Introduction
All three of Ponce's sets of
variations are based on the techniques of
the eighteenth-century sectional variation form: a
theme is simply stated; a number of variations
ensue, largely of the melodic type with fixed
harmony; and a fugue or a developmental finale
provides a conclusive summing up. Like most
eighteenth-century variation sets, Ponce's
variation sets are organized in a succession of
self-contained variations which do not normally
have transitions between them. Although these works
utilize similar approaches to formal organization,
they exemplify two separate stylistic stages in
Ponce's career. Variations sur >>Folia de
España<< et Fugue and
Thème varié et Finale, written
during the 1920s, intermingle impressionistic and
neoromantic techniques in a virtuosic manner, and
are strongly evocative of Hispanic folklore.
Variaciones sobre un tema de Antonio de
Cabezón, written in 1948 during Ponce's
final months of life, is emotionally and
technically reserved, and is wholly neoclassical in
style.
Manuel
Maria Ponce (1882-1948)
A short musical
description and pertinent information concerning
composition and publication will be included for
all items surveyed. Each work will be graded
according to level of technical difficulty on a one
to ten scale: 1-2: very easy; 3-4: moderately easy;
5-6: moderately difficult; 7-8: difficult; and
9-10: very difficult. Musical examples are based on
the edition listed first under each composition.
All works are dedicated to Andrés Segovia
unless otherwise noted.
Thème varié et finale. Andrés Segovia, ed. Mainz: Schott, 1928.
Timing:
10'
Grade: 8
This set of
variations was composed in Paris during 1926 and is
one of Ponce's most often performed guitar solos.
The formal design consists of an original theme,
six variations and a finale. Although most of the
variations differ slightly in length from the
theme, all of them utilize the same formal
structure of A A B. The theme, five of the
variations and the finale are built around the
tonal center of E, probably to allow idiomatic use
of the open strings. Moreover, with the exception
of Variation VI, in E major, and Variation III, in
C major, this work is predominately in E minor
modes such as E aeolian and E dorian. Most of the
variations follow the basic harmony of the theme
and, to achieve contrast, develop a particular
rhythmic or melodic pattern. Although the title
does not suggest nationalism, this work is highly
evocative of popular Latin American music.
Impressionistic harmonies predominate in this
work.
The theme, set in
triple meter and predominantly in the modality of E
aeolian, features a fragmented melodic structure
and serves mainly to provide a harmonic and formal
basis for the variations. The harmonic progression
is typical of Latin American popular music;
however, decorative dissonance is often utilized to
create color. For example, the harmonic progression
of the first four measures is i ivø7 VII+
III7 (E aeolian):
Ex. 45.
Thème varié et finale, Theme, p. 2, mm. 1-4
The altered
harmonic tones, the appoggiaturas on the
ivø7 and III7 chords and the ornaments
create colorful yet delicate tonal
shadings.
The first
variation, in 3/4 meter and marked Allegro
appassionato, follows the basic harmony and melodic
contour of the theme. The variation technique is
based on a repeated rhythmic figure played in block
chords:
Ex. 46.
Thème varié et finale, Variation I,
p. 2, mm. 1-4
Variation II,
marked Molto moderato, is in C major and 3/4 meter.
The mood is lyrical and subdued. Piano markings
predominate in this variation. Although the formal
structure and basic melodic outline of the theme
are retained, the highly chromatic harmony and the
call and response texture of this variation provide
an engaging contrast. The motive echoed between the
bass and soprano is derived from the thirty-second
note ornament in the first measure of the
theme:
Ex. 47.
Thème varié et finale, Variation II,
p. 2, mm. 1-4
The third
variation, in 2/4 meter and marked Allegro
moderato, is based a three-note sixteenth note
pattern harmonized largely in thirds:
Ex. 48.
Thème varié et finale, Variation III,
p. 3, mm. 1-3
Although the
harmonization in parallel thirds is evocative of
popular Mexican song, the repetitive and syncopated
rhythmic pattern, chromaticism and disjunct style
give this rather conventional harmonization an
unusual twist.
Variation IV, in
6/8 meter and marked Agitato, is based on a
five-note melodic pattern characterized by tied
notes on the third and sixth beats:
Ex. 49.
Thème varié et finale, Variation IV.
p. 3, mm. 1-4
Syncopations and
the slurring of notes on the second and fifth beats
give this variation an anxious and unsettled
air.
The fifth
variation, in 3/4 meter and marked Vivace, is full
of Latin American fire with its rolled chords and
rapid scales and ornaments. Again, much of the
unity of the variation depends on the use of a
rhythmic pattern established in the first
measure:
Ex. 50.
Thème varié et finale, Variation V,
p. 4, mm. 1-4
The sixth and final
variation, set in 2/4 meter and marked Molto
più lento, is gentle and subdued and
features piano markings throughout. The texture is
in three distinct parts—soprano, bass and inner
voice—and is nostalgic of a Mexican
canción:
Ex. 51.
Thème varié et finale, Variation VI,
p. 4, mm. 1-4
The finale, marked
Vivo scherzando and in 3/8 meter, is a conclusive
summing up of this work and is the most difficult
section of this work to perform. Not limited to one
type of figuration, motives from the preceding
variations are developed in a sonata-like fashion.
Cast in the form of A B A' coda, the finale begins
with a phrase related to the second beat of m. 1 in
the theme and the opening motive of the second
variation:
Ex. 52.
Thème varié et finale, Finale, p. 4,
mm. 1-4
Impressionistic
colors and nonfunctional harmony are often heard in
alternation with more conventional sounds. For
example, quartal chords connected by glissandi are
heard immediately following a passage of common
practice harmony at m. 19. Although the use of
changing accent patterns are common in this piece,
the most striking occurrence is in the B section of
the finale where chords voiced in fifths and in 3/8
meter alternate with chords in a 3/4 accent
pattern:
Ex. 53.
Thème varié et finale, Finale, p. 5,
mm. 51-58
The metric changes
serve to accentuate the already dazzling sonority
of the open chord voicings and nonfunctional
harmony of this passage.
A rhythmic pattern
related to the fourth variation appears at m. 61,
and, after some development of this motive and
others, the A section is recapitulated in
abbreviated form. At m. 149 motives from the fifth
variation appear, and at m. 163 the coda begins
with two repetitions of the first phrase of the
fifth variation in the tonic. Motives from this
phrase are developed to produced a frenzied and
colorful ending to this highly successful work.
Although the entire piece is permeated with an aura
of Latin American popular music, the
improvisational character of the last few measures
and final chord of E major seventh (E major-major)
are especially evocative of this style.
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