IN ALEX ROSS’ otherwise excellent book The Rest Is Noise: Listening to the Twentieth Century, the history of Latin American classical music is scant, save for a page describing Aaron Copland’s invitation in 1932 from composer Carlos Chávez to visit Mexico, which in turn inspired Copland to compose El Salón México. It’s another example of the blind spot many Anglo classical music writers have when it comes to the history of music south of the border. Houston pianist Omar Herrera is hoping to change this by enlightening the public to the extensive repertoire of Latin America’s modern composers through his organization The Ponce Project, which takes its name from the Mexican composer Manuel María Ponce Cuéllar, Herrera’s great-grandfather. On Sunday, May 1, at MATCH, the Ponce Project presents “Mexican Chamber Music,” featuring Ponce’s piano trio Trío Romántico and José Rolón’s challenging piano quartet Cuarteto Romántico, both performed by pianist John Noel and members of the Axiom Quartet.