Works Written for Andrés Segovia

Federico Moreno Tórroba: Suite Castellana (1926)

Three movements: I. Fandanguillo, II. Arada, III. Danza
Segovia requested an original composition suitable for the guitar. Tórroba was the first to comply.
Tórroba initally composed "Danza" and offered it to Segovia. Segovia requested he writes two additional pieces to create a suite.
Tórroba composes "Fandanguillo" and "Arada" to complete the Suite Castellano.
First performance -
First recording - Segovia recorded the "Fandanguillo" in London on May 15, 1928.
Initially released by His Master's Voice (HMV) on a 78rpm, most likely in late 1928.
First recording - Segovia recorded the "Arada" in New York on January 25, 1944.
Initially released on the Decca LP Segovia - Guitar Recital, Vol. 1 and 2, DL 8022, 1949.
Segovia records two of the three movements, "Fandanguillo" and "Arada", in London on June 27, 1949, for the Columbia label.
Columbia released "Fandanguillo" and "Arada" on the same side of a 78rpm but mislabeled the side as "Arada and Danza" in 1950.
Columbia released "Fandanguillo" and "Arada" on side 2 of a 10 inch LP Segovia Plays Guitar Concerto, Columbia, 33 CX 1020, 1949-50.
REF - Jack Silver, Andres Segovia and his Contemporaries Vol. 9 - Liner notes, 2007

Federico Moreno Tórroba: Sonatina in A major (192 ---)

Three movements: I. Allegretto, II Andante, III. Allegro
First performance -
Segovia played the entire Sonatina at his first concert in Mexico City in 1923, Manuel Ponce was in attendance.
First recording - Segovia recorded the "Allegretto" in London in May 20, 1928.
Initially released by His Master's Voice (HMV) on a 78rpm, most likely in late 1928.
First LP recording - Segovia recorded the entire "Sonatina" in 1952. Released on Decca LP An Andrés Segovia Recital, DL 9633, 1952.

Manuel Ponce: Sonata No. 1 (Sonata Mexicana) (1923)

Three movements: I. Allegro moderato, II. Andantino affettuoso, III. Intermezzo: Allegretto, quasi serenata, IV. Allegretto un poco vivace.
Segovia gave his first concert in Mexico City in 1923. Ponce attended and wrote a review for the local newspaper, El Universal issued May 6, 1923.
Segovia read Ponce's very favourable review and how impressed Ponce was by Tórroba's Sonatina in A.
Segovia asked to meet Ponce soon after the review is published the next day. He asked Ponce to consider composing for the guitar.
Ponce composed “Allegretto, quasi serenta” and sent it to Segovia. The piece would become the third movement of Sonata Mexicana.
Segovia approved of the piece so Ponce wrote the rest of the Sonata by the end of the summer of 1923.
The sonata was dedicated to Andrés Segovia.
First performance - Premiered in Madrid, Spain in 1923.
The sonata was edited by Andrés Segovia and published by Schott Publishing.
The original manuscript was lost when Segovia's Barcelona apartment was looted in 1936, during the Spanish Civil War.
The "Sonata No. 1" was recorded in 1967 for the Decca LP Mexicana, DL 710145.
Segovia had already made a copy before the original manuscript was lost (some changes from the original manuscript were likely made).
Likely the first sonata that was written for the guitar in the twentieth century.
The sonata was edited by Manuel Lopez Ramos and published by Peer Music International Corporation, in 1967.
Segovia had included the Sonata No. 1 in some of his 1970s recitals but was excluding the third movement.
Segovia was also renaming the movements on his recital programmes in the 1970s: I. "Bailecito del Rebozo", II. "Lo Que Suena el Ahuehuete", IV. "Ritmos y Cantos Aztecas".
REF -
Alcázar, Miguel. Obra completa para guitarra de Manuel M. Ponce de acuerdo a lost manuscritos orginales. Mexico City: Ediciones Étoile, 2000, p. 18-23.
Segovia, Andrés. The Segovia-Ponce Letters. ed. by Miguel Alcázar, trans. by Peter Segal. Columbus: Editions Orphée, 1989.
Aleksandr Tsiboulski, Ponce: Guitar Music Vol. 3 CD - liner notes, 2015

Manuel Ponce: Canciones populares mexicanas: 1. La pajarera, 2. Por ti mi corazón, 3. La valentina (1923)

An arrangement of " La Valentina" was sent to Segovia in 1923 along with the 3rd movement of the yet-to-be-composed Sonata Mexicana.
Ponce composed these 3 pieces in the same period that he developed a guitar arrangement from an earlier 1912 composition "Estrellita".
The arrangements were dedicated to Andrés Segovia.
First performance -
The "La Valentina" was recorded in April 1954 for the Decca LP Andrés Segovia Plays.
The "Por ti mi corazón" called "Canción" on the liner notes, was recorded in Madrid in July 1962 for the Decca LP Granada, DL 710063.
The arrangements were edited by Andrés Segovia and published by Schott Publishing in 1928.
Segovia would often perform these four pieces as a group. In 1928, he would arrange for their publication (minus Estrellita-already published 1914).
REF -
Alcázar, Miguel. Obra completa para guitarra de Manuel M. Ponce de acuerdo a lost manuscritos orginales. Mexico City: Ediciones Étoile, 2000, p. 32-35.
Segovia, Andrés. The Segovia-Ponce Letters. ed. by Miguel Alcázar, trans. by Peter Segal. Columbus: Editions Orphée, 1989.
Richard Long, Ponce: Guitar Music Vol. 1 CD - liner notes, 1998.

Manuel Ponce: Prelude in E major for Solos Guitar (1925)

Ponce had recently moved to Paris and Segovia happened to be staying there for a time. They rekindled their friendship.
Finished the composition in Paris, France on December 23, 1925 - His first composition in Paris, six months after his arrival from Mexico.
Initially written as a solo piece for the guitar in 1925.
First performance -
In the same year, Ponce arranged the "Prelude" in E major for guitar and harpsichord. (see the next entry below)
Segovia misrepresented this Ponce composition as being by Sylvius Leopold Weiss, a Baroque-era lutenist-composer.
The suite did NOT bear a dedication to Andrés Segovia since it was being misrepresented as a Weiss composition.
The prelude was edited by Andrés Segovia and published by Schott Publishing in 1928.
First recording - Segovia recorded the "Prelude in E major" in London in 1952 for the Decca LP An Andrés Segovia Recital, DL 9633.
Ponce's authorship was not revealed during his lifetime.
Carlos Vasquez, Ponce's heir, officially confirmed Manuel Ponce as the author of the "Prelude in E major".
REF -
Alcázar, Miguel. Obra completa para guitarra de Manuel M. Ponce de acuerdo a lost manuscritos orginales. Mexico City: Ediciones Étoile, 2000, p. 40-43.
Segovia, Andrés. The Segovia-Ponce Letters. ed. by Miguel Alcázar, trans. by Peter Segal. Columbus: Editions Orphée, 1989.
Richard Long, Ponce: Guitar Music Vol. 2 CD - liner notes, 1999.

Manuel Ponce: Prelude for Guitar and Harpsichord (1926)

Finished the composition in Paris, France, in 1926.
Initially written as a solo piece for the guitar in 1926.
In the same year, Ponce arranged the "Prelude" in E major for guitar and harpsichord.
The arrangement for guitar and harpsichord was likely inspired by Manuel de Falla's renewed interest in the Baroque instrument.
Joaquín Nin's revival of early Spanish keyboard music in the 1920s might have also been a source of inspiration.
First performance -
Segovia misrepresented this Ponce composition as being by Sylvius Leopold Weiss, a Baroque-era lutenist-composer.
The suite did NOT bear a dedication to Andrés Segovia since it was being misrepresented as a Weiss composition.
The prelude was edited by Andrés Segovia and published by Schott Publishing in 1928.
Ponce's authorship was not revealed during his lifetime.
Carlos Vasquez, Ponce's heir, officially confirmed Manuel Ponce as the author of the "Prelude for Guitar and Harpsichord".
REF -
Alcázar, Miguel. Obra completa para guitarra de Manuel M. Ponce de acuerdo a lost manuscritos orginales. Mexico City: Ediciones Étoile, 2000, p. 40-43.
Segovia, Andrés. The Segovia-Ponce Letters. ed. by Miguel Alcázar, trans. by Peter Segal. Columbus: Editions Orphée, 1989.
Richard Long, Ponce: Guitar Music Vol. 2 CD - liner notes, 1999.

Manuel Ponce: Thème varié et Finale (1926)

Two versions exist. The manuscript dated June 8, 1926, in Paris is the version edited by Segovia and published by Schott in 1928.
The piece was dedicated to Andrés Segovia.
First performance - The premiere was in Evian-les-Bains, France a few days before a letter written by Segovia on August 21, 1926.
The piece was performed extensively throughout Europe and during his debut tour in America (US?).
The piece was edited by Andrés Segovia and published by Schott Publishing in 1928.
First recording - Segovia recorded the "Prelude in E major" in May 1954 for the Decca LP Andrés Segovia Plays, DL 9734.
REF -
Alcázar, Miguel. Obra completa para guitarra de Manuel M. Ponce de acuerdo a lost manuscritos orginales. Mexico City: Ediciones Étoile, 2000, p. 46-47.
Segovia, Andrés. The Segovia-Ponce Letters. ed. by Miguel Alcázar, trans. by Peter Segal. Columbus: Editions Orphée, 1989.
Wade, Graham, Ponce: Guitar Music, Vol. 4 CD - liner notes, 2016

Manuel Ponce: Sonata for Guitar and Harpsichord (1926) ??????????????????

Finished the composition in Paris, France, in 1926.
After he composed the Prelude for Guitar and Harpsichord, he composed Sonata for Guitar and Harpsichord in the same year, 1926.
The arrangement for guitar and harpsichord was likely inspired by Manuel de Falla's renewed interest in the Baroque instrument.
Joaquín Nin's revival of early Spanish keyboard music in the 1920s might have also been a source of inspiration.
The sonota was dedicated to Andrés Segovia.
First performance -
REF - Richard Long, Ponce: Guitar Music Vol. 2 - liner notes, 1999.

Manuel Ponce: Sonata No. 2 (1926)

Finished the composition in Paris, France, in 1926. Written in A minor.
Ponce composed a second guitar sonata in 1926 and sent it to Segovia.
From a letter written to Ponce on July 20, 1967, Segovia appeared to have been working diligently on this sonata.
First performance -
Sonata No. 2 was never published and presumably never committed to memory by either Ponce or Segovia.
The sonata was lost after being sent to Segovia when his Barcelona apartment was looted in 1936, during the Spanish Civil War.
A copy of the "Andante" movement of "Sonata No. 2" was fortunately discovered many decades later.
A recording of the "Adante" was recorded on the CD Ponce: Guitar Music, Vol. 4 by Judicaël Perroy in 2016.
REF -
Alcázar, Miguel. Obra completa para guitarra de Manuel M. Ponce de acuerdo a lost manuscritos orginales. Mexico City: Ediciones Étoile, 2000, p. 56-59.
Segovia, Andrés. The Segovia-Ponce Letters. ed. by Miguel Alcázar, trans. by Peter Segal. Columbus: Editions Orphée, 1989.
Aleksandr Tsiboulski, Ponce: Guitar Music, Vol. 3 CD - liner notes, 2015
Wade, Graham, Ponce: Guitar Music, Vol. 4 CD - liner notes, 2016

Manuel Ponce: Sonata No. 3 (1927)

The Sonata has 3 movements: I. Allegro moderato, II. Chanson: Andantino molto espressivo, III. Allegro non troppo
Finished the composition in Paris, France, in 1927.
Segovia had initially requested a different ending to the first movement but then became fond of it the way it was.
Ponce does not appear to have ever provided an alternative ending to the first movement.
The sonata was edited by Andrés Segovia and published by Schott Publishing in 1928 (Segovia made some changes to the original manuscripts).
First recording - Segovia's London sessions on October 7, 1930
Initially released by His Master's Voice (HMV) on a 78rpm, most likely in 1931.
The "Sonata No. 3" was recorded in 1955 for the Decca LP The Art of Andrés Segovia, DL 9795.
Columbia later released a 12-inch LPs in 1953, Segovia - Castelnuovo-Tedesco: Concerto for Guitar and Orchestra.
REF -
Alcázar, Miguel. Obra completa para guitarra de Manuel M. Ponce de acuerdo a lost manuscritos orginales. Mexico City: Ediciones Étoile, 2000, p. 60-63.
Segovia, Andrés. The Segovia-Ponce Letters. ed. by Miguel Alcázar, trans. by Peter Segal. Columbus: Editions Orphée, 1989.
Aleksandr Tsiboulski, Ponce: Guitar Music, Vol. 3 CD - liner notes, 2015

Cyril Scott: Sonatina (1927)

Composed for Segovia's consideration
Dedicated to Andrés Segovia.
First performance -
First performance - does not appear that Segovia ever performed this piece.
This Scott manuscript was not discovered until 2001 when Segovia's library was made available for cataloguing for The Andrés Segovia Archives.

Aloÿs Fornerod - Prélude (1927?)

Composed for Segovia's consideration
Dedicated to Andrés Segovia.
First performance -
First performance - does not appear that Segovia ever performed this piece.
This Fornerod manuscript was not discovered until 2001 when Segovia's library was made available for cataloguing for The Andrés Segovia Archives.

Manuel Ponce: Sonata No. 4 (Sonata clásica - Hommage a Fernando Sor) (1928)

The sonata has 4 movements: I. Allegro, II. Andante, III. Menuet - Trio, IV. Allegro: Rondo on a Theme by Sor
Finished the composition in Paris, France, between December 1927 to January 1928.
Dedicated and edited to Andrés Segovia.
At a Segovia concert in New York City, a Sor sonata was on the programme. While playing the sonata, he interspersed completed movements from Ponce's Sonata clásica with those of the Sor sonata. Segovia apparently made no mention of Ponce during the performance and did not include the composer's name in the programme.
The sonata was edited by Andrés Segovia and published by Schott Publishing in 1929.
The "Sonata Clásica" was recorded in Madrid in 1967 for the Decca LP Mexicana, DL 710145.
REF -
Alcázar, Miguel. Obra completa para guitarra de Manuel M. Ponce de acuerdo a lost manuscritos orginales. Mexico City: Ediciones Étoile, 2000, p. 72.
Segovia, Andrés. The Segovia-Ponce Letters. ed. by Miguel Alcázar, trans. by Peter Segal. Columbus: Editions Orphée, 1989.
Aleksandr Tsiboulski, Ponce: Guitar Music, Vol. 3 CD - liner notes, 2015

Carlos Pedrell: Guitarreo (1928)

Dedicated to Andres Segovia.
Published by Shott in 1928
First performance -
Was recorded and released on the 1954 Decca LP Andrés Segovia Plays, DL 9734.

Lennox Berkeley: Quatre Pièces pour la guitare (1928)

Likely composed by Berkeley when he was a student in Paris.
Composed for Segovia's consideration.
Dedicated to Andrés Segovia.
First performance - does not appear that Segovia ever performed this piece.
This Berkeley manuscript was not discovered until 2001 when Segovia's library was made available for cataloguing for The Andrés Segovia Archives.

Manuel Ponce: Sonata No. 5 (Sonata Romántique - hommage a Frank Schubert) (1929)

The sonata has 4 movements: I. Allegro moderato, II. Andantino affettuoso, III. Intermezzo: Allegretto, quasi serenata, IV. Allegretto un poco vivace.
Ponce likely started composing the piece in May 1928 and finished it a few months later in August.
Dedicated and edited to Andrés Segovia.
While Segovia was known for his editing of compositions, it appears that with the Sonata Romántica there were significant changes as compared to Ponce's original manuscripts.
The sonata was edited by Andrés Segovia and published by Schott Publishing in 1929.
Segovia stated in a letter to Ponce that he was planning on premiering it on March 23, 1929 (last NY recital) but wanted him to make some final changes.
Does not appear that Ponce ever made the final changes requested by Segovia.
The "Sonata Clásica" was recorded in Madrid in 1967 for the Decca LP Sonata Romántica, DL 710093.
REF -
Alcázar, Miguel. Obra completa para guitarra de Manuel M. Ponce de acuerdo a lost manuscritos orginales. Mexico City: Ediciones Étoile, 2000, p. 86-91.
Segovia, Andrés. The Segovia-Ponce Letters. ed. by Miguel Alcázar, trans. by Peter Segal. Columbus: Editions Orphée, 1989.
Aleksandr Tsiboulski, Ponce: Guitar Music, Vol. 3 CD - liner notes, 2015

Manuel Ponce: Suite No. 1 in A minor (1929)

Finished the composition in Paris, France, in 1929.
The suite has 5 movements: I. Prelude, II. Allemande, III. Sarabande, IV.Gavotte, V. Gigue.
The initial Gavotte was rewritten by Ponce upon Segovia's request. He thought the original sounded too naive.
First performance - Segovia was planning to perform the suite in New York at the end of the year on the 8th. Letter dated 1929 -assume 8th of December.
First recording - Segovia's London sessions on October 6, 1930. These five movements were the first Ponce recordings by Segovia.
Initially released by His Master's Voice (HMV) on a 78rpm, in early 1931 (minus the "Allemande"?-maybe previously unreleased).
The "Gigue" was recorded for the second time in 1952 for the Decca LP An Andrés Segovia Recital.
The "Prelude" and "Allamande" was recorded in April 1954 for the Decca LP Andrés Segovia Plays.
Segovia misrepresented this Ponce composition as being by Sylvius Leopold Weiss, a Baroque-era lutenist-composer.
The suite did NOT bear a dedication to Andrés Segovia since it was being misrepresented as a Weiss composition.
Segovia wrote in a letter to Ponce on December 1929 that he had performed portions of the suite as an encore and they were received very well.
The suite became popular which then presented an obstacle for publication with royalties since the suite had not been attributed to Ponce.
Since the suite had been presented as a Weiss suite, some considered it to be in the public domain and used Segovia's recording to create the musical text.
Ponce's authorship was not revealed during his lifetime.
Carlos Vásquez, Ponce's heir, officially confirmed Manuel Ponce as the author of the Suite in A minor.
Manuel López Ramos - first guitarist to record the "Suite in A minor" and named Manuel Ponce as the author. Manuel López Ramos, EMI-Capitol, 1973.
Editions Musicales Transatlantique published a version of the Suite in A that acknowledged Manual Ponce as the author. The edition has several mistakes.
REF -
Alcázar, Miguel. Obra completa para guitarra de Manuel M. Ponce de acuerdo a lost manuscritos orginales. Mexico City: Ediciones Étoile, 2000, p. 104-109.
Segovia, Andrés. The Segovia-Ponce Letters. ed. by Miguel Alcázar, trans. by Peter Segal. Columbus: Editions Orphée, 1989.
Richard Long, Ponce: Guitar Music, Vol. 2 CD - liner notes, 1999.

Manuel Ponce: 24 Preludes (1925-1929)

Ponce had recently moved to Paris and started working on the 24 Preludes in his first year in Paris.
Segovia requested guitar compositions and actively helped in editing them to make them suitable for the guitar.
Ponce and Segovia originally intended to create twenty-four preludes for guitar in all 24 keys thus creating a guitar method.
Ponce composed twenty-four Preludes during his first five years in Paris, France (1925-1929).
The preludes were dedicated to Andrés Segovia.
First performance -
The first two sets of 6 Preludes were published by Schott Publishing in 1930, the other two sets were declined due to economic depression.
First recording: In 1952, Segovia recorded the first set of 6 Preludes for Decca records, An Evening with Andrés Segovia.
Miguel Alcázar was granted access to Ponce's archives and found the remaining two sets with the exception of the G minor prelude.
Miguel Alcázar used Ponce’s folk song “Cuando la Aurora” and transposed the piece to G major, taking the place of the missing prelude.
Miguel Alcázar - first guitarist to record all "24 Preludes". Manuel M. Ponce La Historia de la Guitarra, EMI-Capitol, 1978.
Miguel Alcázar publishes the final two sets (12 preludes in total) in 1981, nearly 50 years later.
REF -
Alcázar, Miguel. Obra completa para guitarra de Manuel M. Ponce de acuerdo a lost manuscritos orginales. Mexico City: Ediciones Étoile, 2000, p. 118-123.
Segovia, Andrés. The Segovia-Ponce Letters. ed. by Miguel Alcázar, trans. by Peter Segal. Columbus: Editions Orphée, 1989.
Richard Long, Ponce: Guitar Music, Vol. 1 CD - liner notes, 1998.
The Influence of Folk Music in Guitar Compositions by Manuel Ponce” by Arnoldo Garcia Santos
REF - Classical Guitar Analysis(Ben), 24 Preludes by Manuel Ponce: A Brief Historical Background, 2018 https://classicalguitaranalysis.wordpress.com/2018/09/05/24-preludes-by-manuel-ponce-a-brief-historical-background/

Joan Manén: Fantasia-Sonata Op. A-22, per a guitarra (1929)

Written for and dedicated to Andrés Segovia.
First performance - premiered at Théâtre Municipal de Lausanne, 9 de octubre de 1933.
First recording-In 1957, Segovia recorded the piece for Decca records, Segovia and the Guitar, DL 9931.
Editorial Berbén released an adaptation made by Antonio Gilardino based on the composer's original manuscript found in Segovia's library.
The original version written by Manén differs quite a bit from the adaptation that Andrés Segovia made with the composer's approval.

Manuel Ponce: Etude (1930)

Finished the tremolo study in Paris, France, on May 19, 1930.
Segovia writes Ponce on June 13, 1930, and informs him that he has submitted the tremolo study to Schott for review.
Segovia writes Ponce again in July. He would like him to consider changing the ending despite already having submitted the "Etude" to Schott.
Ponce does not appear to send a response and Segovia assumes he is upset about the changes. Segovia writes him a letter of reassurance.
The "Etude" had already been submitted without the changes to the ending so Segovia decided to leave it the way it was submitted.
Ponce does eventually respond with a different ending for the "Etude" and Segovia likes it much better than the original.
The "Etude" was edited by Andrés Segovia and published by Schott Publishing in 1931.
Segovia does not appear to have recorded this piece nor has it been mentioned in any recital programme.
Miguel Alcázar - appears to be the first guitarist to record the "Etude". Manuel M. Ponce CD, La Historia de la Guitarra, Tritonus, 1999.
REF -
Alcázar, Miguel. Obra completa para guitarra de Manuel M. Ponce de acuerdo a lost manuscritos orginales. Mexico City: Ediciones Étoile, 2000, p. 140-143.
Segovia, Andrés. The Segovia-Ponce Letters. ed. by Miguel Alcázar, trans. by Peter Segal. Columbus: Editions Orphée, 1989.

Niccolo Paganini/Manuel Ponce: Sonata No. 6 (Sonata de Paganini) (1930)

Based on the Grand Sonata a Choittarra Sola con Accompagnamiento di Violino by Niccolo Paganini
Segovia sent Ponce a letter on July 20, 1930, with the original sonata by Paganini and asked him to write something better based on the sonata and suitable for the guitar.
Paganini made a reduction of the work for the guitar and violin. Segovia had already tried that idea and it did not work.
Segovia felt that the initial draft was unplayable and mentioned that perhaps it was better to forget the idea.
Ponce followed with a revision with a different approach toward the work. The sonata was finished on August 31, 1930.
Segovia was very pleased initially and stated how he could not stop playing it. Ponce is very pleased that Segovia is excited about the sonata.
Towards the end of 1931, Segovia actually starts working on Ponce's sonata based on Paganini and decides that he must reject the first movement. He finds it annoying to work on.
Segovia edited and published the last movement but changed the variations and called it Andantino variato.
First performance -
The "Andantino variato" was recorded on April 1952, for the Decca LP Andrés Segovia Programme, DL 9647.
At the same time Ponce sent Segovia the initial Paganini sonata, he also sent an arrangement of Paganini's "Romanza". Segovia thought it was beautiful.
The "Andantino variato" was published with Peer Music in 1976.
Corazón Otero included the "Andantino variato" in her book Manuel M. Ponce y la Guitarra (México: Ediciones Fonapas, 1981)
REF -
Alcázar, Miguel. Obra completa para guitarra de Manuel M. Ponce de acuerdo a lost manuscritos orginales. Mexico City: Ediciones Étoile, 2000, p. 152-155.
Segovia, Andrés. The Segovia-Ponce Letters. ed. by Miguel Alcázar, trans. by Peter Segal. Columbus: Editions Orphée, 1989.

Niccolo Paganini/Manuel Ponce: Romanza (1930)

At the same time Ponce sent Segovia the initial Paganini sonata, he also sent an arrangement of Paganini's "Romanza". Segovia thought it was beautiful but he wanted two more variations urgently.
The "Romanza" was recorded on January 28, 1944, for the Decca LP Andrés Segovia Recital, Vol. 1, DL 8022.
REF -
Alcázar, Miguel. Obra completa para guitarra de Manuel M. Ponce de acuerdo a lost manuscritos orginales. Mexico City: Ediciones Étoile, 2000, p. 152-155.
Segovia, Andrés. The Segovia-Ponce Letters. ed. by Miguel Alcázar, trans. by Peter Segal. Columbus: Editions Orphée, 1989.

Fernande Peyrot: Thème et variations (1930s)

Composed for Segovia's consideration
Dedicated to Andrés Segovia.
First performance -
First performance - does not appear that Segovia ever performed this piece.
This Fornerod manuscript was not discovered until 2001 when Segovia's library was made available for cataloguing for The Andrés Segovia Archives.

Manuel Ponce: Sonatina Meridional (1932)

The Sonatina has three movements: Allegretto (Campo), Andante (Copla), Allegro con brio (Fiesta).
Initially, the movement Allegretto was Allegro non-troppo, and the Allegro con brio was Vivace.
While Ponce was working on the lengthy concerto, Segovia suggested he take a break and quickly compose a sonatina with a purely Spanish character.
Ponce finished the final original manuscript in Paris, France, on December 1930.
The sonatina was written for and dedicated to Andrés Segovia.
Segovia writes Ponce numerous letters about the Sonatina's progress and by January 11, 1932, he wrote that Gaspar Cassadó is suggesting the Andante be changed and that he agrees.
Ponce makes the changes and then Segovia writes again on January 25 to tell him that he likes it much better the way it is instead of the new change.
In the January 25th letter he mentions playing the Andante and the Allegro in a recent concert and the musicians in attendance were very enthusiastic.
Segovia notifies Ponce that he will premiere the Sonatina Meridional at the end of May 1932.
The sonatina was published under the name "Sonatina Meridional" with Schott in 1939.
He also gave each movement a subtitle: I. Campo, II. Copla, III. Fiesta
First recording - Segovia's London sessions on June 29-30, 1949
Initially released by Columbia on a 10-inch LP in 1949-50, Andrés Segovia plays Guitar Concerto.
Columbia later released a 12-inch LP in 1953, Segovia - Castelnuovo-Tedesco: Concerto for Guitar and Orchestra.
The "Allegretto (Campo)" movement, renamed "Canción y Paisage" was recorded in Madrid in July 1952, for the Decca LP Granada, DL 710063.
REF -
Alcázar, Miguel. Obra completa para guitarra de Manuel M. Ponce de acuerdo a lost manuscritos orginales. Mexico City: Ediciones Étoile, 2000, p. 166-169.
Segovia, Andrés. The Segovia-Ponce Letters. ed. by Miguel Alcázar, trans. by Peter Segal. Columbus: Editions Orphée, 1989.
Wade, Graham, Ponce: Guitar Music, Vol. 4 CD - liner notes, 2016

Manuel Ponce: Balletto (1928)

Composed in Paris, France, in 1928.
The Balletto was dedicated to Andrés Segovia.
First performance -
REF -
Alcázar, Miguel. Obra completa para guitarra de Manuel M. Ponce de acuerdo a lost manuscritos orginales. Mexico City: Ediciones Étoile, 2000, p. 182-185.
Segovia, Andrés. The Segovia-Ponce Letters. ed. by Miguel Alcázar, trans. by Peter Segal. Columbus: Editions Orphée, 1989.
Richard Long, Ponce: Guitar Music, Vol. 2 CD - liner notes, 1999.

Manuel Ponce:

Manuel Ponce: Cuatro Piezas, including Mazurka and Valse

The "Mazurka" and "Valse" was recorded in 1955 for the Decca LP The Art of Andrés Segovia, DL 9795.

Manuel Ponce: Variations and Fugue on 'La Folia' (1929)

Federico Moreno Tórroba: Concerto for Small Orchestra and Guitar (1929)

Segovia describes it as "...a concerto for small orchestra and guitar, very melodic and sonatine-like".
Segovia never performed it because it was too easy.
Unclear if it was ever performed by another classical guitarist.
Does not appear to have been published.

Manuel Ponce: Preludio (Postlude), Variations sur ‘Folia de España et Fugue’ (1931)

Segovia sends a detailed letter to Ponce requesting variations on the Folia de España in early December 1929, "This I beg of you on my knees".
Just before Christmas 1929, Ponce already had three variations composed!
Segovia is travelling by sea on a ship called Bremen and continuously writes letters with revisions and asking for copies of manuscript pages he has lost.
Ponce completed a set of twenty variations for Segovia as well as a fugue and a prelude in a period of a few months.
Segovia writes Ponce announcing that he is planning an audition in the next week with the "Folia theme" followed by the "Fugue".
It is unclear if the Segovia audition took place or was postponed. The prelude was sent back to Ponce because it was too difficult to play.
Segovia first performed the work (including the Prélude) at the Grand Theatre, Geneva, Switzerland, on the 2nd of May 1930.
Segovia is scheduled to perform on May 19, 1931, at the Paris Opera House but on May 11 he is still asking Ponce to make revisions.
Performed at the Paris Opera House on May 19, 1931. He played the "Folia with the fugue" but not the "Prelude".
In August 1931 he writes that he has yet to submit the manuscript to Schott because they are not prepared to publish advanced-level works at this time.
Segovia decides to prepare the manuscript anyways so it can be ready for Schott when they decide to accept it.
Segovia writes Ponce - he is on the way to London to record on October 6-7, 1932, 12 works on 6 discs and he wants the "Folia" to take up one whole disc.
Segovia records the Folies d'Espagne, Theme, Variations et Fugue with only 10 of the variations and the theme.
He decided to record the Prelude as a solo piece. He had been referring to it as the "Arab Prelude". It will be a hidden track after Sonata No. 3.
For the recording log, he switched the name from "Arab Prelude" to "Postlude, The name will NOT be on the label since it was not published at the time.
The piece was published with Schott in the summer of 1932 under Variations sur ‘Folia de España et Fugue.
REF -
Alcázar, Miguel. Obra completa para guitarra de Manuel M. Ponce de acuerdo a lost manuscritos orginales. Mexico City: Ediciones Étoile, 2000, p. 192-199.
Segovia, Andrés. The Segovia-Ponce Letters. ed. by Miguel Alcázar, trans. by Peter Segal. Columbus: Editions Orphée, 1989.
Wade, Graham, Ponce: Guitar Music, Vol. 4 CD - liner notes, 2016

Manuel Ponce: Suite in D major (1931)

The suite has 4 movements: I. Preambule, II. Courante, III. Sarabande, IV. Gavotte I, IV. Gavotte II
Segovia misrepresented this Ponce composition as being by Alessandro Scarlatti, a Baroque-era, German lutenist-composer.
The suite did NOT bear a dedication to Andrés Segovia since it was being misrepresented as a Scarlatti composition.
First recording - Segovia's London sessions on October 6, 1930. These four (or 5??) movements were the first Ponce recordings by Segovia.
All four movements were initially released by HMV (His Master's Voice) on a 78rpm vinyl, most likely in 1931.
The "Gavotte" and "Sarabande" were recorded in January 13, 1944 for the Decca LP Andrés Segovia Recital, Vol. 2, DL 8022.
The "Preambule" and "Gavotte I" were recorded in March 1957 for the Decca LP Segovia and the Guitar, DL9931.
Ponce's authorship was not revealed during his lifetime.
Carlos Vasquez, Ponce's heir, officially confirmed Manuel Ponce as the author of the Suite in D major.
First performance -
REF -
Alcázar, Miguel. Obra completa para guitarra de Manuel M. Ponce de acuerdo a lost manuscritos orginales. Mexico City: Ediciones Étoile, 2000, p.220-223.
Segovia, Andrés. The Segovia-Ponce Letters. ed. by Miguel Alcázar, trans. by Peter Segal. Columbus: Editions Orphée, 1989.
Richard Long, Ponce: Guitar Music, Vol. 2 CD - liner notes, 1999.

Mario Castelnuovo-Tedesco: Variazioni (attraverso I secoli) (1932)

Segovia meets Castelnuovo-Tedesco at a festival. Segovia asked him to consider composing for the guitar.

This is the first piece written by Castelnuovo for Segovia shortly after meeting at the festival.

The piece was dedicated to Andrés Segovia.

Mario Castelnuovo-Tedesco: Sonata in D major, Op. 77 (Ommaggio a Boccherini), Op. 77 (1933?)

The sonata has four movements: Allegro con spirito, II. Andantino, quasi canzone, III. Tempo di minuetto, IV. Vivo ed energico
The piece is dedicated to Andrés Segovia.
The piece is edited by Segovia and published by Schott Publishing in 1935.

Mario Castelnuovo-Tedesco: Capriccio Diabolico (Omaggio a Paganini), Op. 85 (1935)

The piece is dedicated to Andrés Segovia.
The piece is edited by Segovia and published by Ricordi in 1939.

Mario Castelnuovo-Tedesco: Tarantella in A minor, Op. 87, No. 1 (1935)

The piece is dedicated to Andrés Segovia.
The piece is edited by Segovia and published by Ricordi in 1939.

Manuel Ponce: Homenaje a Tárrega (1932)

Originally meant to be the third movement of the Sonatina for Guitar.
Ponce had started the Sonatina for Guitar with three movements. The first two movements had already been sent to Segovia for editing.
The first two movements were among the pieces lost when Segovia's home in Barcelona was looted in 1936, during the Spanish Civil War.
The unedited manuscript for the third movement, The Homenaje a Tárrega, was found among Ponce's papers, dated January 1932.

Manuel Ponce: Valse (1937)

Mario Castelnuovo-Tedesco: Concerto for Guitar and Orchestra, Op. 99 (1939)

The concerto has three movements: I. Allegretto giusto, II. Andantino - Alla romanza, III. Ritmico e cavalleresco.
It was written in Italy, just before Castelnuovo moved to the US due to the repressive treatment of Jews under Mussolini.
Segovia visited Castelnuovo in Florence during the Christmas holidays in 1938 and urged Castelnuovo to start a new life in America.
Castelnuovo agrees to compose the concerto he had been promising for a long time as a gesture of gratitude for offering to support his application to enter the United States.
Castelnuovo composes the first movement while Segovia is visiting and played it with him before he left Florence.
The rest of the concerto was finished the next month, January 1939 and mails it to Segovia before travelling to the United States.
The concerto was written for and dedicated to Andrés Segovia.
It was premiered on October 28, 1939, in Montevideo, Uruguay with the SODRE Symphony Orchestra, conducted by Lamberto Baldi.
A recording of the premiere exists but the sound has deteriorated due to the passage of time. The recording is available to listen here.
The fifth guitar concerto composed in the twentieth century (Torroba's Concerto for Small Orchestra and Guitar, 1929-composed for Segovia but not performed; Adame's Concerto 1930 and Concertino No. 2, 1933, Rodrigo's Concierto de Aranjuez, 1938),
First twentieth-century concerto to be premiered in Europe
Third twentieth-century concerto to be premiered in the world behind Adame's Concerto 1932 and Concertino No. 2 1933.
Segovia performed this concerto on his first post-war visit to England on December 7, 1947, at the Cambridge Theater in London with The New London Orchestra conducted by Alec Sherman.
First recording - Segovia's London sessions on July 11-12, 1949 with The New London Orchestra conducted by Alec Sherman.
Initially released by Columbia on a 10-inch LP in 1949-50, Andrés Segovia plays Guitar Concerto.
Columbia later released a 12-inch LP in 1953, Segovia - Castelnuovo-Tedesco: Concerto for Guitar and Orchestra.
The first concerto to be released on an LP in England and likely the world. Concierto de Aranjuez was released in 1947-48 on 78rpm.
Castelnuovo-Tedesco's first time hearing the concerto performed was when Segovia came to Los Angeles, California to perform it in 1950.

Manuel Ponce: Preludio (Postlude), Variations sur ‘Folia de España et Fugue’ (1931)

Segovia sends a detailed letter to Ponce requesting variations on the Folia de España in early December 1929, "This I beg of you on my knees".
Just before Christmas 1929, Ponce already had three variations composed!
Segovia is travelling by sea on a ship called Bremen and continuously writes letters with revisions and asking for copies of manuscript pages he has lost.
Ponce completed a set of twenty variations for Segovia as well as a fugue and a prelude in a period of a few months.
Segovia writes Ponce announcing that he is planning an audition in the next week with the "Folia theme" followed by the "Fugue".
It is unclear if the Segovia audition took place or was postponed. The prelude was sent back to Ponce because it was too difficult to play.
Segovia first performed the work (including the Prélude) at the Grand Theatre, Geneva, Switzerland, on the 2nd of May 1930.
Segovia is scheduled to perform on May 19, 1931, at the Paris Opera House but on May 11 he is still asking Ponce to make revisions.
Performed at the Paris Opera House on May 19, 1931. He played the "Folia with the fugue" but not the "Prelude".
In August 1931 he writes that he has yet to submit the manuscript to Schott because they are not prepared to publish advanced-level works at this time.
Segovia decides to prepare the manuscript anyways so it can be ready for Schott when they decide to accept it.
Segovia writes Ponce - he is on the way to London to record on October 6-7, 1932, 12 works on 6 discs and he wants the "Folia" to take up one whole disc.
Segovia records the Folies d'Espagne, Theme, Variations et Fugue with only 10 of the variations and the theme.
He decided to record the Prelude as a solo piece. He had been referring to it as the "Arab Prelude". It will be a hidden track after Sonata No. 3.
For the recording log, he switched the name from "Arab Prelude" to "Postlude, The name will NOT be on the label since it was not published at the time.
The piece was published with Schott in the summer of 1932 under Variations sur ‘Folia de España et Fugue.
REF -
Alcázar, Miguel. Obra completa para guitarra de Manuel M. Ponce de acuerdo a lost manuscritos orginales. Mexico City: Ediciones Étoile, 2000, p. 192-199.
Segovia, Andrés. The Segovia-Ponce Letters. ed. by Miguel Alcázar, trans. by Peter Segal. Columbus: Editions Orphée, 1989.
Wade, Graham, Ponce: Guitar Music, Vol. 4 CD - liner notes, 2016

Manuel Ponce: Finale from the homage to Tárrega (1932)

Federico Garcia Sánchis was organizing the construction of a monument in Madrid dedicated to Tárrega. The event would take place in February 1932.
Sanchis asked Segovia to collaborate with the effort.
Segovia requested that Ponce compose a Homage to Tarrega. Segovia wanted something along the lines of a Capriccio with a 19th-century feel.
Ponce waited till the end of the year to write the piece. He composed a sonatina with 3 movements and finished it on January 14, 1932.
Ponce's copy in the Allegro is the only part of the work that has survived.
The two other movements were in Segovia's Barcelona apartment when it was looted in the Spanish Civil War in 1936.
REF -
Alcázar, Miguel. Obra completa para guitarra de Manuel M. Ponce de acuerdo a lost manuscritos orginales. Mexico City: Ediciones Étoile, 2000, p. 232-235.
Segovia, Andrés. The Segovia-Ponce Letters. ed. by Miguel Alcázar, trans. by Peter Segal. Columbus: Editions Orphée, 1989.
Richard Long, Ponce: Guitar Music, Vol. 2 CD - liner notes, 1999.

Valse (193

Manuel Ponce: Concierto del Sur (194__)

The concerto was written for and dedicated to Andrés Segovia.
Its completion inspired by Segovia's performance of the Castelnuovo-Tedesco Concerto for Guitar and Orchestra in Mexico City in 1940.
It was premiered on October 4, 1941, in Montevideo, Uruguay. Conductor Manuel Ponce and soloist Andrés Segovia.
It premiered in Mexico on July 4, 1947. Conductor Manuel Ponce and soloist Andrés Segovia.
p. 232-235

Mario Castelnuovo-Tedesco: Quintet for Guitar and String Quartet, Op. 143 (1950)

Alfred Leonard, the director of the Music Guild of Los Angeles, asked Segovia if he would participate in a concert dedicated to chamber music.
Segovia agreed with the condition that Castelnuovo-Tedesco would compose a quintet for guitar and strings quartet for the occasion.
Composed between February 7 and March 5, 1950, at Segovia's request when asked to perform at a concert for chamber music scheduled for April 1951.
The piece is dedicated to Andrés Segovia.
First performance - at the Music Guild of Los Angeles on April 26, 1951 by Segovia and Paganini Quartet.
The piece is edited by Segovia.

Hans Haug: Concertino for Guitar and Chamber Orchestra (1950)

The composition won the first prize in a competition for composition for guitar at the Accademia Musicale Chigiana in Siena, Italy.
The winners of the competition (presumably the top three) were promised that Segovia would premiere their works in 1952.
The prize winners were also promised that their works would be published by Schott of London after their premiere.
The piece was not necessarily requested or dedicated to Segovia but he was expected to perform the premiere.
Segovia never performed Haug's "Concertino" although he did perform Tansman's "Cavatina", another winner.
Tansman's "Cavatina" was published in 1952 by Schotts soon after its premiere. Haug's "Concertino" was published two years after his death in 1970.

Hans Haug: Alba (1954)

Composed for Segovia consideration.
Dedicated to Andrés Segovia.
First performance -
First recording - recorded in 1956 and released on the 1956 Decca LP Andrés Segovia with the Strings of the Quintetto Chigiano, DL 9832.
This Haug original manuscript was not discovered until 2001 when Segovia's library was made available for cataloguing for The Andrés Segovia Archives.

Hans Haug: Prelude (Postlude) (1954)

Composed for Segovia consideration.
Dedicated to Andrés Segovia.
First performance -
First recording - recorded in 1956 and released on the 1956 Decca LP Andrés Segovia with the Strings of the Quintetto Chigiano, DL 9832.
This Haug original manuscript was not discovered until 2001 when Segovia's library was made available for cataloguing for The Andrés Segovia Archives.

Mario Castelnuovo-Tedesco: Tonadilla on the name of Andrés Segovia (1954)

The piece is dedicated to Andrés Segovia.
The piece is edited by Segovia and published by Schott Publishing in 1956.

Ettore Desderi: Sonata in mi (1954-55)

This piece has four movements: I. Preludio, II. Arioso, III. Scherzo, IV. Toccata
Composed for Segovia consideration.
Dedicated to Andrés Segovia.
First performance -
This Desderi original manuscript was not discovered until 2001 when Segovia's library was made available for cataloguing for The Andrés Segovia Archives.

Hans Haug: Passacaglia (1955)

Composed for Segovia consideration.
Dedicated to Andrés Segovia.
First performance -
This Haug original manuscript was not discovered until 2001 when Segovia's library was made available for cataloguing for The Andrés Segovia Archives.

Hans Haug: Étude - Rondo fantastico (1956)

Composed for Segovia consideration.
Dedicated to Andrés Segovia.
First performance -
This Haug original manuscript was not discovered until 2001 when Segovia's library was made available for cataloguing for The Andrés Segovia Archives.

Heito Villa Lobos : Concerto for Guitar and Small Orchestra (1959?)

Premiered by Segovia with the Houston Symphony Orchestra in 1959.

Mario Castelnuovo-Tedesco: Platero y Yo (28 pieces) (1960)

Twenty-eight short compositions to accompany narrated passages from Plater y Yo, a prose poem written by Juan Ramón Jiménez.
The piece is edited by Segovia.
First recording - recorded "Platero, Melancolica, Angelus, Golondrinas and La Arrulladora" for Decca in 1962, Five Pieces from "Platero and I".
First recording - recorded "Retorno, El Pazo, El Canario Vuela, La Primavera and A Platero en el Cielo de Moguer" for Decca in 1964, Sonata Romantica.

In fact, when
Villa-Lobos composed for Segovia a Fantasia Concertante, he refused to play it,
preferring instead a 'proper' concerto. When Segovia heard the harp concerto by
Villa-Lobos (complete with cadenza) he was furious and demanded the addition
of a cadenza to the Fantasia Concertante with the change ofthe title to concerto

Works Written for Andrés Segovia

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