The sonatas for guitar by the Mexican composer Manuel María 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 Andrés 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 Clásica (1927), a tribute to Fernando Sor, and the Sonata Romántica (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 María 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.