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Manuel M. Ponce Complete Works for Guital: Eladio Scharrbn, guita*

The Mexican Manuel M. Ponce is one of the most important composers to have written for the guitar during the first half of the 20th century. His flourishing friendship with Andr6s Segovia during the early 1920's pro- duced some of the best works ever written for the guitar. Many of Ponce's works, such as the Variations, Fugue o n Folies dtEspagne and Sonatina Meridional, are universally recog- nized as unquestionable masterpieces in the repertoire for the classical guitar. The second Volume of Manuel M. Ponce's Complete Works for Guitar include many ambitious works that resulted from the fruitful collabora- tion of nvo great artists.

Most of Ponce's works for guitar were com- posed during the 1920's. This period was par- ticularly important and rich in both, the quan- tity and tile quality of the works composed for this instrument. In a letter to Ponce, Segovia mentioned that he was the third non-guitarist composer ever to write new \vorks for the gui- tar. In fact, the two men had already met in 1923 in Mexico City where Ponce did the press review of a recital given by Segovia there in May. About the guitarist, he wrote:

"AndrCs Segovia is a n intel l igent and invaluable collaborator to the young Spanish musicians that are writing for the guitar. His musical culture enables him to translate with fidelity the ideas of the composer into his instrument and, in that way, contin-

ues to enrich the not so large musical repertory of the guitar (Coraz6n Otero, Manuel M. Ponce y la Guitarra, Mexico, D.F.: Ediciones Fonapas, 1981,31)."

After this encounter, Ponce's first work for guitar was born: the Sonata Mexicana, written in 1923. In a letter of the same year, Segovia expressed his gratitude for Ponce's work: "I want to tell you also my happiness at seeing that the most interesting composers in this old world are collaborating with my eagerness to re-vindicate the guitar. I already have a small, beautiful work of Robert Roussel, the promise of others on the way by Ravel, and 'cheerful pages' from Volmar Andreas, Su te r , Schoenberg, Weles, Grovlez, Turina, Torroba, Falla, etc., etc. Seeing this new group elevat- ing my beautiful instn~ment, I think each time with more gratitude of the first ones who answered my call, that is, Torroba and your- self. (After Torroba and before you was Falla mho wrote his Homage to Debussy). And once again I wish to express you my sincerest gratitude (AndrCs Segovia, T h e Segovia- Ponce Letters, edited by Miguel Alcizar, trans. By Peter Segal (Colombus, Ohio: Editions OrphCe, 1989,3.)".

In 1925, at the age of 43, Ponce moved to Paris where he lived until 1932. Already a seasoned composer, he enrolled in the compo- sirion class of Paul Dukas a t t h e Ecole Normale de Musique. At the end of this peri-

od, Dukas stated that Ponce's great talent went beyond mere academic considerations. He gave the Mexican composer three times as many high marks as usually given at the end of the final examination. It was during his stay in Paris that Ponce composed most of the works included here.

The repertoire included here consists of the surviving multi-movement solo sonatas mrit- ten for guitar by Ponce. Ponce mrote eight sonatas, a sonata for harpsichord and guitar, which is a rare combination up to this day, and seven solo guitar sonatas. The first sonata was the Sonata Mexicana composed in Mexico in 1923 while the Sonata I1 was composed in 1925 or 1926; apparently, the manuscript was destroyed during the Spanish Civil War. The Sonata for Harpsichord and Guitar was com- posed in 1926, followed by Sonata I11 and the Sonata Clisica, written in homage to Fernando Sor in 1927. Sonata RomBntica, composed in 1928, was a tribute to Schubert. Later works included the arrangement of Paganini's Grand Sonata in A, 1930-31, the Sonatina Meridional composed in 1930, and the Sonatina in Homage to TBrrega composed in 1931.

The style of all these works is quite eclectic; some are reminiscent of the styles and har- monic languages of composers from the past, like Sor in the Sonata Clisica and Schubert in the Sonata Romintica. The Sonatina Meridional and the Homage to Tirrega use

elements that are Spanish in character while the Sonata 111 has some late 19th Century French influence. The Sonata Mexicana on the other hand, is rich in elements derived from Mexican folk music traditions. Ponce's particular harmonic style, his taste for the melody, and the use of counterpoint tech- niques give these works a particularly refined flavor.

This recording represents Ponce's complete repertoire of solo guitar sonatas, or at least those that survived. 1 excluded Sonata VI, which is mainly a reconstruction and atrange- ment of Paganini's Grand Sonata in A and that I personally don't consider as an original composition, at least in comparison to the other works. The editions used are a combina- tion of the available works as edited by Segovia, Manuel Lopez Ramos, and Miguel Alcazar's "Obra Completa para Guitatra de Manuel M. Ponce", based on the original manuscripts (Mexico: Conaculta, 2000).

In most cases I follonled Alcazar's edition; that's the case for Sonata RomQntica, Sonata ClQsica, Finale from Sonatina in Homage to Tarrega, Sonata 111, and most of the Sonata Mexicana. The Sonatina Meridional is based in the version edited by Segovia and published by Schott, but with a few small changes taken from Alcazar's edition. In the Sonata Mexicana I took some ideas from the version edited by Manuel Lopez Ramos. The idea here was not to question Segovia's editions but to

have a fresher look on these works using differ- ent choices for the articulations. The version published by Alcazar allows that freedom since there are very little articulations added. The titles used follow the ones used in Segovia's publications but the movement titles are as in Alcazar's edition.

The order chosen is not chronological but rather based on the contrasting styles of these ~vorks. I personally think this mill be more interesting for the listener.

El mexicano Manuel M. Ponce es uno de los compositores m i s importantes que hayan escrito para la guitarra durante la primera mitad del siglo XX. La amistad que se estable- ci6 a principios de los aiios 1920 con Andres Segovia produjo algunas de las mejores obras escritas para la guitarra. Muchas obras de Ponce, como lo son las Variaciones y Fuga sobre Folias d e Espaiia o la Sonat ina Meridional, estin universalmente reconocidas como incuestionables obras maestras e n el repertorio de la guitarra clisica. El segundo volumen de las Obras Completas para Guitarra de Manuel M. Ponce incluye varias obras de envergadura que fueron el resultado de la pro- ductiva colaboracidn de dos grandes artistas.

La mayor parte de las obras de Ponce fueron compuestas durante la decada d e los 1920. Este periodo es particularmente importante y

rico tanto en la cantidad como en la calidad de las obras compuescas para la guitarra clisica. En una carta dirigida a Ponce Segovia men- ciona qile este era el tercer compositor no gui- tarrista en haber escrito nuevas obras para la guitarra. De hecho , los dos hombres se conocieron e n Ciudad de Mexico e n 1923; Ponce hizo la critica del recital presentado por Segovia en el mes de mayo de ese afio. Sobre el guitarrista el escribid: Alldres Segovia es un inteligente y valioso colahorador de los j6venes mhsicos espafioles que escriben para guitarra. Su cultura musical permitele traducir con fidelidad en su instru- mento el pensamiento del compositor y, de esta manera, enriquece dfa a dia el n o muy copioso repertorio de m6sica para guitarra ... (Corazdn Otero , Manuel M. Ponce y la Guitarra, mexico, D.F.:Ediciones Fonapas, 1981,31.)

Luego de este primer encuentro Ponce escribe su primera obra para guitarra, la Sonata Mexicana, compuesta e n 1923. En una carta del mismo afio Segovia expresa su gratitud por dicha obra: Quiero tambien decirle mi alegria al ver que 10s mas interesantes compositores de este viejo mundo, estin colaborando a mi afin reivin- dicativo de la guitarra. Tengo ya una obrita preciosa de Albert Roussel, promesa en vias de cumplirse de Ravel, y piginas felicisimas de Volmar Andreas, Suter, Schoenberg, Weles,

Grovlez, Turina, Torroba, Falla, etc., etc. Viendo todo este nuevo grupo que va enalte- ciendo mi bello instrumento pienso cada vez con mas gratitud en 10s primeros que acud- ieron a mi llamamiento, es decir en Torroba y en V. (Despues de Torroba y antes de V. fu6 Falla el que hizo su homenaje a Debussy). Y nuevamente quiero darle mis mas sincerisimas gracias (Andr6s Segovia, The Segovia-Ponce Letters, edited by Miguel AlcBzar, trans. by Peter Segal, Colombus, Ohio: Editions Orphee, 1989, 1).

En 1925 Ponce, qui6n contaba e n ese momento con 43 afios de edad, se traslada a Paris donde reside hasta el 1932. Siendo ya un reconocido compositor con experiencia, Ponce ingresa en la clase de composici6n de Paul Dukas e n la Escuela Normal de Mdsica de Paris. A l final de este period0 Dukas declara que el gran talent0 de Ponce iba mas allri de meras consideraciones acad6micas; el triple de las calificaciones nlriximas posible le fueron adjudicadas a1 mesicano durante el fin de sus estudios. Fu6 durante su etadfa en Paris que Ponce compuso la mayor parte de las obras incluidas aqui. El repertorio incluido aqui consiste en las sonatas para guitarra sola escritas por Ponce. Ponce escribi6 ocho sonatas, una sonata para clavecin y guitarra, combinaci6n rara alin de nuestros dias, y siete sonatas para guitarra sola: La Sonata Mexicana, compuesta

en Mexico en el 1923; la Sonata 11, compuesta en 1925-26, aparentemente el manuscrito fue destruido durante la Guerra Civil Espafiola; la Sonata para Clavecin y Guitarra fu6 compues- ta en 1926; la Sonata 111 y la Sonata CIBsica, en homenaje a Fernando Sor, fileron compues- tas en 1927; la Sonata Romrintica, en homena- je a Schubert, fuC compilesta en 1928; el arreg- lo de la Gran Sonata en La de Paganini fue realizado entre 1930 y 1931; la Sonatina Meridional fu6 compuesta en 1930; final- mente, la sonatina Homenaje a Trirrega fue compuesta en 193 1.

El estilo de todas estas obras es bastante ecl6ctico; algunas evocan 10s estilos y lengua- jes arm6nicos del pasado, como el de Sor en la Sonata ClBsica y el de Schubert en la Sonata Romrintica. La Sonatina Meridional y el Homenaje a TBrrega usan elementos de carBc- ter espaiiol, la Sonata 111 tiene influencia Francesa de fines dei siglo diecinueve, y la Sonata Mexicana es rica en elementos deriva- dos de las tradiciones del folclor mexicano. El particular estilo arm6nico de Ponce, su gusto por la nlelodia, y el uso de tecnicas contrapun- tisticas le dan un sabor particularmente refina- do a estas obras.

La presente grabaci6n ppresenta la integral de las Sonatas para guitarra sola conlpuestas por Ponce, por lo menos, las que han sobrevivido. Exclui la Sonata VI que es sobretodo una reconstrucci6n y arreglo de la Gran Sonata e n

La de Paganini y que personalmente no con- s i d e r ~ como una obra totallnente original, a1 menos en reiaci6n a las otras obras.

Las ediciones usadas son una combinaci6n de las obras editadas por Segovia, Manuel Lopez Ramos, y Miguel Alcazar ("Obra com- pleta para Guitarra de Manuel M. Ponce", basada e n manuscritos originales, Mexico: Conaculta, 2000). En la mayor parte de los casos he seguido la edicidn de Alcazar. Tal es el caso de la Sonata Romiintica, la Sonata Cliisica, el final del Homenaje a Tiirrega, la Sonata 111, y la mayor parte d e la Sonata Mexicana. La Sonatina kleridional est5 basa- da en la versi6n editada por Segovia y publics- da por Schott, con algunos pequeiios cambios tornados d e la edicidn de Alcazar. En la Sonata Mexicana tom6 algunas ideas de laver- si6n editada por Manuel Lopez Ramos.

La idea aqui no ha sido el cuestionar las ediciones de Segovia sino mas bien el tratar distintas alternativas de articulaci6n y fraseo. La versidn publicada por Alcazar ofrece esa libertad ya que hay muy pocas indicaciones de articulacidn. Los titulos usados aqui son 10s usados en las publicaciones de Segovia pero las indicaciones de los movimientos siguen la edi- ci6n de Alcazar.

El orden escogido no es cronoldgico sino mas bien basado en los estilos contrastantes de las obras; personalmente encuentro esto mas interesante para el oyente. Special thanks to Yoany Beldarrain for the

edition and revision of the notes; to Dr. Lee Eubank, Chair of the University of Central Florida, for his support during the realization of this project; to my parents Pain and Margarita for their permanent support; to Myriam and Maria Belgodere, for the i r patience, friendship, and encouragement dur- ing this period; and to Gustavo and Beatriz Arvelo, for their friendship and for being such good supporters of classical guitar activities in the area of Orlando, Florida.

The guitar used for this recording \\,as made by Dominique Field from Paris, France in 1995.

Sonatina Meridional Allegro non troppo Andante Vivace

Sonata Roma'ntica (Homage to Schubert) Allegro non troppo, semplice Andante Moment Musical (vivo) Allegro non troppo e serioso

Finale from the Sonatina in Homage to Tirrega

Sonata Clisica (Homage to Fernando Sor) Allegro Andante

Menuet Allegro

Sonata 111 Allegro Moderato Chanson (Andantino molto espressivo) Allegro non troppo

Sonata Mexicana Allegro moderato Andantino affettuoso Allegretto, quasi serenata Allegretto un poco vivace

Eladio Scharrdn is Associate Professor of Classical Guitar at the University of Central Florida in Orlando since 1998. He is a gradu- ate from the University of Puerto Rico where he studied guitar with Emesto Cordero. After obtaining the BA in music, he went to Paris to continue graduate studies in guitar under the direct ion of Alberto Ponce. In 1981 h e obtaineg the prestigious Dipl6me de Concertiste a t the Ecole Normale de Mlisiqtce de Paris. Eladio Scharrdn has won numerous awards and competitions, among them, the Concltrso de Griitarra de la Cnsa de Espaiia in Puerto Rico, the International Gttitnr Competition of Sable Sur Snrthe in France, and the Reynofds Mtcsical Award. He has also participated as a soloist in prestigious international guitar festi- vals in France, Belgium, Italy, Peru, Ecuador,

El Salvador, Puerto Rico, Mexico and the United States. Eladio Scharr6n has pre- miered and has had many new works for guitar dedicated t o him. During his long stay in Paris, h e won accolades from music critics as a concert artist and has taught at the Paris Mtinicz$al Conservntol-y in France. From 1992 to 1997, Dr. Scharrdn was a profes- sor at the University of Puerto Rico. In 1994, bo th t h e University of Puerto Rico and Eastman School of Music awarded him schol- arships to complete doctoral studies at the prestigious school in Rochester. Dr. Nicholas Goluses supervised his guitar work at Eastman. In 1996 h e obtained the prestigious Performer's Certificate and t h e degree of Doctor of M~tsical Arts was awarded in 1997. Currently, Dr. Scharrdn is working on t h e recording of Manuel M. Ponce's complete works for guitar; the first compact disc in this series is available under the label Centaur (CRC 2487). Dr. Scharrdn performs regularly as a soloist with orchestras in the State of Florida and abroad. For more information call 407-823-1051; e- mail - escharro@mail.ucf.edu

Manuel M. Ponce Complete Works for Guitar, Vol. 2 Eladio Scharrbn, guitar

CRC 2701

Sonatina Meridional (8:56) Sonata 111 (14:06)

1 I Allegronon troppo 4:14 13 I Allegro Moderato 5:53 2 I1 Andante 2:29 14 I1 Chanson 3 111 Vivace 2:13 (Andantino molto espressivo) 2:50

15 I11 Allegro non rroppo 5:21 Sonata Rom4ntica (Homage to Schubert)

(20:29) Sonata Mexicana (12:12) 4 1 Allegro non troppo, semplice 6:28 5 I1 Andante 4:54 16 I Allegromoderato 346 6 I11 Moment Musical (vivo) 3:00 17 I1 Andantino affettuoso 3:49 7 IV Allegro non troppo e serioso 6:05 18 111 Allegretto, quasi serenata 1:07

19 IV Allegretto un poco vivace 3:28 8 Finale from the Sonatina in Homage to

Ttirrega (2:47) Total Duration: 75:dl

Sonata Cla'sica (Homage to Fernando Sor) (1559)

9 I Allegro 5:55 10 I1 Andante 3:28 11 111 Menuet 3:13 12 IV Allegro 3:24

Recorded August 24,2002 at the LSU Recital Hall, Louisiana State University, Baton Rouge, La. Produced by Daniel Cassin. Engineered by Victor E. Sachse and Daniel Cassin. Executive Producer: E. Sachse. Cover Painting: Johann Morita Rugendas: Valley of Mexico (detail), 19th century. The guitar used for this recording was made by Dominique Field, Paris, France, 1995.

@ @ 2005 Centaur Records, Inc.

Manuel M. Ponce Complete Works for Guitar, VoI. 2 EIadio Scharrhn, guitar

Sonatina M e r i d i d

1 I Allb:grononaoppo +14 2 II Andante 2:29 3 111 V i m 2:13

.- - -- . 4 1 Auegm rmn mpp, sempbce 628 5 I1 Andante 434 6 III Moment M u s i d (vim) 3:00 7 IVAkgmnuntroppemrioso 6:B

CRC 2701

13 1 AHegroModwato 553 14 11 Chanson

(Adantino molt0 espressivo) 250 15 I11 Allem m n nappo 521

16 1 AUegrodram 346 17 I1 Aadanrinoaffem 349 t 8 LII AUegrem, quasi m t a la7 19 IV AUegwrro un poco vivace 3:28

Reeded Augw 2-4, 2OOZ at the LSU Recital Halt. h i d m a State Uniwidy, &ron &up?, LL Roducd by Danul Cslri. En&eedbyMcwrESactmandI3anielW ExemtivePro&lcer: M a o r E . k h . CoverPsinrtng: J a b M m m ~ : V d k y d M ~ ( L d ~ . L A h m m w ~ p ~ s r l u e d h ~ r e w ~ ~ m a d e ~ D o ~ F i e l d . Pacia F-, 1995.

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