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The sonatas for guitar by the Mexican composer Manuel Maria Ponce (1882-1948) demonstrate his remarkable

ability to compose music inspired by a wide variety of styles. From early romantic works like Estrellita (1912)

to the more complex harmonic language of his Concierto for violin (1943), Ponce displayed extraordinary versatility.

Initially influenced by French modern music and late romantic works, he developed a distinctive musical

language that combined romanticism, modernism, and nationalism. His collaboration with guitarist Andres

Segovia resulted in his first composition for guitar, the Sonata Mexicana (1923), blending French Impressionism

with Mexican folk music.

During his stay in Paris from 1925 to 1932, Ponce developed an interest in Neoclassicism and Bitonality, as

evidenced in his Suite bitonal for piano. Among his most significant works for guitar is Sonata III (1927), which

incorporates romantic, neoclassical, and Mexican and Spanish folk elements. His guitar music was always inspired

by Segovia, who suggested numerous works, including the Sonatina Meridional (1930), a tribute to Spanish musical

tradition.

Ponce's other notable works for guitar include the Sonata Clasica (1927), a tribute to Fernando Sor, and the

Sonata Romantica (1928), inspired by Franz Schubert. These compositions further demonstrate his unique ability

to blend traditional influences with his own distinctive voice.

The Mexican composer wrote eight sonatas (six sonatas and two sonatinas) for guitar, two of which were lost

during the looting of Segovia's apartment in Barcelona in 1936. Manuel Maria Ponce - Complete Guitar Sonatas

presents for the first time the guitar sonatas in their entirety, including the surviving movements of these lost

compositions and Sonata VI, a pastiche of Paganini's famous Grande Sonata for guitar. The works are performed by

a group of artists under the guidance of M° Stefano Grondona, the renowned Italian guitarist.