CIENTIFICAInvestigacin

volumen 8, nmero 1 agostodiciembre 2013, issn 18708196

Jorge Barrn CorveraUnidad Acadmica de Msica

Universidad Autnoma de Zacatecas

jbarron_00@yahoo.com

Manuel Ponces Preludefor the left hand alone

To Carlos Vzquez

CIENTIFICAInvestigacin

volumen 8, nmero 1 agostodiciembre 2013, issn 18708196 32

Manuel Mara Ponce (Fresnillo, Zacatecas, 8 De-cember 1882Mexico City, 24 April 1948) is in-ternationally recognized as one of Mexicos fo-remost composers and has been acknowledged as a pioneer of musical nationalism in his coun-try. He studied in Mexicos Conservatorio Nacio-nal, Bolognas Liceo Musicale, Berlins Sternsches Konservatorium, and Paris cole Normale de Musique (under Paul Dukas). His eclectic musi-cal style ranges through Baroque, Classical, Ro-mantic, Impressionistic, Neoclassic, and Neoro-mantic. In addition, many of his compositions are inf luenced by the music of Cuba, Spain, and especially Mexico. His catalogue contains over three hundred items for voice, guitar, piano, vio-lin, and cello, as well as chamber and orchestral works. Although his song Estrellita and his nume-rous guitar pieces are world famous, fewer peo-ple are familiar with the rest of his music.

A man of vast culture, he wrote over two hun-dred articles about musical topics and was the founding editor of three prominent journals: Re-vista Musical de Mxico (Mexico City, 19191920), Ga-ceta Musical (Paris, 19281929), and Cultura Musical (Mexico City, 19361937). Polyglot and multiface-ted, he undertook an array of activities including teacher, music critic, editor, researcher, lecturer, administrator, conductor, pianist, and composer.1

Ponces piano output comprises some one hundred works of diverse length, style, charac-ter, and technical level. He created the Prlude et Fugue pour la Main Gauche Seule [Prelude and Fugue for the left hand alone] in Paris. The Fugues man-uscript shows a conclusion date of 21 January 1931. The Prelude, however, is unfinished and does not have a date. For the printed edition2 pianist

1 For further information, see Jorge Barrn Corvera, Manuel Mara Ponce: A BioBibliography (Westport, Connecticut: Green-wood, Praeger, 2004).2 Published by Southern Music Publishing Company (New York). Currently available at Peermusic, the global independent, Composers, Manuel Ponce, http://www.peermusicclassical.com/catalog/catalogmain.cfm?composer_id=59&search=y [consulted 9 September 2013].

Carlos Vzquez, Ponces disciple and heir, skill-fully completed it by adding the last sixteen mea-sures for a total of sixty four.3 This opus and the earlier piece Malgr Tout (1900)4 are the only ones for the left hand in the composers inventory.

The Prelude exhibits a throughcomposed form, a Neobaroque conception, and a discrete Spanish f lair. Its imaginative harmony is based on modal and chromatic progressions. Melo-dic freedom, rhythmic interest, irregular phra-se span, and frequent modulations result in a fresh improvisational feeling of an intimate poe-tic quality.

Like Bachs first prelude (C major) from the WellTempered Clavier (Book I), Ponces is a harmo-nic voyage with arpeggio patterns made of a continuous f low of sixteenth notes. Unlike Bach, the Mexican artist does not limit himself to the use of just one arpeggio type. In fact, he employs three distinct figurations or melodic ideas that we will label as A, B, and C (examples 13).

A opens the piece and is the chief melo-dic fabric. B and C appear for the fist time in mm. 11 and 19, respectively. The bridge material in mm. 4, 710, 1314, and 1718, is a gestation that prepares the arrival of C. C also retains traits from A as seen in mm. 21 and 2526.

Once the melodic ideas are presented (mm. 126), the author plays with them largely by ex-panding their elements, introducing new har-monic possibilities, and altering their placement. The small onemeasure bridge in m. 4 is stret-ched to three whole measures, mm. 3032. The second part of A, mm. 56, is modified and

3 Carlos Vzquez, notes to the recording Angel asmC77031, Los clsicos de Mxico. Manuel M. Ponce: semblanza de un compositor. 30 Aniversario 19481978, vol. 1, Msica para piano (Mexico City, 1978).4 Ponce composed it as a tribute to his friend the Sculptor Jess Contreras (18661902), author of a celebrated feminine marble figure titled Malgr Tout [In spite of everything]. Contreras right arm was amputated due to cancer. Vzquez, notes to the recording Angel asmC77031. Wikipedia, Jess Fructuoso Contreras, http://es.wikipedia.org/wiki/Jes%C3%Bas _f._Contreras [consulted 9 September 2013].

prolonged in mm. 3338. Likewise C is greatly broadened.

B is omitted in the section comprehending mm. 2752. It emerges in mm. 5356 in an up-per register and different harmony, serving as a climax that leads to the higher recurrence of C (mm. 5758) before returning to the A material that closes the work (mm. 5964). Ponces clever exploitation of the melodicharmonicrhythmic resources is quite organic, yet unpredictable like a good improvisation.

Additionally to harmonic variety, the exten-sions reveal rhythmic displacements as in mm. 3132, 3637, 4344, and 5152. The time signa-ture is 2/4. The eight sixteenths in each bar ex-hibit different melodic shapes and rhythmic groupings: 3+3+2 (Ex. 1); 5+3 (Ex. 2); 8+8 (twobar pattern that combines arpeggio and scalar motions, Ex. 3); 2+3+3 (Ex. 4); and 1+3+3+1 (Ex. 5). There are other permutations not shown in the examples. Besides, the group perception can also vary according to the given melodic/contour association. All of these impart an exquisite sen-se of esthetic plasticity.

One of the most attractive aspects is the com-plex harmonic idiom. The main key is A Aeolian. The persistent modulations, including some to very remote areas, deliver a journey full of fan-tasy. The mixture of both modal and chroma-tic progressions supplies contrast and diversity. The expressive use of nonchord tones effecti-vely enhances the harmonic richness.

Most of the progressions are organized through ascending (for example in mm. 1117) and descending (for example in mm. 14) bass and/or melodic lines. Other sequences illustra-te abrupt shifts like the chromatic mediant rela-tionship found in the two statements of C, the

first one in G minor (mm. 1922) and the second one in B minor (mm. 2324). Within the constant modulation, essential factors are kept stable to provide order and logic. The primary parts of A and C occur always in the same register and key, except for the higher instance of C (mm. 5758) in the climactic segment. As mentioned before, the extensions of themes (for example in mm. 4145 and mm. 4852) offer ample op-portunities to develop the harmonic potential, contributing to sustain the listeners attention.

Regarding interpretation, the first thing to be noticed is that the manuscript does not have in-dications whatsoever (tempo, dynamics, charac-ter, etc.).5 Choosing an appropriate tempo beco-mes crucial. One has to bear in mind the general spirit and intention of the work as well as its for-mal and harmonic scheme. The atmosphere is introspective and, speaking on a subjective le-vel, it conveys feelings of sadness, nostalgia, lon-ging, and, at times, anguish. Its purpose is not the mere display of virtuosity like an etude, but rather the pursuit of deep artistic expression.

There are few commercial recordings.6 David Wittens rendition is moving, refined, and eleva-ted.7 By choosing a slower, f lexible tempo, he fu-lly exploits all of the emotive content and beau-tiful harmonic, melodic, and rhythmic nuances. Important points, notes, or harmonies are iden-tified and emphasized in terms of pacing, dyna-mic, or color.

5 The printed version has some marks.6 See Barrn, W143.7 We would like to express our deepest gratitude to Dr. Witten for granting permission to include his recording in this article. Marco Polo 8.223609 (Cd, Germany 1995, recor-ded 19941995) Manuel M. Ponce: piano music, David Witten, piano.

Manuel M. Ponces Prelude for the left hand alone. David Witten, piano

http://www.peermusicclassical.com/catalog/catalogmain.cfm?composer_ID=59&search=yhttp://www.peermusicclassical.com/catalog/catalogmain.cfm?composer_ID=59&search=yhttp://es.wikipedia.org/wiki/Jes%C3%BAs_F._Contrerashttp://es.wikipedia.org/wiki/Jes%C3%BAs_F._Contreras

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Ponces Prelude, though technically accessible, is an appealing and musically rewarding compo-sition both for the student and the concert per-former. It demonstrates remarkable creativity and balance within its sobriety and selfimpo-sed limitations (one hand, reduced dimensions, running sixteenths).8

Example 1. A, m. 1

Example 2. B, m. 11

8 I wish to thank D. L. Sullivan, Ph.D, for proofreading the article and making valuable editorial suggestions.

Example 3. C, mm. 1920

Example 4. m. 31

Example 5. m. 36