PONCE Piano Concertos Nos 1 & 2
View record and artist detailsRecord and Artist Details
Composer or Director: Manuel (Maria) Ponce
Genre:
Orchestral
Label: Sterling
Magazine Review Date: 12/2014
Media Format: CD or Download
Media Runtime: 76
Mastering:
DDD
Catalogue Number: CDS1102-2

Tracks:
Composition | Artist Credit |
---|---|
Concerto for Piano and Orchestra No 1, 'Concierto romántico' |
Manuel (Maria) Ponce, Composer
Manuel (Maria) Ponce, Composer Rudofo Ritter, Piano San Luis Potosí Symphony Orchestra Zaeth Ritter, Conductor |
Concerto for Piano and Orchestra No 2 |
Manuel (Maria) Ponce, Composer
Manuel (Maria) Ponce, Composer Rudofo Ritter, Piano San Luis Potosí Symphony Orchestra Zaeth Ritter, Conductor |
Ferial |
Manuel (Maria) Ponce, Composer
Manuel (Maria) Ponce, Composer San Luis Potosí Symphony Orchestra Zaeth Ritter, Conductor |
(4) Danzas Mexicanas |
Manuel (Maria) Ponce, Composer
Manuel (Maria) Ponce, Composer San Luis Potosí Symphony Orchestra Zaeth Ritter, Conductor |
Author: Jeremy Nicholas
After this comes the world premiere recording of Ponce’s Second Piano Concerto, left unfinished at this death in 1948. More than 50 per cent of the booklet’s seven pages of discursive music notes are devoted to it, a proportion not, sadly, justified by the musical interest of the work’s two extant brief movements.
This and the other works here are, of course, in a more advanced harmonic tonal language than the Concierto romántico. Ferial, Ponce’s 1940 tone-poem depicting ‘an afternoon in a fair of a little town near Teotihuacan’ (the composer), is an exuberant, quintessential South American piece of the kind that earned Ponce the title of ‘father of Mexican music’. I could have wished for the recorded sound to have been crisper and less generalised. The remainder of the disc features piano solos from Rodolfo Ritter: Preludios encadenados – four ‘chained’ or ‘linked’ contrasting preludes from 1927; and Cuatro Danzas mexicanas (1941), another quartet but of separate miniatures, none longer than two minutes, any one of which would make an attractive encore.
Apropos the booklet with its colourful front cover, a painting by Julian Ritter (the father of the pianist and conductor?), what makes an editor of a booklet hand over the translation to someone whose knowledge of English is sketchier than a Google translate button? The essay by Rodolfo Ritter could and should have been authoritative. As it is, its mirth-making solecisms let down the label and the customer.
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