Learn & Watch: Sonata Meridional (Ponce) with Manuel Barrueco, Andres Segovia & Marco Tamayo
Welcome to the tonebase Learn & Watch series where we feature fantastic performances by both tonebase Artists as well as incredible up-and-coming guitarists. In addition, we break down a bit of the pieces’s history and add some fun facts about the instrument! We hope you enjoy this selection and, as always, please send any feedback to team@tonebase.co!
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The video pick of the week for us was undoubtedly this gorgeous rendition of Manuel Maria Ponce’s Sonata Meridional, played here by one of the most esteemed and legendary tonebase artists, Manuel Barrueco. Read on to find out more about Sonata Meridional as well as the underlying musical elements of this classic piece!
Barrueco expertly performs all three movements of the piece, on his album titled “Manuel Barrueco Plays De Falla, Ponce & Rodrigo”. Licensed to Youtube on behalf of WMG (PLG Germany), the almost 9-minute interpretation is absolutely gorgeous. The first time we heard it, we had a hard time believing a rendition could be so true to the notes of any piece.
Continue reading for a look at the piece’s origins, and to learn how you can master the piece like Manuel Barrueco on tonebase!
A brief history of Sonata Meridional
Written in Paris in 1932, Sonata Meridional is the last guitar solo Ponce wrote for Andres Segovia. It features a vast multitude of musical styles — folk, neoclassical, neo-romantic and impressionist.
The story goes that Ponce included many Spanish folk elements and composed the piece in “Sonatina” from at the urging of Andres Segovia. These elements are most evident in the titles of the three movements — “Campo”, “Copla”, and “Fiesta”.
“Campo”, the title of the first movement, means “county” in Spanish. and evokes the feelings of a Flemenco composition. Unfolding in a sonata form, the fast-plucking introduction quickly turns into both a melancholy first and vibrant second theme. This first movement climaxes in a series of passages that give even the most advanced guitarists a run for their money.
“Copla”, the second movement, is the name of a popular Spanish song. While the movement lacks a formal structure, the outline of an A B A’ form shines through. The movement features harmonic, melodic and rhythmic variety as well as the extensive use of hemiola. These serve to create expression filled sections filled with flourishes that resound through any concert hall or recording.
The final movement, “Fiesta”, of course is the Spanish word for “party”. After the somber tones of Mvmt. II, the third movement seems downright rambunctious in comparison. Moving at a fast, allegro (con brio!) pace, the movement is cheery throughout culminating in a confrontation between two opposing chords. The composition closes with happy tones and repetition of earlier themes — a satisfying culmination at the end of a piece that makes the guitarist and the audience sweat almost equally!
Manuel Maria Ponce and Andres Segovia
Manuel Maria Ponce was a Mexican composer, most active in the 20th century. Many of his compositions feature strong Spanish and Mexican folk tones, stemming from his fascination with the music of his country. While he wrote for several instruments, Ponce truly left his mark with his compositions for the guitar, most at the behest of his close friend — the one and only Andres Segovia.
The duo worked together to “close the gaps”, so to speak, in the guitar repertoire. Sonata Meridional is one of Ponce’s best known compositions for the instrument, but he also wrote several other sonatas — Sonata Romantica, Sonata A Duo, and Sonata Mexicana to name but a few.
Through his career, Manuel Maria Ponce wrote several beautiful hybrids of late Romantic and early Modern era compositions, and his pieces occupy a deserved place in every guitarist’s repertoire.
Learn & master Sonata Meridional with Marco Tamayo on tonebase
Inspired by the performance and history and want to master Sonata Meridional yourself? Watch the preview of lessons below by tonebase instructors Marco Tamayo, and visit tonebase.co to watch the full lesson!
Marco Tamayo breaks down each movement of Sonata Meridional
Campo — Movement I
The lesson begins with Tamayo’s thoughts on the piece’s Baroque influence which is most recognizable in the sequential movement found in the opening. Tamayo then walks through the entire exposition and development, sharing the fingerings he has chosen to achieve his ideal musical interpretation. He ends the lesson by demonstrating some of the tonal characteristics that make the guitar unique and are important to utilize in a piece like this.
Copla — Movement II
Some of the musical aspects discussed in this lesson include the prevalent 6/8 vs. 3/4 meter as well as the prevalent sequences and appoggiaturas found throughout. Tamayo ends by sharing some of his thoughts on authenticity and the role the score plays in constructing one’s final interpretation.
Fiesta — Movement III
Tamayo begins by demonstrating the transition into the third movement and how the second movement’s final fermata “crescendos” into the downbeat. He continues the lesson by walking through the piece and discussing musical aspects such as color, direction, and flexibility.
SOURCES:
- http://themusicsalon.blogspot.com/2012/09/manuel-m-ponce-guitar-composer.html
- https://getd.libs.uga.edu/pdfs/knepp_richard_r_201105_dma.pdf
- https://www.allmusic.com/composition/sonata-for-guitar-no-5-in-d-major-sonatina-m%C3%A9ridional-mc0002365020
- https://www.fraryguitar.com/ponce_sonatinas.htm
- https://en.wikipedia.org/wiki/Manuel_Ponce
- https://en.wikipedia.org/wiki/Meridional_French
- https://www.allmusic.com/artist/manuel-ponce-mn0000590334/compositions
- https://tonebase.co
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