexican Rhapsody in
concert! He was not spared irony, or cruel phrases.
In addition he was pursuing a career as pianist-pedagogue, spreading the work
of the Impressionists that he so much admired, De Falla, Ravel and Debussy, almost
unknown in Mexico.

This year he took over the professorship of piano in the Conservatorio Nacional,
left vacant by the death of Ricardo Castro.
His work began to take an ambitious direction. He attacked large musical
forms, and not limiting himself to the piano, he began on works of a more conscious
nationalism. He became friends with corresponding figures in literature; the circle that
had gathered round the educator Justo Sierra welcomed him warmly. He visited the
shacks of a manufactory of pulque, where they were much moved by the singing of the
natives.

In 1911 he wrote his first large work, the Piano Concerto. He also wrote a
Dialogue of Love for the piano, with these works in the Dedication: “Keep these little
passionate flowers, cut from the Autumnal garden of my agonising youth... One day,
perhaps, they will bring perfume to your hours of boredom, of revulsion.”

At the end of 1912 he took the train to Aguascalientes to spend the holiday with
his family and friends. Looking into the starry night, he was inspired to write his song,
Estrellita. He composed it without complications of counterpoint, following the lines
of the Mexican Bajío songs. It was for voice and piano, and he wrote the words also.

10
First phrase:
Estrellita del lejano cielo
que miras mi dolor, que sabes mi sufrir,
baja y dime si me quiere un poco
porque yo no puedo sin su amor vivir.
Second:
Tú eres, oh estrella!, mi faro de amor,
tu sabes que pronto he de morir.
Ritornello:
Baja y dime si me quiere un poco
porque yo no puedo sin su amor vivir.

11
 Ponce founded a piano academy, and Carlos Chávez was prominent among his
pupils.

Ponce initiated the nationalist Mexican school, that has influenced not only our
composers, but has passed our frontiers, some composers writing works with Mexican
themes.
We find him in full production of works with national themes, composing and
harmonising. He intended to ennoble the Mexican song, raising it to the level of the
concert hall. He made arrangements of La Pajarera and La Valentina for voice an
piano.
He wrote some very interesting works such as Balada Mexicana, Arrulladora
Mexicana, and Barcarola Mexicana. In spite of these obvious titles, his nationalism
was not wholly pure, for he was already under European influence.
In 1913 he gave his first lecture, “Music and the Mexican Songs”, causing a real
upheaval among the intellectuals. In this he noted the rise of a national musical
consciousness, and a new evaluation of folklore.

At a concert he met the contralto Clementina Maurel, of French extraction.

They were in complete sympathy, and with Ponce at the piano she, now and again,
interpreted his music. They became engaged, and she left for Europe.

Clementina Maurel

12
 In March 1915, Ponce went into voluntary exile in Cuba, settling in Havana
with two friends, the poet Luis G. Urbina and the violinist Pedro Valdés Fraga. There
he nourished himself on a sensual and syncopated type of music. His Sonata for cello
and piano is under Cuban influence, as is also the Suite Cubana, Paz de Ocaso (Sunset
Peace) and Rapsodia Cubana.
He made friends with the most distinguished of Cuban artists and thinkers.
Havana was a musical centre of considerable importance. Its concert halls were
a necessary stage for all European artists on the American tour. and Ponce soon
attached himself to this rich concert activity.
He founded the Academia Beethoven that had a quick success and enabled him
to live on teaching. At the same time he wrote articles on music in the papers and
reviews.

Manuel M. Ponce

In 1916, he went to New York to give a recital of his works.

Back in Cuba, he wrote to Clema, 4th May, 1917

“Dear Clema: Today being Holy Thursday I have no afternoon classes. I have
put aside the Beethoven score that I have been studying with great attention.
And the sweet emotion that your memory arouses joins with the emotion of the
music that I have been listening to without ears...

13
 My life, you have arrived in my heart enveloped in immortal harmonies, your
face filled with light, your divine eyes filled with love, your mouth, the nest of
my happiness, filled with kisses... You have arrived in my solitary room and
your hands of nard caress my ashen head, grown grey on the long road of my
sufferings. YOur hands give me new life. Your lips know how to pour out the
miraculous wine that makes my heart drunk with joy and kills all ancient
sorrows.
And now my soul speaks with your in the peace of the evening, speaking and
singing all the phrases of love...
O my Clema, if you could understand all my immense love, you would never
have doubts about it. I sigh for you, my angel. When will you be here? When
will I have the happiness of enclosing you in my arms?... Manuel de Clema”

In March 1917 Ponce was named professor at the Conservatorio Nacional of

Mexico and decided to return to his country. In this same boat from New York he
meets his bride-to-be, Clema. How enjoyable was the journey from Cuba to Mexico!

On September 3rd of this year they were married. The National Symphony
Orchestra played during the wedding.

14
 As a result of his wife’s French origin, Ponce began to feel the influence of
France, and most of his compositions are dedicated to her. He had great verbal facility,
and whenever he spoke to Clema he did so in verse.
Clemita, as everybody called her, always took care that the maestro could
compose peacefully, and tried to avoid the slightest sound. She made the servants wear
shoes with rubber soles, and walk on tiptoe. The telephone and the doorbell were
wrapped in cotton so that they could not ring too loudly. She liked to sit on guard at the
door of his study.
A barrel organist took a fancy to playing under one of the windows. Clema ran
out, gave him a peso and told him to go, as the maestro was composing. The organist,
very astute, came every day at the same time, knowing that he was certain of a peso
before he even began to play.

The revolution had left a gap in the artistic movement of Mexico. A directorate
of Fine Arts was therefore created, charged with co-ordinating, centralising, and
generating initiatives with regard to Art.

Ponce was nominated Director of the National Symphony Orchestra. His

proverbial kindness and the respect in which he was held were important factors in the
smooth running of this musical body which was then so disorganised. This experience
with the National Symphony awoke in him an ambition for large musical forms. In
1919, he decided for political reasons to give up directing the Orchestra, and to
dedicate himself to composing and teaching.
In April of this year he founded the Revista Musical de México.

The preparation of lectures and the organisation of concerts of his works took
up most of his time; and so he began more and more to confront his listeners as a great
Mexican musician.

The doors of Ponce’s house were always open to all: he was most hospitable
and generous, and of a peaceful character, enthusiastic in conversation. He had a good
knowledge of dates, names and anecdotes, conversed always with sparkling eyes. He
was much sought after in society, spoke several tongues, French, Italian, English and
German, as well as Spanish.

! ! ! ! ! !

15
 ALLELUIA

Ponce’s creation for the guitar begins

In 1923 the Spanish guitarist Andrés Segovia went to Mexico for the first time
and met Ponce, who was impressed by the beautiful sound of his guitar. He wrote an
article about Segovia’s first concert.

Musical Chronicles by Ponce in El Universal, 6.5.23

“To hear the notes of the guitar played by Andrés Segovia is to experience a
feeling of intimacy and the well-being of the domestic hearth; it is to evoke
remote and tender emotions wrapped in the mysterious enchantment of things of
the past; it is to open the spirit to dreams, and to live some delicious moments in
the surroundings of pure art that the great Spanish artist knows how to create...
Andrés Segovia is an intelligent and intrepid collaborator with the young
Spanish musicians who write for the guitar. 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...
At the end of his recital he played the Sonatina of Moreno Torroba, which in my
modest opinion was the most important work of the programme, magisterially
performed by Andrés Segovia in his introductory recital before the Mexican
public. This Sonatina shows us a composer full of melodic ideas, a musician
who understands classic forms, a knowledgeable folklorist who knows how to
construct, with elements of rhythm and popular melodies, works important
because of their development, and harmonic tendencies.
Casals and Segovia are among the few artists who have at once made
themselves masters of the admiration and enthusiasm of our public...”

! ! ! ! ! !

16
 Andrés Segovia

Andrés Segovia asked Ponce to write a work to increase the scanty repertoire of the
guitar. Ponce was not slow in finding inspiration for such a beautiful instrument and
composed his first guitar work: Allegretto quasi Serenata.
Some months later he included this work as the third movement of his Sonata
Mexicana, which he sent to Andrés Segovia together with a guitar arrangement of La
Valentina.
The Sonata consisted of 4 movements, Allegro moderato, Andantino affetuoso,
Intermezzo and Allegretto un poco vivace. In this Sonata he used popular themes of
Mexican folklore. The first movement is in sonata form, using native rhythms in a
graceful manner. The second is written, oddly enough, in 5/8. In spite of its
irregularity he uses the measure to attain a very tender and expressive effect. The third
is an Allegretto with the movement of a Serenade, using the theme of the Jarabe
Tapatío. The fourth is a somewhat nostalgic Allegro of great virtuosity.
Segovia played the Sonata. The public applauded enthusiastically, and asked
for it in other concerts. The critics praised it unboundedly and the Spanish composer
Manuel De Falla was altogether enchanted when Segovia played it to him.
Segovia was happy, and began to receive works from European composers who
took part in his efforts to re vindicate the guitar.

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Segovia to Ponce, Paris 1924:

“...Seeing this whole group who are exalting my beautiful instrument, I think
every time with more gratitude of those who answered my call, that is, Torroba
and you (after Torroba and before you it was De Falla who wrote his Homage
to Debussy) and again I want to give you my sincerest thanks.
But don’t imagine that I intend to limit myself to the Sonata and the ingenious
Valentina. I am coming back to ask you for more things because all are
necessary for my numerous concerts, in every one of which I want to see your
name. I would enjoy having something else by you - have you a mind to it?
Adiós, a hug from your good friend who loves and admires you.”

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In 1925 Luis G. Urbina wrote (El Universal):

“Manuel Ponce is an example to be imitated. From the viewpoint of the

struggle for existence, he has strength of will. From the viewpoint of musical
aesthetics, he is an innovator.
Like all beings who have much to say to themselves, he is rather reserved,
rather silent, rather solitary. Ponce is wrapped in himself, contemplative; his
moral good health never allows him to be contaminated by envy.
Ponce’s talent is not only new, but innovatory. Fond of flamboyant forms, his
music is cast in a mould and style that, exuberant in thought, searches for and
finds rhythms, melodies and harmonies of strange textures. All things that
submit to his inspiration take on a personal aspect. He embodies his
impressions lyrically, tells his interior life, his whole passion, tenderness and
dream. The maestro’s fantasy is vast, luminous, his sensibility so delicate that a
sigh of love shakes it. Ponce owes his innovations to Mexican music, in these
delightful tentatives towards clarifying and purifying our popular songs.
The great masters well know that the people are the best, most sublime of
musicians, because through the years they gather together in their highest
purity the songs of their surroundings and their race. Manuel Ponce, exquisite
poet, contemplative soul, young and able, is audacious, He lifts the
melancholy and sonorous soul of our people to the highest glory of Art.”

Clema and Ponce

19
 PARIS

At 43, a finished Master, Ponce felt that he was behind many of the innovations
and crystallisation of a true contemporaneous language, and was therefore disposed to
revise and extend his technique of composition. In order to reach Europe, the vanguard
of musical composing, he obtained a commission from the Ministry of Education. On
the 25th of May 1925 he embarked for France with his wife Clema.

Ponce, Clema and some friends at the Eiffel Tower

He settled in Paris and laid the basis of his great friendship with Andrés
Segovia, a friendship that grew to be a close relationship. So did Segovia begin his
constant perennial labour of stimulating Ponce to continue composing for the guitar.
His continual aim was to make these beautiful compositions known; he preferred
Ponce’s works to those of any other composer and played them incessantly. He also
helped him in every way to get his music published and whenever possible introduced
him to great musicians. Ponce returned him talent, music, and sincere friendship.

20
 Finally Ponce understood the guitar so well that, although he could not play, he
composed for it copiously and with much facility. His verdict was:

“The guitar is an exquisite instrument, containing a singular world,

sensitive, delicate, mysterious.”

In Paris, he felt and thought like a Frenchman, and this can be heard in his
works. He changed his hair style, brushing it backwards. The years had begun to turn
his thick hair white, and this, with his lively and tender eyes, gave him a characteristic
appearance.
He arranged his songs, Estrellita and Por ti mi corazón, for the guitar. He wrote
the Prelude in B minor.

His commission in Paris was to study “The new tendencies in the art of music in
its different aspects: pedagogy, folklore, etc., and the procedures used in collecting and
classifying popular songs. “He sent a report to Mexico of what had to be done to
ensure that the music of folklore should no longer be the victim of ignorance and the
speculative wishes of “arrangers”. He suggested that the Government should set up a
controlling committee that would go to every region and recover the music in its true
traditional form. Once the melodies were catalogued and arranged by regions and
subjects, a volume of them could be published, furnished with notes and photographs.”
At the end of his interesting report, he wrote:

“From these remote melodies, from these remote melodies, from these sounds,
languid or vibrant, plaintive or spirited, Mexican music could one day be born
at the breath of a composer of genius, stylised in modern forms in which would
be enclosed not the simple melodies, but the ambience that they can create.
Then we would no longer offer the roses of our garden. Their perfume, diluted
in the magnificence of some orchestral poem, would be enough to obtain the
supreme desire of the student of Folklore; the work of art as the expression of
spirit of a people.”

In 1926 he composed his Prelude for guitar and harpsichord. This Prelude so
pleased the composer Moulaert that he arranged for it to be played in Brussels.

Ponce’s exclusive time of production was in the morning, in the concentration

of his study. He first constructed the architecture of the work mentally, then awaited the

21
maturing of the idea, needing a gestative process in the mind; then, finally, in the
possession of the melodic themes, he attacked the execution, writing on the stave.
Ponce finished his Tema Variado y Final. Based on an original theme of great
beauty, there are six variations, and a very lively finale of great lyricism.

Andrés Segovia to Ponce, (Geneva, 21.8.26)

“I see with regret that you have not decided to visit us; I am sorry for it, for I
was hoping that you might hear the Sonata in A minor that I have been working
on, the Variations that I brought out in Evian, keeping you a concert
programme. I have also begun to study the Prelude in B minor; I am waiting for
its Fugue with an impatience that is renewed daily... So have I consecrated the
summer to Maestro Ponce and to my studies in harmony, for which also I need,
and am waiting for you sage counsels; more precious for me than those of any
other master because they are impregnated with our good friendship, a powerful
inducement to overcome obstacles and to advance further...”

Ponce composed two Spanish songs, Canción Gallega and Alborada.

Clema and Ponce

22
 In 1927 he also composed his Sonata III. In this he used a more contemporary
language. It is in three movements, Allegro Moderato, Canción, Allegro non troppo.
The first movement is in full sonata form. Ponce had now a greater knowledge of the
technical possibilities of the guitar and used it in this work, a sonata of great difficulty.
The second movement is a nostalgic song of great beauty. The third in rondo form has
a brilliant passage in tremolo, under Spanish influence. There is a fine coda,
concluding with a series of very slow dramatic chords. He sent the work to Segovia
who studied it at once and put it in his programmes for London, Geneva, and
elsewhere.

In the same year Ponce brought out a music review in Paris, La Gaceta Musical.
It was the first music review in Spanish to be published in France, and was entirely
dedicated to music; it represented a true bond of union between the many musicians of
Spanish speech. Ponce was the soul of the Review, did everything from the reverent
analysis of the work of Paul Dukas to the licking of stamps. Together with Mariano
Brull, he worked indefatigably. Segovia helped him to get articles for the review,
putting him in contact with important composers, critics and musicians in Europe, and
also introducing him to the house of Schott for the publication of his works. Ponce and
his collaborators worked every afternoon from 5 to 7, collecting and going over their
material. Great personalities such as José Vasconcelos, Joaquín Rodrigo, Manuel De
Falla, Alejo Carpentier, Paul Dukas, Salvador de Madariaga and Joaquín Turina among
others had given or promised them articles. The first number of the Gaceta Musical
appeared after endless careful work, on January 1, 1928.

Ponce rose at 7 in the morning to start writing. He had to copy and revise the
Tema Variado which Segovia had already fingered, and send it back to him for
publication.

Ponce registered at the Ecole Normal de Musique, in the composition class of

Paul Dukas. Here he associated with the Spanish composer Joaquín Rodrigo and the
Brazilian Hector Villa-Lobos. They studied in the same class and became good friends.

Ponce and Clema live in a little simply-furnished apartment and had only the
essentials. The piano took pride of place. Here he spent the whole day working;
composing, studying, analysing. On Saturdays he ate with a group of artist friends.
Alfonso Reyes and Segovia among others.

23
 Friends in Ponce’s house

Ponce composed the Sonata Romántica in four movements, Allegro moderato,

Andante expressivo, Allegro vivo - piú lento espressivo, Allegro non troppo e serioso.
He produced this Sonata in homage to Schubert, displaying his knowledge of
the different styles of composition. He made an exceptional exploration of the
sonorities of the guitar, its colours, contrasts and contrapuntal possibilities. It is a
difficult Sonata, a challenge to guitarists.

The Maestro Paul Dukas told Ponce:

“You are no pupil; you are an illustrious musician who
does me the honour of listening to me.”

Pupils in the class of Paul Dukas

24
 Segovia to Ponce, (Thorens, Switzerland, 20.7.28)

“I am in the full revision of your works. Sonata III is ready. I have accepted the
ending of the first movement, since the other hasn’t come, and I have become
very fond of it, - It is all very beautiful and it is a work of importance for the
guitar, the player and the public. I thank you once more wholeheartedly.
I have got the Prelude in F sharp into playing order - I mean in B minor - or if
you like in both keys, since until the end the key is undefined.
I don’t know if you remember, but from the first, ever since you brought it to
me at the Hotel on Christmas Day, it has seemed to me one of the most beautiful
things you have produced, in spite of its title and therefore of its size. This is
still my opinion today and I am playing it with real enthusiasm. The capotasto
softens the normal sonority of the guitar a bit, which thus gains in subtlety and
poetry. The finale of your Prelude takes on the lightest texture of silken
harmony.
I have also cleaned up the Andante that you put your signature to in Thorens; I
have been playing it all day with a dematerialised sonority. You know that the
guitar lends itself to pianissimo as does no other instrument. And so this
Andante is as you have dreamt it. Sometimes a phrase ends in dissolution,
imprecise, like an image reflected in a polished surface; and between both ideas
it floats like a mist, stretching out towards the repeat. When you hear it you will
see that everything that I am telling you is just, exact, and not empty words. At
least that is my impression.
I am working also on the Sonata in A minor. I started on it yesterday. And
that’s not all, I have begun to revise attentively the Theme and Variations,
getting it in order for printing, if you agree with me that it should be the first of
your works to be printed...”

Isaac Albeniz’s daughter Laura approached Ponce to revise one of her father’s
works. She wrote from Huesca, Spain, 11.7.28:

“...From a letter I received from my good friend Dukas, I learnt a few days ago
that you were writing me to accept the commission of the opera “Merlín”, by
my father. The maestro will have told you that this work is one of the most
important that my father composed, and he dedicated many years of his life to
it. I am arranging that the score for piano and voice is sent you at once so that
you can get a better idea of it”.

25
 “I wrote to Dukas asking him for the name of some good musician who might
attend to these corrections and he mentioned you. We know that the task is long
and laborious and that it needs courage to undertake it, but as long as it gets
done we are not in a hurry. My mother is so anxious to see this work saved
from neglect that she would give anything to see it finished.
Taking all this into account, we shall be eternally grateful.”

Ponce’s economic situation was not good; the money that should have been sent
from Mexico did not arrive, and Clema decided to return, to arrange matters so that
they could continue living in Paris, where Ponce had a wider field for development, in
his studies as much as in the diffusion of his works.

Clema

Segovia to Clema (Paris, 5.9.28):

26
 “I have just been to a part of America which is not as pleasant as your delicious
Mexico, and exactly for that reason I thought frequently about it.
Manuel opened his arms at the station, and I rushed into them.
I am very sorry you are not here, though I am glad to think that you are enjoying
the fresh auras of summer.
Manuel have been to Avenue Mark Malaun, and there he made me listen to the
Sonata to Schubert, which has shattered me. Now I have work for the Geneva!
I am going away without yielding to the temptations of friendship that bind me
to Manuel, with whom I can spend a great deal of time without feeling it.
Till soon. An affectionate greeting from your gook friend Andrés.”

Ponce laboured intensely for the guitar. He dominated every style of

composition with such facility that, to strengthen and diversify the guitar repertoire, he
agreed with Segovia to compose secretly, under different pseudonyms, works that
Segovia would then propagate. In this way they perpetrated a series of jokes that the
public and the critics innocently accepted. So that Prembulos and Pavanes of one or
other ancient vihuelista began to appear in Segovia’s programmes.
Ponce composed the Suite in A at Segovia’s request; this time Segovia wanted
to play a joke on Kreisler, who put in the first part of his concerts works by Pugnani, of
the 18th century, of Vivaldi, of Corelli, which were in fact his own. Segovia was going
to share a concert with him and asked Ponce to write a work in the style of Bach; Ponce
composed this marvellous Suite. One day he met Segovia with a beautiful Sarabande
by Weiss, and Segovia said:
“Look, this is the composer to whom we are going to attribute your work.”

Suite in A: five movements, Prelude, Allemande, Sarabande, Gavotte, Gigue.

In this beautiful Suite Ponce displays his knowledge of Barroque counterpoint;
one can feel his personality throughout the whole work.

Segovia to Ponce (Geneva, 30.9.28):

“I threw myself at the ending like a hungry dog... and I despair of the guitar.
For the first time, your music turned out to be impossible! and where you would
least imagine - in the arpeggios. YOu have come up against the same type of
difficulty that makes the violin Prelude in E Major of Bach inaccessible to the
guitar. The difficulty in both cases consists in this, that one has to make a
succession of steps on one string while maintaining a position, at times
exaggerated, to get the separated note of the arpeggio. Do you understand? On

27
 the guitar the technique of the arpeggio is derived almost exclusively from the
block chord. Whatever cannot be done with a block chord will not be possible
in an arpeggio sequence, except in slow movements.
How is this to be dealt with? I am really in despair, because it pleases me
enormously as it is. Please, save it in some way! Don’t change either the
rhythm or the melodic placing of the chords. Change the form of the arpeggios.
You will see how well the three previous movements go. The Andante is
delicious; one of the best that Schubert omitted to compose. I spend the day in
delicious guitar playing.
It’s all difficult, but it’s moving forward slowly. I am anxious to get it fingered
to sent it to Schott. It does honour to the instrument.
I shall be in Paris on the 6th, or perhaps on the evening of the 5th. I shall
probably go to the Hotel Roblin. I will let you know. A hug from Andrés.”

Andrés Segovia continued to play Ponce’s works, with great success. He gave a
series of concerts in Berlin to packed houses; the works of Ponce were much applauded
by a knowledgeable public and many musicians.

In Madrid it was proposed to raise a monument to the composer Francisco

Tárrega. To help in tis work Segovia was to give a lecture-recital, and asked Ponce to
compose a piece in Tárrega’s memory.

Ponce to Clema (Paris, 1928):

“...yesterday I was working at the office and Edgar Vârese came looking for me.
He had been there twice already without finding me. He invited me to his
house; naturally, I accepted. Roussel, Florent Schmitt, the pianist Terán, Hector
Villa-Lobos, Cotapos the Chilean composer were there, with writers, painters,
sculptors, etc. Among the women there was Madame Roussel who remembered
you and sends greetings. There was also the Countess of Polignac, the lady who
invited us to a concert at Versailles, you remember? Villa-Lobos was very
amiable to me, invited me to visit him. The whole world knew me by name
either through Segovia or the Gaceta.
Villa-Lobos, in his curious trilingual dialect (French, Spanish, Portuguese) tells
me that his music comes directly from the Brazilian forests. It evokes his far-off
Amazonas, the violence of savages rhythms, negro melodies twisted in their
bodies’ syncopations, in the frenzy of dances which this composer’s genius has

28
 managed to link together in the prodigious ‘Choros’, one of which caused a
scandal in the Pasdeloup concerts.
Choros, explains Villa-Lobos, means weeping, and this name applies to the
serenade of a lover as well as to the native ceremonies...”

Ponce went to Barcelona and won a prize with his work Miniatures for string
quartet. In this work he wrote the part of each instrument in a different key. During his
stay in Spain he filled himself with Spanish music, which, after Mexican, was the type
that had most influence over him.
Segovia begged him to compose a concerto for guitar and orchestra, which was
his greatest desire.
Ponce instead composed 24 Preludes in all the major and minor keys.

Segovia to Ponce (Geneva, 1928):

“...I am greatly delighted with your success in Barcelona. I am sending you
Tokyo programmes with your name on them. The Sonata Romántica was much
applauded. In Shanghai they liked the Theme and Variations. I made the
experiment of playing as encores the Sarabande and Gavotte from the Classic
Suite, which caused great enthusiasm.
To sum up, yours are the works in all the literature of the guitar, that have the
most value for me, and for all the musicians who hear them. And you,
personally, of all those who have approached me and whom I have known.
I would like you to make some brilliant variations on the theme of the Folías of
Spain, a copy of which I am sending you from the manuscript in Berlin, in an
XVIIIth century Italian classic style. I beg this of you on my knees... If you
don’t want to sign it we can ascribe it to Giuliani, of whom many things remain
to be discovered.
Make altogether about 12 or 14 variations, a work for a whole section of the
programme, which will not be tedious because of the contrast of each variation
with the ones preceding and following. The theme is adorable
As you know, this is an old request of mine, going back to the first days of your
sojourn in Paris. Do you remember? It was three or four years ago. Don’t
refuse to give me this pleasure. Ask in exchange any sacrifice from me, except
that of renouncing them. If you set to work, send me the fragments as you
compose them.
To return to an earlier idea. If you are on your won in Paris, why not come here
at once, with us? It would give us the greatest pleasure. A hug.”

29
 Segovia chatted to Casals about the concerto that Ponce was doing for him;
Casals at once became enthusiastic and asked Segovia to reserve the first performance
to be played with his Barcelona Orchestra.

Ponce’s economic situation did not disentangle itself, and it cost him much
labour to maintain himself in Paris. Segovia gave him assistance towards some of his
scanty necessities.

Ponce to Clema (Paris, 11.10.29):

“I wrote to you on the 8th and sent you some press cutting and a letter from
Andrés. Today I sent off to Geneva the remainder of the Variations of the Folías.
I have worked without stopping. Now remains the Fugue on the same theme, of
which I have written a third. As one is dealing with the guitar, difficulties
multiply, since one has to take into account the possibilities of this instrument.
Thanks to God I have been well. I see no-one. You will understand that to be at
peace I need to be absolutely alone. At the moment I am in full production...”

Ponce finished the Fugue and called the piece Variations and Fugue on the
Theme of the Folias of Spain. This is one of the monumental works of the guitar.
Ponce makes use of the virtuoso guitar, profiting by all the resources of the instrument,
in technique and expression. The Variations are masterly, ending with a Fugue on a
three-bar subject that bears witness to an extraordinary mastery of counterpoint.

Andrés Segovia

30
 Segovia to Ponce (Geneva, 20.10.29):

“...The three Variations I have just received are admirable. What emotions I
feel!... The first three are very fine and I like especially the second of this
group. But these last three are greatly superior to their companions. The major
is delicious, delicate and deeply musical, smoothly situated as evidenced by all
the notes that chain and unchain the chords.
The preceding Variations is chaconnesque, that is to say as beautiful as any in
the Bach Chanonne. And No. 4, Presto, rather Russian in the beautiful
succession of chords, is truly splendid in rhythm and movement. You are a
great musician, dear Manuel, and it makes me enormously glad that in you a
great talent and a great soul are mingled. Moreover I am impatient for everyone
to know you, to love and admire you as I do, so much so that at times I lose all
judgement. But anyway, you will be appreciated.
Returning to the Variations. What about calling them Diferencias as in old
times?
Are you coming? Have you heard anything of Clema? Are you going to spend
Christmas on your own? No! This last, no! if you need money to get here, let
me know! I shall be seriously annoyed, very seriously, more than you may
think, if you have been in difficulties, or if you need money and don’t dare to
ask for it. It is a family matter, and of the closest, where you are in question. I
embrace you. Andrés.”

Ponce had a lot of work, and decided to spend Christmas alone. He worked late
hours because there was so much hubbub in the building that he could not sleep. He
began to write the Concerto for guitar and orchestra.
His money problems grew continually more serious, and he had trouble with his
health, which meant that he hardly ever went out. Clema was not at his side to assist
him and look after him; he had to deal with everything on his own. The last day of the
year he spent likewise on his own, working.

In Mexico, Clema gave a concert of Ponce’s work with great success. The
couple missed each other and wrote daily, but Clema could not return until financial
matters were settled.
Since Ponce could not meet the monthly fee of 250 francs, he decided sadly to
give up his composition class with Dukas.
On hearing of his resolution, Dukas wrote to him:

31
 “I am really upset, and I want to know what has moved you to abandon my
Course. I hope in any case that the Mexican matters will settle themselves as
soon as possible.
In spite of this you have my very cordial wishes for your personal triumph,
more than for those you might have obtained at the Ecole Normale. I have
considered for some time that the few counsels that I have been able to give, for
the works you create, are directed more to a colleague than to a pupil. You are
more necessary to me as a listener than I would be missed by you as a teacher.
And as far as I personally am concerned, my classroom will always be cordially
open to you, as if it were you own home.
On the other hand, regarding your relations with M. Mangeot, with whom I
spoke the other day about your decision, it is a simple question of coming to an
agreement with him, for I think he is disposed to agree with anything you may
suggest. Think about all this and if your determination is that you cannot return,
or whatever else you decide, be sure you can always count on my friendship and
sympathy.”

On receiving this letter from his teacher, Ponce was much moved, and grateful
to him, and inscribed himself as an onlooker, to continue following his wise counsels.
In this way he reduce the monthly fee to 125 francs. He continued composing and
working on the piece by Albéniz.

In obedience to his great admiration for Claude Debussy, he went to the

cemetery of Passy, looking in the forest of crosse and marbles for the sepulchre of the
great musician. Finally in a corner apart he found a simple stone of black marble.
Without a cross, without an ornament, without a date... The stone flat on the ground
with the letters C D enlaced as they appear on the title pages of his works. ‘If no
monument is raised in Passy to his memory’, said Ponce, ‘the affection of his friends
and the admiration of the musical world will raise one in some poetical corner of Paris’.
And together with Paul Dukas he began negotiations to raise this monument.
He wrote to Clema daily giving details of his life in Paris.

Ponce to Clema (Paris, 1930):

“...The letter arrived from Andrés, at last! He sent me a cheque for 1000 francs
and said that at the moment it is impossible for him to come, as these days he is
moving house. He offers to come for a few days in October.

32
 I shall write to thank him, for he seems to have guessed this is the sum I needed.
You can well imagine how opportune this present has been...”

Segovia was enchanted with the Variations on the Folias; it had the corrections
made by Ponce at his suggestion, and he was thinking of playing it soon.

Segovia to Ponce (New York, 1930):

“I got your letter and with it the Prelude and Variations, which I have now
studied. It comes out very well, you have hit the mark with this solutions of the
repeated notes. Nothing less was to be expected of such a consummate master
of the guitar as you...
Indeed, it’s now very good. The left hand difficulty has disappeared, and those
that remain lie within the logic of the instrument. I have now studied it, and it is
possible that I shall play it with the Fugue as an ancore at the next concert.
I feel very enthusiastic about the work, it is a chaconne of the guitar, sufficient
to raise the reputation of an instrument, however far it may have fallen, to the
height of the most noble; and not for a passing epoch, but for the whole of the
future.
God willing I shall be in Paris about March 20th. I am taking once again the
sumptuous floating palace called the ‘Bremen’.
Adiós, many thanks for asking God to protect me. May it be sol I am doing
everything possible to merit your petition and His aid because I harm no-one
and I am dedicated to the truest and most noble; and most disinterested of
human occupations!
Adiós, dear Manuel. May He be clement to you also and to the persons whom
we both love. And may He not be too rigorous towards those whom we do not
love! I hug you.”

Ponce to Clema (Paris, 1930):

“I am very busy finishing off the work of revision of Albéniz’s piece, because
the lady in Barcelona is asking for it, and I had got behind-hand third act next
Friday and I will send it off to her at once.
As to the Ecole Normale, I am present as an ‘auditor’. Paulito is enchanted with
the decision and so are the companions.
I leave you because Merlin is awaiting me. At this moment I am correcting a
very interesting dance. There is no doubt that Albéniz had genius...
I received you two notes with cuttings, and also a cheque for 100 dollars. A
thousand thanks and another thousand for everything.

33
 Your success gives me infinite pleasure, and I congratulate you on having
triumphantly endured the trial, which wasn’t easy, given the difficulty of the
Romances. I am really curious to hear the orchestration. Perhaps later on we
shall be able to hear them here.
I have just finished writing a Gran Estudio de Tremolo for Andrés, as he has
been asking me for it for some time. I think he will be pleased with it...”

Segovia asked Ponce to do a guitar arrangement of a Sonata by Paganini. He

also wanted him to hurry up and finish the Concerto, since in various places he was
being asked for it. They suggested to Schott that the Tremolo Study should be printed.

Segovia invited Ponce to come and spend the summer in his house by the sea.
At that time Ponce had moved to cheaper living quarters. He found himself in poor
health, and so was unable to accept Segovia’s invitation.
He finished the Sonata of Paganini, in three movements: Allegro Risoluto,
Romance (più tosto largo), Andantino Variato. It is based on the Grand Sonata for solo
guitar with violin accompaniment. The procedure followed by Ponce was to use the
melodies of the original, but with complete liberty of enrichment, by ornamentation,
changing of harmony, and addition of counterpoint. In the Andantino he uses the theme
as a basis for seven variations. The result is a beautiful sonata.

34
Segovia to Ponce (Geneva 1930):

“I have received the rejuvenated Sonata of Paganini. Before it was impossible to

play it. Now, it is impossible not to play it. The transformation has beautified it
to the point that I have had it on the music stand since it came, and all other
things follow behind it. The first movement is now very good thanks to the
intelligent substitutions you have found. The Romance, exquisite. Even the
Theme of the third movement has improved, and an artist can now play it
without blushing. The Variations, specially the Andante and the last, are very
good. To sum up, the Sonata has a stronger claim to inclusion in the programme
than that of being a new curiosity.
And now a doubt; how are we going to announce it on the programme? As a
free version, using the title or sub-title that you put on your manuscript? Won’t
critics like Möser, Salazar, etc. fall on it? (Their clearest intention being to
prove that they are capable of preferring the authentic version.) On the other
hand, to play it without mentioning the changes and the author won’t be correct
either, because, since the work has been published, the thickest of critics with
the score in his hand will be able to see the modifications. So what’s to be
done? I believe you will be able to find a more skilful expedient. Ask Pincherle
what name Kreisler gave to rehabilitations of this class. And if it seems good to
you follow his example.
In any case, in the last analysis the sole excuse and explanation seems to be that
of the ‘free version’. If you consider that the guitar has only a tiny repertoire,
and that you are trying to enrich it by continual labour, then the rehabilitation of
another’s work could well be part of it...
Did you get my last letter? What do you think of the idea of a Sonatina of
Spanish character? Wouldn’t you like to do it? I desire it ardently.
Whenever I write to you I am tempted to explain why I haven’t offered the
Prelude, Folias and Fugue to Schott. Then I forget, or I’m in too much of a
hurry. Today it shall not escape me.
O everything you have written for the guitar, the piece that I most love -a level
of feeling higher that I like - is this one. Next comes the Sonata to Schubert,
then the Weiss Suite... and all the others.
Between those that I like least of yours, and those that I like of other composers,
there is a great distance, in your favour. Having made this declaration, which
you will not mind because you have known it for some time, I am going on to
tell you the reason why the work hasn’t been published.
In the first place Schott wants to space out the publication of difficult works.

35
 The Sonata of Manen has been under consideration for two years and will be
out in a few days. A work such as yours which is even more difficult
technically and musically has to wait a bit, and in the meantime your Tremolo
will appear.
While this period is passing I can go on playing the work, giving it a first
hearing in well-known places. Do you agree?
I embrace you with all my heart.”

Ponce wrote the Sonata Clásica (Homage to Sor).

He struck this Sonata in classic mould, with its division into four movements:
Allegro, Andante, Minuet and Trío, Allegro. He caught the essence of the classic style
and the music of Sor, permeating it with a personal vision. The Andante’s lyric poetry
and the beautiful melody of the Minuet, contrasting with the splendid Trio, should be
noted.
Segovia to Ponce (Geneva, 31.8.30):
“I am finishing off copying and fingering the Variations so that I have them
ready when they are offered to Strecker, and I see that the Fugue is missing, I
don’t know where it could have hidden itself. Today I have turned over my
whole musical library, manuscript and printed, I have looked inside note-books,
and I haven’t been able to find it. It is so well kept that it doesn’t appear, and
one fine day when it is no longer needed it will rise up from the bosom of the
library. For the moment it is a fugitive...
Do you think you could take the trouble to copy it out again and send it to me?
For I am afraid of committing some fault of musical orthography if I write it
down from memory. (A thousand pardons, and a thousand thanks.)
I am afraid that in spite of propitious surroundings you are not going on with the
Concerto. What are you working on at present? I am jealous of anything which
is stealing the attention that you should be consecrating to this earlier work, on
which many hopes are built.
After all, it is better if you don’t hurry, but prefer to distil this work drop by drop
and pay no attention to my impatience. But while the Concerto advances, while
it is reaching the age of virility, why don’t you write a Sonatina - not a Sonata -
of a purely Spanish character? It could be offered to Schott, to go in the series
of medium difficulty. Why don’t you do so? I wish enormously you would write
it. Make your mind up. Here you have themes enough, although in reality you
don’t even need them.
Well, send me an answer. You know how much you are loved and admired by
Andrés.”

36
 Finally Clema returned from Mexico and the couple met once more in Paris.
Ponce continued working intensely. He composed, prepared his lessons for the course
with Paul Dukas, and each month edited La Gaceta.

Ponce and Clema

Turina to Ponce (Paris, 1930):

“I received your kind letter and the cheque. A million thanks. The article seen
in the Gazette seems a bit short; in the next I shall have to add a couple of
paragraphs.
I have also received your three vocal works. The one actually that most pleases
me is ‘La Mort’. It is a true bull’s eye, and I congratulate you. I am going to
lend it to Crisena Galatti to sing, if you don’t mind. Concerning the Ivo Songs, I
assume they are difficult because of the time signature 5/8; you know already
how badly singers keep time. A thousand thanks for everything and an
affectionate greeting from your good friend. Joaquín Turina.
Say hullo to Carpentier for me.”

37
 Ponce composed Preambulo. He finished his Sonata for guitar and harpsichord.
This combination was a happy find of his, producing an effect full of richnesses of
timbre. There are three movements: Allegro Moderato, Andantino, Allegro non troppo
e piacevole. When he had finished it he sent it to Segovia.

Segovia to Ponce (Athens, 1931):

“I have agreed to the proposal of playing in the Paris Opera. It will be on May
19th, in the evening. I made quite a resistance, but the impresario was so
persistent that I have agreed. I am almost certain, from your information and
from what I remember, that the concert will be well heard. The only thing that
worries me is the programme. I am thinking of including the Variations on the
Folias, without the Prelude, but with the Fugue. I should like to play the Gigue
and perhaps one other movement of the Weiss Suite ...I will play four or five
things of Bach and I will open the second part with the Preambulo you have
now made for me, which sounds well and vigorous... I beg you to arrange the
piece I send you, and to return it to the Acropole Palace; Athens, without loss of
time.
Tell me also to whom we are to ascribe the Preambulo. I am much afraid of
those contrary movements in the Maestoso. If you think they will pass, leave
them; if they are likely to raise any angry suspicions, modify them... But por
Dios write to me at once because it is urgent for me to give the programme. In
any case telegraph the name of the composer, so that I can send off the list of
them for the posters.
How are things going? Do you need anything? Ask for it!
A hug from your friend Andrés.”

Segovia put Ponce in contact with Manuel De Falla, and they loved and admired
each other. Falla introduced Ponce to his publisher.

De Falla to Ponce (Granada, 1931):

“Querido Compañero:
You owe me no gratitude; my interest is an interest in justice for music itself,
and my keenest wish is that the business may come to a successful conclusion.
So, before you begin, let me point out the risks you run if you don’t take some

38
 indispensable precautions with the publisher (however much your friend he may
be, and however excellent).
Please be so kind as to let me know, from the list of your works, two or three of
distinct importance that you want to have published first, so that the pourparlers
can be initiated. Otherwise there is a danger that the publisher disadvantage to
their evaluation from the publishing point of view.
The best thing in my judgement is to choose three: one that is easy to sell,
another of less easy outlet, and more expensive because of its instrumental
material, and another small one which comes to a sort of tip for the publisher.
Other precautions must be taken with regard to the recording rights, exclusive
rights, etc, and above all, meditate serenely before signing the contract. Answer
me as soon as possible so that negotiations can begin at once.
My respects to your wife, and to yourself a very cordial greeting from your
most affectionate comrade.”

Ponce composed four pieces, Mazurka, Waltz, Trópico and Rumba, each with its
own enchantment. The Mazurka has a Spanish flavour, the Waltz captures the charm of
the Mexican waltzes, the Trópico and Rumba are two pieces full of Cuban rhythm.

Ponce suffered a relapse into sickness that robbed him of all peace. Clema
looked after him with loving attention. The days passed, and with them, happily, his
most painful sufferings.

He was able to compose once more and finished the Suite Antigua, in five
movements: Preambulo, Courante, Sarabande, Tempo di Gavotte, Gigue. It is in the
Baroque style, and in it we see again his knowledge of every style.
He finished his symphonic work Chapultepec which he had begun in 1922, and
composed his Sonatina Meridional and his Homage to Tarrega.
The Sonatina Meridional is in three movements: Campo, Copla, Fiesta, of great
charm and under Spanish, particularly Andalucian, influence.

Segovia to Ponce (Geneva, 1932):

“...If you could see how splendidly the Sonatina has turned out!!! That reminds
me, I tried the Andante and the Allegro in the concert here, and afterwards there
wasn’t a musician in the hall who didn’t talk of it to me with enthusiasm.
I don’t know what task to give you to employ your spare time. Another Suite
Antigua, or a Fantasia on the two or three most beautiful songs of Castile that

39
 you have there. Either of those two things would seem like pearls to me. It is
for you to decide.
Greetings to Clema and a hug to you from Andrés.”

In July 1932 Ponce finished the Course of Paul Dukas and received his degree
of composition from the Normal School of Music of Paris. Visibly moved, Dukas
declared:
“The compositions of Ponce carry the stamp of a most distinguished talent and
for a long time have not been classifiable as scholastic work. I find it difficult to
give a marking, even the highest, that expresses my satisfaction in having had
such a distinguished student.”

Paul Dukas

He was given a marking of thirty in place of the conventional ten. As a

leavetaking to Ponce, some of his works were played in the Ecole Normale.

40
 INTERMEZZO

Nine years respite

Clema stayed in Paris while Ponce went to Mexico, traveling with Segovia.
The weather was bad, the boat was very unsteady, and they were sick, especially Ponce,
who was in very poor health.

Ponce to Clema (on board the Espagne, February 1933):

“Today, the eve of our arrival at Veracruz, is the first time I have been able to
write to you at length. As perhaps you have had through Brull, news of the state in
which I reached Havana, I don’t want you to get alarmed, and in any case, God be
thanked, I can tell you that I am completely well and sailing through our Gulf in
splendid weather.
...As I told you in my card from Havana, for ten days we had atrocious
weather...
I can never repay Andrés all his delicate attentions, the generosity, the patience
with which he has treated and continues to treat me. Write a few lines, thanking him
for his infinite generosity towards me. Such a friend is really a treasure, rarer and more
precious that radium in the depths of the earth.
We are thinking of going straight on to the Capital tomorrow. I love you and
send you a thousand besitos.”

Ponce and Segovia

41
 Ponce and Segovia reached Mexico City. They were very well received and all
their friends welcomed them. Ponce was offered classes at the Conservatorio and in
the University. Although the salary was poor, he was forced to accept, for he needed it
to live.

Ponce to Clema (Mexico City, 28.3.33):

“I have accepted the classes of the History of Music and of Piano at the
Conservatorio and another one of Composition at the University. You can well
imagine how I have been burdened preparing the History classes - which are
twice a week - for which I have to read a lot and make summaries that will
interest the students. After my first History class, Revueltas came to tell me that
the students were ‘enchanted’, and that he congratulated me. The University
class is not only in Composition but in ‘aesthetic application, technique and
pedagogy’. It only has pupils who are doing the last year of their curriculum, so
that I have violinist,s pianists, singers, composers, etc.
For the instrumentalists I correct their interpretation in general and explain the
significance of the work in musical literature, supply facts about the
composition, the tradition, etc. For composers I analyse the works they bring,
and make suitable observations.
The class is very tiring, but I had to accept, considering how difficult it is at
present to get money here. I spoke to Wagner and Levien asking if they could
let me have a small hall twice a week for special classes. With their usual
kindness they said they indeed had one which was very well suited, so that I
shall soon start these classes, which will bring me in a few more pesos.
Our Segovia finished his season with the same success with which he began.
Now he leaves Havana for New York, where he will embark for Europe.
According to his calculations he will be in Paris on April 10th or 11th.
Arrange with him what best suits. In accordance with what we have talked of so
often, I agree that you should seize the opportunity and prepare a little
programme well. Perhaps Lublinsky will be able to arrange a recital on good
terms. Find out in due curse how much you would need in a given case, Also
tell me if I have to send you 1000 francs a month.
Thank Andrés for me, and ask him for the score and parts of the ‘Symphonic
Sketches’. You can send them to me with the other manuscript papers. In this
way you will have less work when you have to move.

42
 Look after yourself, my love, and try to be peaceful. Yo me las capoteo muy
bien (overcome all difficulties with a flourish) and the world knows that I take only
a little rice, vegetables, and a small piece of chicken, if that. The whole world
greets you affectionately, and I send my heart with a thousand besitos.”

In May he was named director of the Conservatiorio Nacional de Música, and

celebrated his appointment with his delighted friends.

(From El Jalisciense, Mexico, May 1933):

“A grance over the life and works of Ponce is enough to convince us that it
would be difficult to find in the Republic at present anybody better prepared for
the direction of the Conservatorio. His biographers can tell of the tenacity of
the forces consecrated entirely to his art. It would be hard to find a spirit more
constant than his, with the rare and precious virtue called: discretion.
Far from the fury of passion he meditates and smiles.
Hence his sympathy and the don de gentes (the gift of pleasing people) which
makes him respected by all.
I have never - a thing unheard of among musicians - heard him speak ill of
anyone.
Consecrated to the cultivation of his art, he knows that with genius and skill he
has everything within him, and that each must bring his message, creating with
sincerity.
Uniting such gifts, is there anyone better prepared to assume the responsibilities
and generate the dynamic enthusiasms that are comprehended in function of
directing?
To such human excellencies Manuel Ponce adds the glory of a great work
carried out.”

Ponce to Clema (Mexico, 1933):

“Yesterday I sent you an air letter; this is going by the ordinary route because
the tariff for France has gone up to 75 cents.
Paris, how far you are!.. Every day accentuates my nostalgia for Montparnasse!
So far the Conservatorio has paid me nothing. There are a thousand
negotiations to go through. They are going to take from me - as from
everybody - a day’s wages for the Revolutionary Party (whose President gets
5000 pesos a month!), another discount for pensions and another contribution

43
 for the monument to the Revolution which will be put up where the skeleton of
the Legislative Palace is. Total, some 60 pesos a month less. Do you think this
is just?
Find out the first class fare on a German or French boat, in this way I can get an
idea more or less of what you will need to come back.
Make sure you have a talk with Andrés...
Till very soon, my life; look after yourself carefully and remember that I never
forget you, and I send you a thousand besitos from your Manuel.”

Ponce worked a great deal, and in his few free moments he finished the work of
Albéniz and sent it to the maestro’s widow and daughter, who were deeply grateful and
wanted to repay him for such an arduous and difficult task. All that Ponce would
accept was a watch that had belonged to Albéniz, as a memorial.

On this 9th of February 1934 a concert was given in Paris dedicated to Ponce’s
works. This event closed the fruitful Parisian cycle with a beautifully balanced
programme, including music of his late period as well as of his youthful stage. Clema
Ponce sang two songs. The concert was a complete success.

44
 Le Monde (Paris, 29.2.34):

“The atmosphere of the melodies of Manuel Ponce is charming, and singers

should include this music more frequently in their programmes. Afterwards
came three Preludes for ‘cello and piano, interpreted with rare musicality and a
fine sound by André Huvelin. Other works of quality were given in this
concert, at which the Parisian public were happy to applaud Manuel Ponce,
musician of merit, who has many friends in Paris among the most distinguished
representatives of our art.”

Clema returned to Mexico to rejoin her husband. He continued to encourage the

study of folklore at the National School of Music.
His great friend the poet Luis G. Urbina died, and in his memory Ponce
composed a symphonic work, the Poema Elegíaco.
On September 29th 1934, the Palace of Fine Arts was inaugurated and the
principal artists of Mexico were invited to participate, each with his art. Ponce
composed the music for the theatrical work The Suspicious Truth of Juan Ruiz de
Alarcón, which was acted during the ceremonies.
Andrés Segovia went to Mexico to give some concerts. He stayed with Ponce as
usual and the time passed happily for the two friends.
In one concert he played only music by Ponce but with different pseudonymous.

(Excelsior, Mexico, October 1934):

“After the two interesting programmes offered by Segovia it would be difficult

to do anything better, whether in elevation of the works or their beauty.
Nevertheless last night’s programmes surpassed in every respect the previous
ones. In what manner, in what a grand style did Segovia interpret these classics
of the lute! In what oblivion have the composers been lost that he now
resuscitates by these portentous interpretations! The great guitarist will permit
us to say little, since little is known, even by the erudite, about them. We
listened to the Preambulo and Gavotte of Alessandro Scarlatti, a c o m p o s e r
whose name has remained in history as the highest representative o f a g r e a t
epoch. A composer of exceptional value characterised by an extraordinary
melodic beauty. If the Preambulo is magnificently great, t h e G a v o t t e i s
deliciously delicate. The first part of the programme ended with a Suite in A
minor by Weiss, a great German lute virtuoso, lutenist from 1717 at the Court of
Dresden. His stature as a composer is like that of Bach and Handel. This work

45
 of Weiss for the lute made a deeper impression than the Bach Suite played in a
former concert. Last night Segovia played two works by Ponce: the original and
elegant Waltz, and the Diferencias (Variations) on the Folías of Spain. He has
created an adequate harmony, strictly bound to the ancient mode of the theme,
with a great richness of unusual chords. For us the Diferencias form the most
valuable work of Ponce’s for the guitar that we have so far heard. It is a work of
the highest value.”

In 1936, Ponce was once more an editor, of Musical Culture, the organ of the
Conservatorio. As always, he was anxious to make the world of music known to the
public through the medium of print.

Clema and Segovia with friends at Ponce’s house

Segovia to Ponce (March, 1936):

“...you have woven an exquisite contrapuntal fabric round your old Prelude, so
beloved of Falla. You prove the inexhaustible resources of your ever-youthful
imagination, creating a second body for that little work, so perfect, that they
could almost live independent lives. Nevertheless the relation between the two

46
 is admirable, so that they are indeed two halves of one indivisible beauty. From
now on I renounce it in sole favour of the guitar, and I await the other part of the
suite to form a new aspect of the musical life of my instrument...
Tomorrow I shall send you little pieces to Strecker. You will be hearing from
him. As from this Autumn, dear Manuel, I have been thinking of reviving the
payment of the performing rights of your works, seeing that the Society of
Authors is doing nothing for you... May you have plenty of health and
prosperity. And once more let me ask you for the remaining movements of the
Suite a Duo, and something solo for myself.”

Ponce invited Segovia to Mexico to give concerts. Segovia however had his
itinerary planned out and much to his regret it was impossible to accept.
Cassadó asked Ponce for a Concerto or a Sonata, and Heifetz, who had
transcribed Estrellita for the violin, would have played with pleasure any work Ponce
composed for him.

Segovia to Ponce (10.8.37):

“...When this letter arrives, I don’t want it to interrupt whatever you may be
doing, for more than a few short minutes. Only enough to ask you, at least, to let
us know about your health, if only on a simple postcard.
I am astonished at how distant you have become. I have had no answer to the
letter I sent from Los Angeles. And the same fate has been experienced by the
other messages I sent you throughout our tour.
If you want to communicate with us, send your next news to the Hotel Victoria,
Geneva, Switzerland.
I don’t even dare to ask if you have written anything for the guitar; I assume
you have made better use of your time. However, if you have after all, you
know perfectly well what great pleasure it would give me to play something
new by you, even if just intimate Preludes, without any thought of concert
performance. Send whatever you may have to the Hotel Victoria. We leave for
Europe on the 6th September.
That’s all. Affectionate greetings for Clema, and for yourself a brotherly
embrace from Andrés.”

During the last decade of his life, Ponce went through the hardest, most difficult
stage of his career; he was forced to carry out bureaucratic tasks such as those of
Inspector of Personnel of Kindergartens; he was professor of Rhythmic Gymnastics and

47
played the piano for children at the school festivals. He was fond of children and did
this work patiently, the result being 20 Pieces for little Mexican pianists and 50 Choral
pieces for Kindergarten.
In 1938 he was given an annual holiday of three months, keeping the salary of
his teaching posts. In this way he gained a little time to finish the many works he had
already begun. He completed his symphonic suite Merlin inspired by the opera of
Albéniz.
Celestino Gorostiza, head of the music department of the Institute of Fine Arts,
arranged a symphonic concert of Ponce’s work.
In 1939 he performed his piano Concerto in a magisterial fashion. Decorations,
medals, diplomas began to arrive in abundance; an Act of Homage was organised in the
Institute of Fine Arts, and the Government of Cuba granted him a decoration in Arts
and Letters.

Manuel M. Ponce

Although he was a musical eminence and a national figure, as well as a refined,

simple, honourable and friendly person, he was ambushed by the envious. After having
been a teacher at the Conservatorio, and its Director, he found himself obliged in this
same Conservatorio to undergo an absurd examination as pianist and composer to
obtain a much-desired pension.

Segovia to Ponce (26.8.39):

48
 “Your letter has brought the greatest joy to our household. The one you say you
sent to Geneva must have got lost, so we have heard nothing directly from you
for more than a year...
I had despaired of ever corresponding with you again. The silence with which
you have greeted my letters has pained me, and we have often speculated on the
origin, the cause, of such a pertinacious indifference. So I am delighted that
you have taken the initiative in writing to me, coming out of your mysterious
muteness and telling me that you are better and want to hear something of us...
Quesada suggests that I play in Mexico; but I am not accepting his offer until I
have your views. You know how much I like Mexico; you can guess the
enormous joy it would give me to spend a month among you... I would
remember our days there in the past with deep emotion.
Now let’s talk about music. Castelnuovo-Tedesco has written a delicious
Concerto for me, for guitar and orchestra. He has been most happy in the
choice of themes and in their proper development.
...While he was writing the first movement, I was in Florence, and together we
remembered the theme of the one you began. And, believe me, we deplored the
fact that you didn’t carry on with it. I have given long sessions of your music to
him and to so many others, and it still seems to me the noblest that has been
written for the guitar.
Adios, Manuel, look after yourself and don’t fall ill again; and write to me...
Perhaps you will have time to send me a few words by air, by return of post -but
not if it’s a nuisance-. And if you can find the energy to compose once more for
your old friend who so loves and admires you, send me your work straight
away, for I long for it always, with the same eagerness as when we were
together in our unforgettable Paris...
P.S. Excuse me for asking once more for what I have asked you for many times
already. I would like -since everything was destroyed in Barcelona- copies of
the Sonata I, that you wrote in Mexico, the other one in A minor, movements I
and II of the Sonatina dedicated to Tárrega, and finally the Sarabandes in E
minor and in A minor, that have tortured me so much in the useless effort to
remember them. Send me one copy in each letter, and begin with the las two.
Can I expect them? Adiós, I embrace you once more.”

In 1940 Ponce finished his Symphonic Divertimento Ferial.

He suffered a serious relapse into the disease of Uraemia that had crippled him
for so many years.

49
 Segovia went to Mexico, and stayed, as always, with Ponce. There he helped
Clema to look after him.

Ponce with dog Kiki and Segovia

Segovia played the Concerto in D of Castelnuovo-Tedesco. Ponce, animated by

this Concerto and by Segovia, continued the composition of the one he had begun in
Paris.
Segovia had to continue his tour of Central and South America.

Segovia to Ponce (15.3.40):

“Your last cable has calmed me. I had thought you were back on the road to
convalescence and recovery. And without my presence at your side and the
agitation caused involuntarily by the dynamism of my life you will soon be
back to your natural peace and health.
I got back only 24 hours ago and already I have made important steps with
regard to your possible journey to Montevideo. I rang of Langue just last night
and talked with him at length. We have agreed not to wait for the Congress to
take place, but to invite you officially to visit Montevideo; he has this morning
talked about this with the Secretary of SODRE, and when the paralysis that

50
 Holy Week causes in Uruguayan life is over they will send you the documents
in form, leaving a copy in the Mexican Legation and getting the Minister
himself to help us. What we want now is for you to tell us the best method to be
used to touch the sensitive string of your Government, to wit, the purse; with the
intention of getting them to pay for the round trip by air (you needn’t worry
about anything else) and to honour themselves by making you a representative.
I will talk to my friends in Buenos Aires about extending the organisation of the
Homage to them. But I don’t want to do that till all these proposals become
realities...
It wouldn’t be out of the way if you could send me some orchestral scores,
including your Piano Concerto.
Don’t forget to finish off quickly the one for the guitar and orchestra, and to
make the reduction for guitar and piano, so that I can work on it at once with
Paquita. In one of the projected concerts I shall play the solo part of this work.
In another I shall give a complete recital of your guitar pieces, in which I could
play the Sonata Clásica, the Mazurka, Waltz and Trópico in the first part; the
Variations on the Folias and Fugue in the second, and the Sonatina Meridional
and Mexican songs in the third.
Langue as well is going off today for a holiday, and will be back next Monday.
We have agreed to meet then, in order to fix the details and get SODRE moving.
We will let you know everything that happens.
Tell Clema that the emotion with which I took leave prevented me from
thanking her adequately for her hospitality and the tremendous amount of work
that everything gave her. Also I went off with the door keys in my pocket; but I
haven’t sent them back for fear they should get lost, and also because I regard
them as a sign of my speedy return to your household...
Goodbye. Write me a couple of lines. And if you are back in health, finish the
Concerto so that I can work on it soon and play it in Buenos Aires and here,
whether at your Homage or in the concerts I shall give this Winter.
Castelnuovo’s had an unheard of success in Lima.
A warm brotherly hug for both of you.”

Segovia continued to encourage Ponce to continue writing the guitar concerto;

he prepared the Homage in Uruguay while Ponce negotiated to get the Mexican
Government to pay his passage while giving him some commission.

51
 ! ! ! ! ! !

ALLEGRO

The Birth of the Concierto del Sur

Ponce’s health improved so that finally he could set to work with greater
freedom. He sent the first part of the Concerto to Segovia, who was filled with
rejoicing, as he had been worrying Ponce to complete it since 1929. Now the great
work began to solidify.

Segovia to Ponce (Montevideo, 5.10.40):

“Eureka! The surprise was a true explosion of joy. Paquita and I set ourselves at
once to decipher your tiny writing, and we both congratulate you with all our
hearts. At the same time we admire your strength of will in doing the
supplementary work of reducing the guitar and piano parts to such a clear
miniature. I also have set hand to the work, and I hasten to say that so far all
has gone well for my capricious instrument.
We are waiting for the continuation and the arrival of each air mails holds us in
suspense.
Adios. Keep me up-to-date on what the President decides about your journey.
Take care, and it will come about. Brotherly embraces.”

Segovia studied the small part of the Concerto that had been sent, and with
continually increasing emotion, now that he had it by memory. He asked Ponce to lose
no time in sending the continuation.
Villa-Lobos was in Montevideo with a cultural embassy from Brazil. Segovia
told Ponce to get something similar from the Mexican Government to organise
concerts, lectures, and so on, in Uruguay.
Villa-Lobos greatly liked the part of the Concerto that Segovia played to him,
and kept an affectionate memory of the times when he and Ponce were together in
Paris.
They wrote to Ponce:
52
“After having heard a part of your delicious Concerto we are all sending you an
affectionate and admiring embrace. May you be encouraged to complete it and
send it at once.”

Segovia to Ponce (Montevideo, November 1940):

“The continuation of the Concerto has been received, studied and learnt in the
space of a few hours. If this is not your best work, I don’t know which is! I am
mad about what I have worked at so far, and I don’t know what to say to you
about it except that I would not like to die without making such delicious music
known. I have modified some little things. For example, the repeated notes
accompanying the development of the second theme (where it appears in
fourths in the key of F, and a little later, in A) are weak and will be lost. I have
replaced them, naturally using the same chords, but a light rasgueado that adds
rhythmic grace and gives this accompaniment by the guitar a certain harmonic
halo exclusive to the instrument. One or two other details have been changed. I
will send you a copy of all this when I have the whole of the movement. You
needn’t send me the score with your guitar version. All the essential is intact.

53
 So far the most important modification is what I have mentioned. You can see
that it is a matter of minor importance.
I beg you not to delay in sending the end of this movement. I have a keen
desire to play the whole of it.
My bad luck in economic questions continues... the French Bank of Supervielle
and Co., in whose care you used to write to me, has crashed and in the
shipwreck goes my current account... I have already lost so much in North
American and European Banks in the different financial catastrophes that the
world has gone through, that this of today leaves me without indignation and
with less disquiet than the fact that I am not able to play in North America or
Europe... Despite the fact that before I had some reserves left, whereas now...
Well, it’s God’s will...
I am sorry to hear that your journey is slow in being settled... If they give you
permission and the money, come at once before they repent of it, because even
though the season is over you can always wait with us for the next and
something will be done. I have run out of paper. I will send you some money
so that the expense of the air mails doesn’t press too heavily on your modest
budget.
A hug for Clema and for you all the affections of your Andrés.”

By the beginning of December Ponce had finished the first movement of the
Concerto and a few days later the beginning of the Andante. He sent them to Segovia
who was enchanted.
Segovia’s good friend, Luis Sánchez Pontón, was made Secretary for Public
Education in Mexico, and at once Segovia wrote to him to support Ponce with respect
to his Uruguayan voyage.

Segovia to Sánchez Pontón (Montevideo, 26.11.40):

“I read about your appointment in the papers... In the last days of my stay there
Manuel Ponce was more and more troubled by an increase of urea. So much so
that doctors and friends were afraid for his life. I didn’t leave his side except to
give my last concerts as announced. The day I left by air for Costa Rica I made
them let me know his condition throughout the journey. Luckily he was getting
better and by the time I got to Lima I knew that he was past the crisis.
With all your rich spiritual reserves, and above all with as much independence
as possible, labour in the high post they have given you...
Since I have spoken to you before of Manuel Ponce, remember that he is one of
the noblest and purest artists of all America, and that he has been left behind

54
 because of the insolence and the envy of others. Do whatever you can to
improve the conditions of his material life, which are very harsh, and by this
you will put him in a position to continue with greater peace of mind devoting
himself to the honour of his country...”

Ponce finished the finale of the Andante and sent it to Segovia who, delighted,
played it unceasingly, asking for some changes in the arpeggios, which could be played
only heavily and torpidly owing to the rapid changes of position needed by the triplets,
and to the arrangement, that robbed them of fluidity and sonority.
For a month Segovia had no news from Ponce and was in despair. Nevertheless
Ponce was continuing his intensive work. He had corrected the arpeggios, which could
now be played very fluently. He sent them to Segovia, who radiated satisfaction, and
asked him not to be long with the third movement. Finally at the beginning of January
Ponce finished the whole Concerto.
The Concierto del Sur has three movements, Allegro Moderato, Andante, and
Allegro Moderato e Festivo.
To balance the sonority of the orchestra with the guitar Ponce asks only for
flute, clarinet, oboe, bassoon, horn and drums, besides a string quintet.
The first movement is in sonata form, with its corresponding sections, including
an important cadenza for the soloist. It suggests the melodic and rhythmic ambience of
Andalucia. The oboe begins with a beautiful melody which is followed by numerous
developments leading to the second theme, given by the guitar over a single ‘cello
note’ . An important contrapuntal passage separates this theme from the restatement of
the first. We return to the second theme, this time given by the five strings, and a
crescendo leads to a beautiful ending.
The Andante recalls the Arabic surroundings of Granada, with a fine melody
developed over a pizzicato ostinato in the bass. The last movement has all the gaiety of
Seville, with the Spanish rasgueo, ending in two chords, the first unresolved.

He sent the finale to Segovia, who replied (Montevideo, 6.1.41):

“I want to let you know of my deep and sincere enthusiasm. Paquita and I have
just finished playing what you sent of the last movement. It is joyful, healthy, gracious,
beautiful, and while belonging completely to high and dignified music, is also melodic,
spontaneous and penetrating. It will have a clamourous reception wherever there is a
sensitive public accustomed to listen. I cannot tell you how pleased I am.”

55
 Torres Bodet charged Ponce with a commission for Uruguay. Segovia prepared
the setting in Uruguay for Ponce’s arrival, arranged concerts, lectures, press releases,
receptions, etc. The enthusiasm for the Mexican composer was great, as he deserved.
To raise the full fare, he had to pawn some belongings. Clema went to his family in
Aguascalientes, while he left for Montevideo.

Manuel M. Ponce

Ponce to Clema (Montevideo, 29.8.41):

“I wrote you a few lines from Buenos Aires, and I left at 8:30 for this city in a
little plane that made the crossing of the Rio de la Plata in an hour. What a
river! They say that in its narrowest part it is 50 km.
I have arrived finally in Montevideo. At the Port, Andrés, (in spite of his cold),
Langue and his wife, and other people. To get into the city, they wanted a
deposit of 500 dollars from me. Naturally Andrés explained everything. We
went to his house, very pretty, old, in the style of Don Porfirio, well-situated,
facing the sea, with a garden. The girls at school, since they come out at five
o’clock... They have given me October the 5th and 11th for the two concerts. In
addition, I shall give a lecture on the 19th September. Meanwhile we are
56
 awaiting the arrival of the parcels of music. The night after my arrival Langue
gave a reception in my honour. All the most distinguished journalists and
musicians came along. I was treated with c o r d i a l i t y a n d a ff e c t i o n b y
everybody. I have been invited to Buenos Aires to take part in a concert on
September 29th. We shall have to see that the dates don’t clash. I have also
been invited by the Chilean Director of Fine Arts -Santa Cruz- to take part in the
celebrations for the 4th centenary of the founding of Santiago, and to be one of
the judges, with Kastner and another, in the composers’ competition arranged
by the conservatory of Chile. For the moment write to me always care of
Andrés. We are working over his ‘Concerto’. Andrés very amiable, won’t
allow me to speak of living (or sleeping) in a hotel.
Greet everyone for me and receive as always a thousand besitos and the heart of
your Manuel, the Flyer.”

Ponce and Segovia spent the time in studying and revising the Concerto so that
all would go well at the rehearsals; the house was quiet and they could work peacefully.

The Mexican ambassador in Montevideo, Dr. del Río, received Ponce very
affectionately and loaded him with attentions. He was from Veracruz, and showed it by
his frankness and merry character. He held a reception to present Ponce to Montevidean
society.

Ponce and Segovia on the beach

57
 In spite of the journey, his health did not give him much trouble, only some
slight pains that did not hinder him from working. He had to copy out the score of the
Concerto, a very laborious task.

The winter of Montevideo was already ending, and this helped him to feel
better.
Clema had knitted him some sweaters that he wore continually against the cold.

On September the 15th, the Ambassador, Dr. del Río, invited him to start the
ball rolling at the Legation, in the presence of the President of Uruguay and his
Ministers.

Spanish Delegate, Ponce, Segovia

On the 20th Ponce gave a lecture on the development of the art of music in
Mexico.

58
 Ponce to Clema (Montevideo, 21.9.41):

“...Thanks be to God and to Our Lady of Guadalupe! Last night I gave my talk
with great success. There were about 2000 people in the huge theatre of SODRE.
It was a difficult test, but I put my trust in Heaven and set off to improvise, as I
had written down only the main themes on a little piece of paper. There was
absolute silence. I don’t think there could ever have been a public more
cultured and attentive. I spoke for about forty minutes, slowly, very clearly, and
without a single mistake. Marvel at it! From pre-Hispanic times to the present
day, following the evolution of music in Mexico. I finished with the theme of
the Mexican song.
I had to go back on the stage three times. More than 200 people came to
congratulate me. Yesterday morning we had the first rehearsal. The musicians
of the orchestra received me with applause. The rehearsal went off very well.
‘Chapultepec’ enchanted them; after the reading through of each section they
applauded with enthusiasm.
At 6 in the evening was the lecture. Andrés was really surprised, afterwards. I
think he didn’t expect me to come out of a difficult situation so well.
If God wills, the Buenos Aires concert will be on October the 20th. We will
leave this city on the 15th, to give time for rehearsals. I have not yet received
the dollars that Torres Bodet offered me. Our Minister, Sr. del Rio, has now
cabled. Don’t worry, whatever happens, my return journey is secure.
Manuel the Lecturer.”

From La Mañana (Montevideo, 21.9.41):

“Yesterday in the SODRE, before a large audience, the Mexican composer

Manuel Ponce gave a lecture, as announced, on the development of the art of
music in his country. He began with the Aztecs and all preHispanic music,
down to our own day, in the course of his interesting lecture. One can say, then,
that yesterday we were present at a worthy expression of Latin-Americanism.”

Ponce was filled with energy at the response of the Uruguayan people, his
health was much better and he continued preparing his first programme.
After his lecture, there was much enthusiasm for the coming concerts.
He was received by the Society of Composers and Authors of Uruguay, where
he met musicians and writers. Ponce handed in the Agreement of his Syndicate, a n d
there were embraces, and shouts for Mexico. Andrés Segovia was also present.

59
 The concerts were announced for October the 4th and 11th.

Ponce, Segovia and the orchestra made careful preparations in order to fulfil the
considerable expectation.

At last the much desired Concierto del Sur was performed in Montevideo on the
4th of October 1941, with immense success and unanimous approval.

Ponce to Clema (Montevideo, 5.10.41):

“God be thanked, enormous success last night. I cannot remember how often I
had to go out and thank the audience. The public was delirious. You will see
from the newspaper accounts what a reception they gave my music...
You can imagine how many people came to congratulate us -myself and Andrés-
after the concert; ministers, diplomats, musicians, journalists, etc., etc. The
President of the Republic was present...
I can’t give you the exact date of my return. On the 20th, a concert in Buenos
Aires. Afterwards I think we are going to Rosario. Andrés has written to Lima
to arrange a concert there.
Last night I had a cable from don Carlos Prieto saying that the money had been
sent off... Laus Deo! I will write again at greater length. A warm embrace for
the girls and a thousand kisses for you from Manuel the Composer.”

From El Debate (Montevideo, 5.10.41):

“The magnificent concert offered yesterday in the OSSODRE with music by

maestro Ponce, and with the guitarist Andrés Segovia, has left an impression.
We have been present at an evening of superior art. The music of the eminent
composer Manuel Ponce is magnificently inspired and of extraordinary quality.
His guitar concerto, a new work offered in absolutely its first performance, gave
much pleasure and drew from the public a long ovation, so that the third
movement had to be repeated.”

60
 Supper at the Society of Authors and Composers of Uruguay

From El Diario (Montevideo, 5.10.41):

“...It is enough to mention the beautiful guitar concerto, played with the
participation of Andrés Segovia, a work of the finest quality bearing witness to a
musician of true nobility, of easy and elegant inspiration and a complete
dominion of all means of expression. A true filigrane of music that,
magnificently executed, allowed Segovia’s faculties to shine fully, without a
trace of banal virtuosity. It earned a most enthusiastic ovation, the last
movement having to be repeated. Maestro Ponce was likewise greatly
applauded as both composer and interpreter in other parts of the program, in
which he conducted his works ‘Suite in the Ancient Style’, ‘Poema Elegíaco’
and ‘Chapultepec’.”

After the enormous success obtained in Uruguay, Ponce went to Argentina,

where he gave several talks on Mexican folklore. He also conducted the Concerto,
with Segovia, both receiving great praise. In Santiago de Chile he conducted a
complete programme of his work, returning to Mexico laden with laurels and
memories.

61
 In the same year the German conductor Erich Kleiber directed the new
orchestral version of the Poema Elegíaco. The sensitive Kleiber’s liking for this work
was so great, that he exclaimed during one of the rehearsals:

“Este poema está escrito con las lágrimas del alma”.

(This poem was written with the tears of the soul.)

In 1943 Ponce finished his Violin concerto. It was the last long work that he
composed. The theme of Estrellita is evoked in the second movement.

Segovia continued to play the guitar Concerto with great success in the United
States. The New York press overwhelmed Ponce with praise, a rare thing now that
New York has become the musical capital of the world, and does not often concede
such eulogy. The reviews in the New York Times and the Herald Tribune resounded
forcibly throughout the whole country, and a number of conductors asked Segovia to
play the work. Segovia sent Ponce his dues as the composer of the concerto, which
was a help to his uncertain economy.

Charles Seager, Chief of the Musical Section of the Panamerican Union, to

Ponce (Washington, 17.11.43):

“I am writing to you because I have just learnt that Andrés Segovia is in this
country. I have written to Mr. S. Hurok, Segovia’s impresario, asking ir your
guitar concerto could be played at a function here. This was on the
recommendation of Mr. Ormandy, of the Philadelphia Symphony. Please let me
know if I can do anything to get this matter moving and reach a satisfactory
result. Let me express my consideration and esteem.”

It was not until 1944 that the guitar concerto was performed in Mexico. It had a
great success with the Mexican public, who had been waiting for it since its first
performance in Uruguay. It was played by Segovia with Erich Kleiber conducting, and
the papers were not slow in praising it.

In 1946 Ponce composed Two Vignettes, Vespertina and Rondino, two short
beautiful pieces.
He was again in delicate health. Various functions were organised in homage to
him, but he found it difficult to attend.

62
 (From “Excelsior”, Mexico, 9.1.46):

“Ponce
By agreement with the Governor of the Federal District, Javier Rojo Gómez,
there will be a solemn session in the Hall of the Consultative Council, with the
most outstanding and representative personalities of Mexico, to render homage
to the Maestro Manuel Ponce. This will be when the Maestro is able to receive
it, for he is in very bad health.

Cuts
It is noteworthy that when Manuel Ponce was informed of this proposal, he
received a notice from the Conservatorio informing him that his salary was to
be cut by 50%, because recently he had not been giving his classes.

Segovia
For his part the great guitarist Andrés Segovia, knowing that Ponce has more
than 60 pieces for the guitar -in addition to a hundred other works with
Estrellita shining among them, has announced his intention of coming back
from South America to give three concerts in the Hall of the FIne Arts, for the
great Mexican musician’s benefit.”

Segovia continued his tireless career as interpreted, playing the Concerto, this
time in New York.

From the Herald Tribune (New York, 1946):

“The celebrated Spanish guitarist, Andrés Segovia, under the auspices of Sol
Hurok, gave two surprises to his devoted public in New York. Till the present
we have always heard the Maestro without any accompaniment. This time he
played in the vast auditorium of Carnegie Hall with an accompaniment of 20
players from the Philharmonic Orchestra, conducted by Ignatius Strasvogel.
This gave results which one would not have believed possible.
Segovia played two concertos written specially for him -Castelnuovo-Tedesco’s
Concerto in D Mayor, and Ponce’s Concierto del Sur, two works, the first of
their kind in musical literature, and the only ones for guitar and orchestra.
In the first, which opened the programme, the guitar seemed rather overcome by
the tonal weight of the orchestra. The cadenzas, in which the great musical
talent of Segovia could be enjoyed on its own, were awaited with some

63
 impatience. On the other hand the last concerto, that of M. Ponce, was a
marvellous success and a true musical experience, a work so perfectly
conceived for guitar and orchestra that it recreated the Andalusian ambience
with variety and subtlety, by the amplification and development of Andalusian
themes on which it was based, so appropriate to the guitar. The guitar has
perhaps never reached a higher level than was enjoyed by Carnegie Hall
listening to Segovia in this admirable concerto.”

Ponce’s health became at every stage more broken, but his creative talent did
not diminish. He composed Six Short Preludes, dedicating them to Juanita Chávez,
daughter of the composer Carlos Chávez.

As an act of justice the Institute of Fine Arts proclaimed Ponce the winner of the
National Prize for Arts and Sciences for 1947, the first time it had been won by a
musician. The President of the Republic Miguel Alemán, presented him with the prize
on the 26th of February 1948.

President Miguel Alemán hands Ponce the prize in the presence

of Carlos Chávez, Clema and Jaime Torres Bodet.

64
 At the ceremony, Ponce said:

“Paul Valéry has said that Hope is a wall hiding the reality of things from us.
Hope dies when the life ends of the man who, on the eve of knowing the great
mystery, takes thought and desires to give an ending to the works that, over a
long period, he has prepared in his creative dreams.
A prize, an assistance arriving in moments in which illusion is vanishing before
a dispiriting reality, serves to fortify Hope and to contribute to the realisation
of those works which, without the tranquillity that this assistance offers, would
remain only projects of works, perhaps important ones...
When the generosity of a civilised Government, acting through the Universities,
arrives at the right time to urge forward and give new grandeur to that
Homeland sung by our unforgettable friend Ramón López Velarde, Hope is
reborn with the certainty of bringing those works to completion, that sickness
and economic problems had almost changed into unrealisable dreams. It is
reborn with the certainty of bringing those works to completion, that sickness
and economic problems had almost changed into unrealisable dreams.
It is by these words that I desire to convey my profound thankfulness to Miguel
Alemán, President of the Republic, to Wal Vidal, Secretary for Education, to
Carlos Chávez, Director of the Institute of Fine Arts, and to the members of the
Council of that Institution, for the honour they have been pleased to bestow in
granting me this prize, as unexpected as unmerited; which will allow me, if God
concedes me a little time, to complete certain works deeply meditated through
interminable months of sickness, in which, as Valéry says, Hope like a wall did
not allow me to see clearly the closeness of the final journey.”

Already very delicate in health, Ponce composed his last work for the guitar,
Variations on a Theme of Antonio de Cabezón, dedicating it to the priest Antonio
Brambila, his friend and confessor, who had asked him to compose it.

65
 Ponce, the Padre Brambila, and Segovia

In this work he uses once more, but in reduced form, the structural plan of the
Variations of the Folías of 19 years earlier. It consists of the Theme, six variations, and
a Fughetta. The Theme harmonised in A minor is set out in two 8-bar periods; the
variations are likewise in two portions, except the last, which is longer, preparing the
entrance of the two voices of the Fughetta.

! ! ! ! ! !

66
 ELEGY

A light goes out

After continual ups and downs in the painful sickness that had troubled him for
years, Ponce grew considerably worse. All efforts to save him were useless.

On the 24th of April 1948, out there in his distant Aguascalientes, the Festival of
Saint Mark was in full swing: games, laughter, songs, dances, mirth. Here in Mexico
City, mourning began for one of the greatest composers that the American continent has
produce.

Manuel María Ponce had died at the age of 66, leaving to all guitarist the delight
of playing his marvellous compositions.

Manuel M. Ponce

67
Segovia to Clema (New York, 18.5.48):

“I have been waiting for your sorrow to soften a little before writing you this
letter. This irremediable loss, with its enormous significance for your life, must
inevitably bring you to a resignation that cannot forget...
The absent loved one will enjoy henceforth a spiritual life in your heart, free of
the martyrdoms that he suffered in real life. And at last a filial smile for this
holy memory will remain with you...
Finally, Clema, I need not tell you what pain it will give me my whole life, that
Manuel has preceded me in the passage to Eternity.
Manuel was for me the ideal Friend, Teacher, and Brother.
Not to have him in this world as a spiritual support, confidant, guide, is a
profound grief for me. Nor need I say that the affection I felt for him always
did, and always will, extend to you.”

Clema M. Ponce at Ponce’s monument in Aguascalientes

68
 A note by Carlos Vázquez

It was in 1936 that I had the good fortune to meet Maestro Ponce. This
encounter was to enrich my life for ever. I had the privilege of taking piano lessons
with him both in the Conservatorio and in his own home. A fey days after meeting him
he asked for my address in Guadalajara; when I gave it him he was struck by an
extraordinary coincidence, for my address in Guadalajara was exactly the same as his
in Aguascalientes: calle Primo Verdad, No. 28, in the borough of San Juan de Dios...
From that day on I noted that the Maestro as well as his wife Clemita were more
attentive to me, invited me to eat and began to clothe me from head to foot. Clemita
began to call me ‘son’.
Our friendship grew daily. Our relationship grew so close that I began to take
on the tasks of a true son. When the Maestro became sick, he gave me a letter so that I
could collect his cheque at the Conservatorio.
He was in truth a second father to me, always good-tempered and affectionate.
As a teacher he was a remarkable guide; he had always valuable advice, which he gave
with mildness but with conviction. We came to be in complete agreement. In the last
years of his life, I never left him.
When he died, Clema was left alone and in despair. I asked my mother if whe
would live with her, and at her request the whole family came to live with her. I was
for a time studying in the United States. On my return, I joined them. It was Clema
Maurel de Ponce who left in my charge the representation of Manuel Ponce, of all his
possessions, music and memories.
The house that used to belong Ponce is in the street La Acordada, No. 47, Col.
San José Insurgentes. In the Ponce ‘museum’ one can feel his presence, observe his
music, books and pictures, as well as a collection of photographs of his friends, artists,
covering the walls of his wardrobe.
My greatest wish is to continue spreading the work of this great and wonderful
Mexican musician.
Although my career as a concert player makes me pay attention to composers of
different nationalities and styles, a great part of my activities (concerts, lectures,
records, classes) are dedicated with fervour and affection to the music of Manuel
Ponce.

69
Corazón Otero at Ponce’s tomb at Mexico City

70
 GUITAR WORKS

SONATA MEXICANA México 1923 (P)

LA VALENTINA (arr. for guitar by Ponce) México 1924 (S)
LA PAJARERA y POR TÍ MI CORAZÓN (arr. guit. Ponce) París 1925 (Y)
ESTRELLITA orig. for voice and piano, arr. for guit. Ponce París 1925 (Y)
PRELUDE París 1925 (S)
SONATA for guitar and harpsichord París 1926 (P)
TEMA VARIADO Y FINAL París 1926 (S)
ALBORADA y CANCIÓN París 1927 (Y)
SONATA III París 1927 (S)
SONATA ROMÁNTICA (homenaje a F. Schubert) París 1928 (S)
24 PRELUDIOS París 1929 (T)
12 PRELUDIOS (from 24 Preludios) (S)
PRELUDIO y COURANTE París 1929 (Y)
20 VAR. Y FUGA SOBRE LA FOLÍA DE ESPAÑA París 1929 (S)
SUITE EN LA París 1929 (TR)
SUITE EN LA (atribuited to Weiss) (B,R)
POSTLUDE París 1929 (Y)
BALLETTO París 1929 (Y)
ESTUDIO EN TRÉMOLO París 1930 (S)
SONATA DE PAGANINI (versión libre de Ponce) París 1930 (Y)
ANDANTINO VARIATO (from Sonata by Paganini) (P)
SONATA CLÁSICA (homenaje a F. Sor) París 1930 (S)
SUITE ANTIGUA París 1931 (P)
PRELUDE (guitar and harpsichord) París 1931 (Y)
MAZURKA y VALSE París 1932 (S)
TRÓPICO y RUMBA París 1932 (SZ)
HOMENAJE A TÁRREGA (only 3rd movement) París 1932 (B)
SONATINA MERIDIONAL París 1932 (S)
CONCIERTO DEL SUR (for guitar and orchestra) México 1941 (P)
VESPERTINA y MATINAL México 1946 (Y)
6 PRELUDIOS CORTOS México 1947 (P)
CUARTETO DE CUERDAS (inconcluso) México 1947 (Y)
VARIACIONES SOBRE UN TEMA DE ANTONIO DE
CABEZÓN México 1948 (T)

B = Bérben SZ = Suvini Zerboni

P = Peer International T = Tecla
R = Ricordi TR = Transatlantiques
S = Schott’s Sohne-Mainz Y = Yólotl

71
 OTHER WORKS BY MANUEL M. PONCE

ORCHESTRA

ESTAMPAS NOCTURNAS
CHAPULTEPEC
POEMA ELEGÍACO
SUITE AL ESTILO ANTIGUO
MÚSICA PARA “LA VERDAD SOSPECHOSA”
MERLÍN, Suite sinfónica
FERIAL
INSTANTÁNEAS MEXICANAS

CHAMBER MUSIC

CUARTETO para cuerdas

MINIATURAS cuarteto para cuerdas
TRÍO, cuerdas
SONATA A DÚO, violín y viola
GAVOTA, trío de cuerdas
SCHERZO, instrumentos de cuerdas
PAJARITO y PASTORCITO ALEGRE, para flauta y piano
TRÍO ROMÁNTICO para violín, cello y piano
Varias obras para diversos instrumentos

VIOLIN

CONCIERTO con orquesta

SONATA, con piano
ROMANZETTA, con piano
CANCIÓN DE OTOÑO, con piano
JEUNESSE, con piano

CELLO

SONATA, con piano

GRANADA, con piano

72
 ORGAN

4 PEQUEÑAS FUGAS
PRELUDIO FUGADO
TRES PIEZAS, sobre un coral
4 CORALES, sobre un tema de Bach
ALBORADA GUADALUPANA

SONGS

3 POEMAS DE BRULL
3 POEMAS DE LERMONTHOW con piano y orquesta
3 CANTOS DE TAGORE también con orquesta
6 POEMAS ARCAICOS también con orquesta
3 POEMAS DE GONZÁLEZ MARTÍNEZ
5 POESÍAS CHINAS con piano y orquesta
4 POEMAS DE ICAZA
2 POEMAS DE LUIS G. URBINA
3 POEMAS para tres voces femeninas y piano
POEMA LXVIII
ALELUYA
BENDITA SEA TU PUREZA, para voces y órgano
HIMNO CATEQUÍSTICO
78 CANCIONES MEXICANAS, originales y arreglos
2 BOLEROS
GRANADA
ROMANZETTA, SPERANDO, SOGNANDO
SI TU POUVAIS VENIR
UN SOIR
TOI
LE NAGUE
17 HIMNOS

CHORAL WORKS

50 COROS para niños

20 COROS para diversos números de voces

PIANO

CONCIERTO con orquesta

BALLADA MEXICANA, con orquesta
DOS SONATAS
SONATINA
9 PRELUDIOS
73
PRELUDIO y FUGA, sobre un tema de Haendel
FUGA sobre un tema de Bach
4 PIEZAS, en forma de Suite
14 ESTUDIOS
4 CANCIONES MEXICANAS
12 CANCIONES MEXICANAS, para pequeños pianistas
20 PIEZAS FÁCILES, sobre temas mexicanos
BALADA MEXICANA
DOS RAPSODIAS MEXICANAS
8 DANZAS MEXICANAS
BARCAROLA MEXICANA
IDILIO MEXICANA, para 2 pianos
PRELUDIO y FUGA, para la mano izquierda
DANZA CUBANA
SUITE CUBANA
3 MINUETOS
4 SERENATAS
RAPSODIA CUBANA
27 MAZURKAS
14 TROZOR ROMÁNTICOS
11 MINIATURAS
5 EVOCACIONES
5 HOJAS DE ALBUM
3 VALSES
2 SCHERZINOS
2 ARRULLADORAS
2 NOCTURNOS
BOCETOS NOCTURNOS
ÁLBUM DE AMOR
GAVOTA 1900
ROMANZA
MINUETO
INTERMEZZO
SERENATA
GAVOTTE y MOSETTE
BERSAGLIERA
LEYENDA
ELEGÍA DE LA AUSENCIA
Varias piezas en diversas formas musicales

74
 Corazón Otero

THE AUTHOR

Mexican guitarist and writer Corazón Otero has won wide recognition as a
leading authority on the guitar and it’s composers. Her articles can be found in
many international music magazines and she is author of ten books on guitar
related subjects.
Otero is regularly requested to judge international guitar competitions and she
lectures extensively about the guitar both in Mexico and Europe.
Corazón Otero is founding Director of the Ediciones Musicales Yólotl.
She has always felt great admiration for the distinguished Mexican composer,
Manuel María Ponce, and has carried out a through investigation of his life and
work, especially of his guitar compositions, the results of which she offers us in
this informative and handsome book.

75
 CONTENTS

PREFACE 4

PRELUDE 5

FANTASÍA 6

ALLELUIA 16

PARIS 20

INTERMEZZO 41

ALLEGRO 52

ELEGY 67

A NOTE BY CARLOS VÁZQUEZ 69

GUITAR WORKS 71

OTHER WORKS BY MANUEL M. PONCE 72

THE AUTHOR 75

76
 MANUEL M. PONCE AND THE GUITAR
Originally published in Spanish in Mexico
FONAPAS 1980
First published in English by New Services Limited
in Great Britain 1983
Second published in English by
THE BOLD STRUMMER LIMITED
in The United States 1994

This Edition Published by

Musicebookco.com

Ⓒ Copyright 2011 Corazón Otero

All rights are reserved in all countries

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78