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Piano-Notenblätter von Manuel María Ponce auf Zen Virtual Piano entdecken. Ponce was born on 8 December 1882 in Fresnillo, Zacatecas, in a house facing the Plazuela del Maíz. He showed early promise: at barely four he heard his sister Josefina's piano lessons, sat down at the instrument and played one of the pieces he had heard. From childhood he showed great ease with music, composed his first piano work at nine, sang in a children's choir and played organ at the Templo de San Diego in Aguascalientes. A child who replayed his sister's lesson at four and played organ in a church by childhood suggests an exceptional ear that was supported early by those around him, with music present at home and in church. In 1900 he moved to Mexico City to enter the National Conservatory of Music, and in 1904 he went to Europe, studying with Luigi Tochi in Bologna and Martin Krauze in Berlin. In 1915 his political views took him to Havana, where he lived for two years and worked as a music critic for newspapers, and his interest in Cuban popular music led to the Suite cubana and a sonata for cello and piano. In 1912 he premiered his Piano Concerto with the Orquesta Sinfónica de México under Julián Carrillo. A move abroad for political reasons that also produced Cuban-inspired pieces hints at a composer whose travels fed directly into his music, as the Cuban works show. Two years after the concerto his Álbum de canciones mexicanas appeared, built on popular pieces he gathered from the interior of the country, and the most famous was Estrellita, composed in 1912, whose popularity lasts to this day. He considered it a duty of every Mexican composer to ennoble the music of the homeland by giving it artistic form, dressing it in polyphony and lovingly preserving the folk music that expresses the soul of the nation. A song that spread widely while its composer argued for polyphony and preservation shows how he hoped popular tunes could also hold a place in concert music, and that he saw collecting as a duty. At forty-three he went to Europe to enroll at the Escuela Normal de Música in Paris, where he took classes with Paul Dukás and befriended the Spanish guitarist Andrés Segovia, who led him to change his musical language and leave the nationalist style. That friendship produced guitar works dedicated to Segovia, such as the Variaciones sobre la Folia de España in 1929, sonatas and the Concierto del Sur for guitar and orchestra, which Segovia premiered in Montevideo in October 1942. He earned his degree in composition in 1932, at fifty, and returned to Mexico that year to become director of the National Conservatory of Music. A student at forty-three who changed his style after meeting a guitarist, and then led the conservatory, hints at a composer who kept learning and changing late in life, and who trusted a friend's advice enough to alter his style.
Piano-Notenblätter von Manuel María Ponce auf Zen Virtual Piano entdecken.
Ponce was born on 8 December 1882 in Fresnillo, Zacatecas, in a house facing the Plazuela del Maíz. He showed early promise: at barely four he heard his sister Josefina's piano lessons, sat down at the instrument and played one of the pieces he had heard. From childhood he showed great ease with music, composed his first piano work at nine, sang in a children's choir and played organ at the Templo de San Diego in Aguascalientes. A child who replayed his sister's lesson at four and played organ in a church by childhood suggests an exceptional ear that was supported early by those around him, with music present at home and in church.
In 1900 he moved to Mexico City to enter the National Conservatory of Music, and in 1904 he went to Europe, studying with Luigi Tochi in Bologna and Martin Krauze in Berlin. In 1915 his political views took him to Havana, where he lived for two years and worked as a music critic for newspapers, and his interest in Cuban popular music led to the Suite cubana and a sonata for cello and piano. In 1912 he premiered his Piano Concerto with the Orquesta Sinfónica de México under Julián Carrillo. A move abroad for political reasons that also produced Cuban-inspired pieces hints at a composer whose travels fed directly into his music, as the Cuban works show.
Two years after the concerto his Álbum de canciones mexicanas appeared, built on popular pieces he gathered from the interior of the country, and the most famous was Estrellita, composed in 1912, whose popularity lasts to this day. He considered it a duty of every Mexican composer to ennoble the music of the homeland by giving it artistic form, dressing it in polyphony and lovingly preserving the folk music that expresses the soul of the nation. A song that spread widely while its composer argued for polyphony and preservation shows how he hoped popular tunes could also hold a place in concert music, and that he saw collecting as a duty.
At forty-three he went to Europe to enroll at the Escuela Normal de Música in Paris, where he took classes with Paul Dukás and befriended the Spanish guitarist Andrés Segovia, who led him to change his musical language and leave the nationalist style. That friendship produced guitar works dedicated to Segovia, such as the Variaciones sobre la Folia de España in 1929, sonatas and the Concierto del Sur for guitar and orchestra, which Segovia premiered in Montevideo in October 1942. He earned his degree in composition in 1932, at fifty, and returned to Mexico that year to become director of the National Conservatory of Music. A student at forty-three who changed his style after meeting a guitarist, and then led the conservatory, hints at a composer who kept learning and changing late in life, and who trusted a friend's advice enough to alter his style.
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