| Variations des Folies d'Espagne | Pierre de La Garde (1717-179?) |
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- La Garde, Pierre de (1717-179?)
- Title: Variations des Folies d'Espagne in Receuil d'Airs avec accompagnement de guittare
- Published between 1775-1790
- Size 23,5 x 33,5 mm
- Score: 3 pages, page 1-3
- Source: Bibliotheque National de France RES VM7-374 https://gallica.bnf.fr/ark:/12148/btv1b105217767/f9.image
La Ninfea live in Bremen
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the Follias were a mix from Corelli, Vivaldi, Bellinzani, Martin y Coll but also a lot of improvised and adapted variations.
- La Ninfea (Barbara Heindlmeier: recorder, Christian Heim: recorder and viola da gamba, Marthe Perl: viola da gamba, Simon Linné: lute, Alina Rotaru: harpsichord and organ
- Broadcasted July 22, 2012 by Radio Bremen (Germany)
- Duration: 8'52"
- Recording date: November 2nd, 2011 during a live performance of the program 'Tutta fiamme' as part of Tage für Alte Musik (Musicvadia 2011) in the Sendesaal, Bremen, Germany
- Lacrimae Ensemble 'Celeste Giglio, flowers of the 16th Century Italian Dance Music'
Dorothée Wortelboer wrote in 1999 about the recording at the website: http://www.classic-cd.nl/186.shtm:
Dance music, however, does not survive through choreographic sources alone, but often proves to be based on well-known songs. Prior to the recording, in a period of intensive cooperation between Dorothée Wortelboer, the musicologist Dirkjan Horringa and the Lacrimae Ensemble, the dances were analyzed, played and danced in order to achieve an optimal result.
On the particular piece 'Improvisations on la Folia' is said at the same page:We have no surviving 16th-century choreography for the Folia melody, which was widely known and popular for almost three centuries. Dancers may improvise, as musicians love to do, to the haunting little strain or simply to its bass.
You do not have to be a musicologist or a great analyser of 16th Century dances to recognize instantly in 'improvisations on la Folia' the later Folia-theme which was introduced (ok, i make an exception for Falconieri) by Lully in 1672. The subtitle 'flowers of the 16th Century Italian Dance Music' is absolutely incorrect. I wonder what kind of dance is picked for this Baroque music pur sang and clearly intended for a listening audience the delicate way it is played. However the Folia theme (a nice blending of the Gallot and Ruiz de Ribayaz) sounds great on the Chitaronne.- This piece is played solo for the Chitaronne by Fred Jacobs, one of the members of Lacrimae Ensemble
- Released by Erasmus (1996) compact disc WVH 186
- Duration: 5'20"
- Recording date: January 1996 in Studio Karpa Euregio, Enschede The Netherlands
- Lacrimae Ensemble (Ronald Moelker: baroque recorders, Sarah Walder: bass and viola da gamba, Regina Albanez: renaissance lute, baroque guitar and theorbo) 'Flow my tears'
- Title: Folia improvisation
- Released 2005 by Skarster Music Investment compact disc (SACD) ACD HL 005-2
- Duration: 5'16"
- Recording date: August 2-4, 2005 at the Nederlands Hervormde Kerk Kolham, The Netherlands
- Lalonde, Alain
- Commissioned by the Société Radio-Canada, Montréal, for 'La Folia' Day.
- Published for bagpipes, oboe and English horn, clarinets, trumpet, trombone, violin, viola, violoncello, 2 percussion.
- Duration: ca. 5'00"
- Premiere: September 27, 1984, 'Musique en fête', CBF-FM, Salle Claude-Champagne, Montréal, produced by Johanne Goyette.
Eighteenth-century Venetian choreographer and ballet master. His book Neue und Curieuse Theatralische Tantz-Schul (Nuremberg, 1716) contains written descriptions, drawings, and melodies for 50 contemporary dances including sarabande, bourrée, and rigaudon as well as military, sport, and trading dances.
- Theacute;time Langlois de Swarte and orchestre Le Consort
- Danze da Nuova e curiosa scuola de balli teatrali (arr. for duo and trio T. Langlois de Swarte and O. Foureacute;s Folies d'Espagne
- Duration: 2'08"
- Recording date: unknown
- Released 2025 by Harmonia Mundi
- No published music of Folies d'Espagne found.
- Published in Pazdírek, Franz, The Universal Handbook of Musical Literature, XI, Wien, 1904-1910, p. 96
- Thanks to François-Emmanuel de Wasseige for detecting this item in literature
The arrangement is so adapted for the Harp Consort and the soprano Clara Sanabras that it can be seen as a new composition although based upon an old Folia.
- The Harp Consort conducted by Andrew Lawrence-King (baroque triple harp) with soprano Clara Sanabras (also baroque guitar)
- Title: Anonymous (Cancioneiro de Paris) Folía: Não tragais borzeguis pretos
- Broadcasting of a live concert entitled 'From the Golden Age of the Spanish Renaissance' by ABC Classic FM Australia May 2, 2007
- Duration: 2'30"
- Recording date: May 8, 2006 at a Musica Viva concert in the City Recital Hall, Angel Place, Sydney
- Sound engineer: Yossi Gabbay and producer: Ralph Lane
Both compositions are for electronic devices. La Folia and Variations is a straightforward performance of the Folia theme for a percussion-like instrument as an electronic marimba.
The Bell Jar Majesty (La Folia No. 2) is more like a syncopated melody line with lots of embellishment and and a steady beat in the bass line. The must hear for any house party.
- LeConte, Lyman (electronic devices)
- Both composition for electronic devices
- Duration: 2'47" (The Bell Jar Majesty) and 2'24" (La Folia and Variations)
- Recording date: Septemebr and November 2011
- You can hear the tune at http://soundcloud.com/lymanjackson/the-bell-jar-majesty-la-folia and http://soundcloud.com/lymanjackson/la-folia-and-variations
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- Title: Fantaisie sur le thème de « La Follia », op. 7/bis (1961) for clarinet & piano
- Duration: 07’30"
- CeBeDeM et ses compositeurs affiliés, I, Bruxelles, 1977, p. 181
- Thanks to François-Emmanuel de Wasseige for detecting this item in literature
- Ligoratti, Stefano (organ)
- Title: Variazioni sul tema de 'La follia' (prima esecuzione assoluta) or 12 Variazioni sulla Follia
- Duration: 11'47"
- Recording date: unknown in Copreno, Italy
- Video of the live performance at Copreno, Italy http://www.youtube.com/watch?v=7Igbt0TXnV8
The Folia theme is treated in the perspective of the different schools from the Renaissance-Baroque era without a chronological order but purely based upon esthetics. The opening Sarabande is an exact copy of Händels piece. The other variations bears features of famous composers. Although not mentioned as such, the seventh variation is absolutely in the dark style of Rachmaninoff. The 11th variation is a lovely folia-fuga
Steffano Ligoratti wrote about the piece:
Ther seventh variation differs from the other variations as a modern evolution from the other variations.
From the outset there were 12 variations and the last variation was called 'A la manière de Max Reger' which is left out of this registration and substituted
by the opening of the introducing sarabande by Händel.
Every variation can be tracked down to the name of a composer representing a specific style
Tema – Sir Händel
Prima Variazione – Signor Corelli
Seconda Variazione – Herr Pachelbel
l
Terza Variazione – Der junge Bach
Quarta Variazione – Sweelincks Tanz
Quinta Variazione – Les tierces coulées de Couperin
Sesta Variazione – Kapellmeister Buxtehude
Settima Variazione – Ligoratti in 'durezze et ligature'
Ottava Variazione - Arpeggio del Signor Scarlatti
i
Nona Variazione – Le baston de Lully
Decima Variazione – Duel Rameau-Rousseau
Undicesima Variazione – Fughetta finale
Tema – Haendel’s good-bye
- Ligoratti, Stefano (harpsichord)
- Title: 11 Variazioni sul tema de 'La Follia'
- Released 2007 by Classico Viva (http://www.classicoviva.com/SteffanoLigoratti.com
- Duration: 11'03"
- Recording date: unknown in Italy
- Harpsichord built by Colzani & Vismara
The movements are:
1 Tema, 2 Ornamenti, 3 Danza in stile quasi antico, 4 Sfumato, 5 Passeggio comodo, 6 Discussione agitata e quieta, 7 Ricercare, 8 Humoresca, 9 Canto Semplice
- Linde, Hans-Martin
Aldo Bernasconi wrote about this piece:There is no introduction, just a page with 'Performance Directions' ('Spielanweisungen') that quickly explains what those little encircled numbers mean (all different techniques that are not completely standard for recorder players - at least those like myself who are not too familiar with contemporary music. They include things like overblowing, singing while playing, chords, vibratos produced by finger or tongue movement and flutter-tonguing).
- Published by Schott 1989
- Series: Originalmusik für Blockflote
- Score: 2 p. (music starts at page 5) 29 x 21 cm
- Publisher No. OFB165
Ferruccio Busoni and Gábor Darvas made arrangements for piano and orchestra of the Rapsodie Espagnole by Liszt.
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The sheet music |
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Duration: 7'42", 56 kB (incl. the Jota aragonesa) |
Rhapsody Espagnole performed by Stephen Houg with sheet music
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- Anderson, Mark (piano solo) 'Works for piano'
- Title: Rhapsodie espagnole, S254/R90, "Folies d'Espagne et jota aragonesa"
- Released by Nimbus compact NI 5484
- Duration: 14'06"
- Recording date: Unknown
- Anderson, Mark (piano solo) 'Piano Classics, Keyboard Masterworks by Mendelssohn, Schumann, Brahms, Mozart, Beethoven, Schubert, Chopin, Liszt'
- Title: Rhapsodie espagnole, S254/R90, "Folies d'Espagne et jota aragonesa"
- Released by Nimbus 8 cd-set NI1739
- Duration: 14'06"
- Recording date: Unknown
- Arrau, Claudio (piano solo) 'The early years, the complete pre-war recordings '
Jed Distler wrote for the slipcase:
Poetry and pyrotechnics prove compatible bedfellows in Arrau’s performance of the Rhapsodie espagnole. The recording captures the pianist’s multi–dimensional timbre with remarkable fidelity for the period. Small cuts were necessary to prevent the work from spilling over to three sides.
- Rhapsodie espagnole (abridged)
- Released originally 1933 by Telefunken E 1629, re-released by Marston (2 cd-set) 2000
- Duration: 9'27"
- Recording date September 4, 1933
- Bärtschi, Werner (piano) 'La Folia'
- Title: Rhapsodie espagnole (1867)
- Released 1983 by PAN LP ordernumber 130 051
- Duration: 13'47"
- Recording date: February 2nd in Thun Switserland, 1982
- See also the page Recommended Folia-recordings
- Barer (also written as Barere), Simon (piano) 'Rhapsodie Espagnole (Folies d'Espagne et Jota Arragonesa, part 1 and 2)'
- Title: Rhapsodie Espagnole (Folies d'Espagne et Jota Arragonesa, part 1 and 2)
- Released by His Master's Voice single (12") 78 RPM D.B. 2375
- Duration: 11'53"
- Recording date: 1934
- Barer (also written as Barere), Simon (piano) 'The Piano Library: Simon Barere Vol.1, Recordings from 1934 to 1946'
Rhapsody Espagnole part 1 performed by Simon Barer(e)
Duration: 6'44" direct link to YouTube
© by Mangora ClassicalRhapsody Espagnole part 2 performed by Simon Barer(e)
Duration: 5'12" direct link to YouTube
© by Mangora Classical- Title: Rhapsodie Espagnole (Folies d'Espagne et Jota Arragonesa, part 1 and 2) S254
- Re-released 2012 by Mangora Classical compact disc
- Duration: 11'53"
- Recording date: 1934
- Berman, Lazar (piano solo) 'Lazar Berman plays Franz Liszt'
- Released 1976 by Melodia (original recording of the USSR) LP 150 047
- Duration: The Rapsodie Espagnole 12'55"
- Recording date not mentioned
- Berman, Lazar (piano solo) 'Historic Russian Archives, Lazar Berman'
In the slipcase is written:
Rhapsodie Espagnole (Folies d'Espagne et jota aragonesa, c.1863) Appropriated from Gilels, an adrenalin-racing Berman warhorse - from the early fifties to his US debut in Cleveland, 14 January 1976.
- Released 2006 by Brilliant Classics 7 compact disc-set 93006/1
- Duration: The Rapsodie Espagnole 12'54"
- Recording date: March 3, 1952
- Berman, Lazar (piano solo) 'Franz Lisz, Live recording, May 3rd 1974 in Brescia'
- Title: Rhapsodie Espagnole, S254/R90
- Released by Dynamic 2 cd-set IDIS6470-71
- Duration: 13'16"
- Recording date: May3, 1974 in Brescia
- Berman, Lazar (piano solo) 'Lazar Berman'
- Title: Rhapsodie espagnole, S254/R90, "Folies d'Espagne et jota aragonesa"
- Released by Hungaroton compact disc HCD31685
- Duration: 12'15"
- Recording date: 1956
- Berman, Lazar (piano solo) 'Liszt: 12 Transcedental etudes, Hungarian Rhapsody No 3 and Spanish Rhapsody'
- Released 1976 by Columbia, USA (originally Melodiya) LP M2 33928
- Beus, Stephen (piano) 'Van Cliburn International Piano Competition 2009 - Preliminary Round: Stephen'
- Title: Rhapsodie espagnole, S254/R90, Folies d'Espagne et jota aragonesa
- Released 2009 by Cliburn Classics compact disc VCF090522B
- Duration: 13'34"
- Recording date: May 22, 2009
- Bolet, Jorge (piano) 'Bolet rediscovered: Liszt Recital'
- Title: Rhapsodie espagnole from Folies d'Espagne et Jota aragonesa for piano, S 254
- Released 2001 by RCA compact disc (remastered in 2001)
- Duration: 13'54"
- Recording date: August 22nd-24th, 1972 and July 16th, 1973 in RCA Studio A, New York, USA
- Bonn, James (Erard piano) 'Klavier Variations on La Follia'
Rhapsody Espagnole performed by James Bonn
Duration: 8'42" direct link to YouTube
© 1982 by James Bonn
Maurice Hinson wrote for the Viny recording:
Liszt was both the first and the greatest virtuoso pianist to tour (in 1844-45) the Spanish peninsula. One work for piano that came from this period was the Grosse Konzertfantasie uber Spanische Weisen of 1845. Couriously enough, this work was never printed during Liszt's lifetime. This work and the Rhapsodie espagnole (Spanish Rhapsody) shared common thematic material but the Spanish Rhapsody was not composed until 1863 in Rome and then published in 1867. Certainly the Iberian tour made impressions on Liszt although he stated in an undated letter to Felix von Lichnowsky written about September 1, 1845 that he never once heard the folies d'Espagne during the whole time he was there. See Bayreuther Blatter deutsche Zeitschrift im Geiste Richard Wagner, XXX/1-3 (1907), 35: "As you know, (folies d'Espagne) is the title of a song perfectly familiar abroad, but one that I never heard while in Spain." Nevertheless, the Spanish experience must have had some influence on the Spanish Rhapsody that consists of a set of free variations on two Spanish themes - - La Folia and the Jota Aragonesa.
Opening with one of Liszt's finest cadenzas, the first part is a kind of slow passacaglia on La Folia. The second part features the Jota Aragonesa - - a brilliant contrast. The Jota is a waltz?like tune that was brought to Aragon in the 12th century by a Moor from Valencia. Accompanied by guitars, castanets, and triangles, it has remained one of the most popular dances of Northern Spain. The lyrical central section of the Jota is transformed to extraordinary effect in the final section. The separation of the stately Folies d'Espagne from the capering Jota makes the form of the Spanish Rhapsody very comprehensible even at first hearing.- Title: Rhapsody Espagnole
- Released 1982 Klavier Records vinyl KS-571
- Duration: 13'12"
- Recording date: not indicated in the documentation
- See also the page Recommended Folia-recordings
- Bonn, James (piano) 'Recorded live'
- Title: Rhapsodie espagnole / Liszt
- Released 1977 by unknown company sound cassette (analog, stereo)
- Duration: unknown
- Recording date: February 1, 1977 in Heeren Recital Hall, Southern Baptist Theological Seminary
- Cziffra, Georges (piano solo) title cd unknown
- Released 1991 by EMI compact disc CZS 7 67366
- Duration: The Rapsodie Espagnole 12'19"
- Recording date: December 1956 or Feb/March 1957 in Salle Wagram, Paris
- Cohen, Arnaldo (piano solo) 'Sonata in B minor, Rhapsodie espagnole'
- Title: Rhapsodie espagnole, S254/R90, "Folies d'Espagne et jota aragonesa"
- Released by BIS compact disc BIS-CD-1253
- Duration: The Rapsodie Espagnole 13'35"
- Recording date: Unknown
- Fischer, Caroline (piano solo) 'Lisztomagia'
- Title: Rhapsodie espagnole, S254/R90, 'Folies d'Espagne et jota aragonesa'
- Released by Genuin compact disc GEN89147
- Duration: 12'41"
- Recording date: unknown
- Gilels, Emil (piano solo) title cd unknown
- Released 1976 by Columbia/Melodiya LP M2 33928
- Re-released 1995 by BMG/Melodiya compact disc 74321 25179
- Duration: The Rapsodie Espagnole 12'53"
- Recording date: January 18, 1968 recorded live in the Grand Hall of the Philharmonic, Leningrad
- Hough, Stephen (piano solo) 'Stephen Hough plays Liszt'
Bryce Morrison wrote as introduction to this recording:
The Spanish Rhapsody was composed in Rome in 1867 and recalls not only Spain's vitality and aplomb but also Liszt's glance or glitter period. So dramatically terminated twenty years earlier. The Rhapsody is a set of very free variations on the traditional Spanish melodies La Folia and the Jota Aragonesa. These are extensiveley ornamented and are framed by massive introductory flourishes and a no less grandiose conclusion
- Released 1988 by Virgin Classics LTD, London compact disc VC 7 90700-2
- Duration: The Rapsodie Espagnole 13'11"
- Recording date: August 1987 in Henry Wood Hall, London
- Howard, Leslie (piano solo) 'The complete music for solo piano - Volume 45'
Leslie Howard wrote as introduction to the Spanish Rhapsody:
The Spanish Rhapsody has become one of Liszt's best-known compositions, although it took some while to establish itself in the repertoire. Liszt told Lina Ramann that he had written the piece in recollection of his Spanish tour whilst in Rome in about 1863. The work was published in 1867 - subtitled Folies d'Espagne et Jota aragonesa. Later it was often found published alongside the first fifteen Hungarian Rhapsodies, which might have helped its popularity but contributes nothing towards understanding it. The work is a great deal less rhapsodic than its Hungarian cousins, and needs a certain elegant detachment in performance. Its nature is rather staid and noble - even the coda is marked 'non troppo allegro' - and the opening flourishes, however dramatic, recall the sound-world of the recently-composed Legende: St. François d'Assise - La predication aux oiseaux.
Then the ensuing variations on La Folia form a passacaglia in C sharp minor. The last variation slips gently into D major for the delicate presentation of the jota, mostly in the upper register of the piano. One further theme, also heard as part of the jota in the Grand Fantasy provides the opportunity for a further change of key, and F major, A flat major, E major and E flat major all vie for attention before the dominant of D major finally established for a grand reprise of the jota, finally lead to the recall of La Folia, now in D major, for the conclusion.- Released 1997 by Hyperion compact disc CDA 67145
- Duration: The Rapsodie Espagnole 13'25"
- Recording date: August 7-9, 1996
- Piano Steinway prepared by Ulrich Gerhartz
- Kamenz, Igor (piano solo) 'Igor Kamenz, Liszt, Rachmaninow, Tausig'
- Released 1999 by Ars Musici compact disc 1263
- Duration: 13'11"
- Recording date: April 11-13, 1999 in Theodor-Egel-Saal, Freiburger Musik Forum, Freiburg, Germany
- Kentner, Louis (piano solo) 'Spanish Rhapsody, Rumanian Rhapsody, Rhapsody on Hungarian Songs, Concerto Pathetique'
Nicholas Milroy wrote as an introduction on the backside of the cover:
The Spanish Rhapsody was written in 1863, based on a fantasy on Spanish Airs written by Liszt in 1845 for the occasion of his tour in Spain at the time. Liszt subtitled the Rhapsody 'Folies d'Espagna and Jota Aragonese'. The first part is a kind of Passacaglia on La Folia, familiar from Corelli and elsewhere while the brillant second half contains some of the same themes as his earlier 'Fantasy on Spanish Airs'.
- Title: Spanish Rhapsody
- Released by Turnabout LP TV-S 34444
- Duration: 14'53"
- Kong, Xiangdong (piano solo) 'The very best of Liszt'
- Title: Rhapsodie espagnole, S254/R90, "Folies d'Espagne et jota aragonesa"
- Released by Naxos 2 cd-set 8.552131-32
- Duration: 13'17"
- Recording date: Unknown
- Li, Yundi (piano solo) 'Vienna Recital'
Peter Jost wrote for the slipcase (translation by Stewart Spencer):
The cosmopolitan vituoso that was Liszt spent his first period of apprenticeship in Vienna, appearing in public in the presence of Beethoven, among others. He went on to take an interest in folk music and folk dances from the whole of Europe, and these he used in many of his own compositions. Among these works are not only his well-known series of Hungarian Dances but also the Rhapsodie espagnole that he wrote in 1858. Here Liszt uses two very different traditional dances, a gravely solemn folia of Portuguese origins that is rhythmically related to a sarabande and a serenely animated jota. The result is a substantial piece, beginning with a broad cadenza, after which the two dances are introduced in turn. These two dances are then brought closer together by means of numerous variants and derivative motifs. In general, the work sets great store by virtuoso monumentality, a supreme example of salon music written for the piano.
- Title: Rhapsodie espagnole (Folies d'Espagne et Jota aragonesa)
- Released 2005 by Deutsche Grammophon compact disc 477 557-1
- Duration: 13'58"
- Recording date: June 2005 in Grosser Saal Musikverein, Vienna
- Marshev, Oleg (piano solo) 'Oleg marshev in recital Liszt, Chopin, Scriabin'
- Title: Rhapsodie espagnole, S254/R90, "Folies d'Espagne et jota aragonesa"
- Released by Danacord compact disc DACOCD677
- Duration: 13'03"
- Recording date: Unknown
- Nemeth, Gyula (piano) and Hungarian State Orchestra 'Les Preludes, Hungarian Rhapsodies Nos. 2 and 6, Rhapsodie espagnole'
- Title: Rhapsodie espagnole, S254/R90 (arr. for orchestra)
- Released by Hungaroton compact disc HRC1026
- Duration: The Rapsodie Espagnole 15'10"
- Recording date: Unknown
- Paperno, Dmitry (piano solo) 'Recordings by a Russian pianist: Brahms, Liszt, Grieg, Chopin: Piano Music'
- Title: Rhapsodie espagnole, S254/R90, 'Folies d'Espagne et jota aragonesa'
- Released by Cedille compact disc CDR90000-037
- Duration: 12'18"
- Recording date: unknown
- Perahia, Murray (piano solo) 'Murray Perahia plays Franck & Liszt'
- Released 1991 by Sony Classical compact disc SK 47180
- Duration: 4'57" as part of The Rapsodie Espagnole (13'25") not indexed at all
- Shtarkman, Alexander (piano solo) 'Alexander Shtarkman'
- Title: Rhapsodie espagnole (Folies d'Espagne et jota aragonesa), for piano, S. 254 (LW A195)
- Released 1996 by Russian Disc compact disc
- Duration: 12'28"
- Son, Yeol Eum, (piano solo) 'Van Cliburn International Piano Competition 2009 - Preliminary Round: Son, Yeol Eum'
- Title: Rhapsodie espagnole, S254/R90, "Folies d'Espagne et jota aragonesa"
- Released 2009 by Cliburn Classics compact disc VCF090526D
- Duration: 14'21"
- Recording date: 2009
- Zhang, Haochen (piano solo) 'Van Cliburn International Piano Competition 2009 - Semifinal Round: Zhang, Haochen'
- Title: Rhapsodie espagnole, S254/R90, "Folies d'Espagne et jota aragonesa"
- Released 2009 by Cliburn Classics compact disc VCF090529A
- Duration: 13'42"
- Recording date: 2009
The first two variations are identical to the variations by Fernando Sor.
- Christensen, Leif (guitar) 'Leif Christensen, Llobet, Tarrega'
Martin Giertz wrote for the slipcase:
When Llobet does dazzle us with the Tárrega School's arsenal of idiomatic guitar effects (tremelo, arpeggios, harmonics, left hand alone), he does it with style and elegance, as in 'Variaciones sobre un tema de Sor'. Here Llobet expands upon an old Folia melody, which he has taken from Sor's 'Folies d'Espagne', opus 15.
- Title: Variacionen sobre un tema de Sor
- Released 1988 by Paula compact dic (AAD) PACD 59
- Duration: 8'04"
- Recording date: May-June 1982 at Kollemorten, Denmark
- Charnofsky, Jordan 'Live in concert'
In the past you could download this track in MP3 format at the site
of mp3.com for free. The size of the file to download was 8,125 MB
- Title: Variacionen sobre un tema de Sor
- Released 1999 by Ascap and Laguna breeze music productions
- Recorded in front of a live audience on the campus of the University of Southern California in Los Angeles on Sunday June 2, 1996 in Hancock Auditorium.
- Duration: 7'41"
- Martinez, Kurt (guitar) 'Folías'
- Title: Variaciones de un Tema de Sor
- Released without indication of year (but it is 2003) by martinezkurt@cs.com without order number
- Duration: 9'26"
- Recording date: not mentioned in the slipcase
- See also the page Recommended Folia-recordings
- Micheli, Lorenzo (guitar) 'Miguel Llobet'
In the slipcase is written:A favourite for centuries among European composers, the ancient theme of the folia inspired a number of works, including Fernando Sor's Variations Op. 15. Borrowing from this theme and the first two variations, Llobet adds eight more variations and a romantic 'Intermezzo' that display an ingenuity in modern harmonic technique with devices exploiting several technical aspects of the guitar, including left-hand only variation, harmonics and quick slurs.
- Title: Variations on a theme by Sor
- Released 2004 by Naxos compact disc 8.557351
- Duration: 8'19"
- Recording date: April 24 and October 24, 2002 at Aula Magna of the Seminario Arcivescovile, Ivrea (Turino), Italy
- All variations indexed
- Tröster, Michael (guitar) 'Michael Tröster plays Llobet'
- Title: Variacionen sobre un tema de Sor
- Released by Thorofon CTH 2378, Germany
- Duration: 7'33"
- Sheet music
- Published by Union Musical Espanola 1964
- Published by Chanterelle 1989, Heidelberg
- Ziv-Wexler, Nirit (guitar) 'Siesta in Catalonia'
- Title: Variaciones sobre un tema de Sor, op. 15
- Released 2004 by BNW Recordings compact disc CDBY 60216
- Duration: 8'19"
- Recording date: unknown
- Zvellenreuther, Jean-Marc 'Folias'
Jean-Marc Zvellenreither (translation into english by by Atez Eloiv) wrote for the slipcase:
The variations on a theme by Sor are a homage to the celebrated romantic guitarist Fernando Sor from who Llobet takes the beautiful Folia theme and two new variations, of which he adds eight new ones interrupted by an intermezzo with almost Schumann-like harmonies. This perfectly balanced work is characterized by it's virtuoso style and imagination while keeping completely in the style of it's time.
- Released by La Follia Madrigal 1999 compact disc LFM099900
- Duration: 7'27"
- Recording date: September 1999 at La Cave Dimière, Argenteuil France
Don Simons wrote about these Folias :
This set of 11 variations appears in a large manuscript by the Portuguese violinist Pedro Lopez Nogueira (Biblioteca National, Lisbon [4824]). The manuscript is clearly intended for teaching violin. It contains 13 pieces with continuo (of which the Folias are number 5), 240 lessons or pedagogical exercises, 2 cadenzas, 24 preludes and fantasias in every key, and 12 arpeggio exercises. It probably dates from around 1720. A facsimile is available from Rhapsody Ensemble Editions, phnobes@rhapsody.ukf.net, ISBN 0 9536577 0 2. The Folias begin with a variation; the theme is never stated in unadorned form. The bass line is different in every variation.
| Opening of Folias by Lopez Nogueira | by unknown source |
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- Editor not known yet
- Published by Rhapsody Ensemble Editions
- Publishers No.ISBN 9536577 0 2
This sheet music is edited and published in 1960 and originally ment for keyboard (organ, clavichord or harpsichord). It contains the theme and only one variation which is indicated as Variatio prima. However there are no more other variations than this first variation.
Kees Rosenhart wrote about the appearance of the publication:
On the cover of the publicqation is mentioned in the German language '.Gedruckt mit Unterstützung des Längmanska kulturfondens'. On the last page is mentioned in tiny letters' "Skandia nodestik, København" probably the source of the original source.
Bo Lundgren wrote in 1960 as an introduction to the publication:
Auf eine andere Quelle machte uns Nils Schiörring aufmerksam in
seiner Abhandlung "Det 16. og 17. Aarhundredes verdslige danske Visesang,
1-2, 1950". (1, S. 362-363). Es war hier ejn Tabulaturbuch in der
Königlichen Bibliothek zu Kopenhagen, in dem sämtliche Stücke als "in
tavolat. di Joh. Laurent" angegeben sind. Das Buch ist in braunes Leder
gebunden und trägt die Stempelung "M. S..M. D." sowie die Jahreszahl
,,1688" . Nach einer ersten Seite mit "Concordanten" folgen 7 Tanzsätze,
ein Präludium und ein Variationswerk (La Folia). Diese Stücke stehen in
unserer Ausgabe am Anfang und tragen die Nummern 1-9. [...].
Bei den aufgefundenen und hier zum ersten Mal veröffentlichten Werken
von Lorentz handelt es sich um Klavierwerke von der Art, wie sie im 17.
Jahrhundert das Repertoir eines Klavierspielers bildeten, ganz unabhängig
davon, ob ihm der organistenberuf als Ziel vorschwebte oder ob er das
Klavierspiel nur zum eigenen Vergnügen betrieb, Dieses Repertoir bestand
einmal aus freien Kompositionen wie Intonationen, Präludien, Toccaten
und Fantasien und zum anderen aus Choralbearbeitungen
| Opening of La Folie d'Espagne by Johan Lorentz | by Bo Lundgren |
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- Lundgren, Bo editor of the music
'Johan Lorentz
(1610-1689),
Klavierwerke'
- Published by Bo Lundgren with financial support of Längmanska kulturfondens (publisher not mentioned in the publication)
- Year of release 1960, Kopenhagen, Danmark
- 1 page size 21 x 29 cm
- Publishers No. not mentioned
- Mikkelsen, Sven-Ingvart
'Dansk Orgelmusik i 400 ar'
Mogens Wenzel Andreasen wrote for the slipcase:Sven-Ingvart Mikkelsen plays La Folie d'Espagne
Duration: 1'06" direct link to YouTube
© Sven-Ingvart MikkelsenJohan Lorentz was the son of an organist and composer of the same name (c.1580-1650), who had some links with Danmark - he is buried in St. Olai Church Helsingor. At the age of 19, Johan Lorentz the Younger at his father's request became organist of Vor Frue Kirke in Copenhagen, but left soon after for Italy where he studied for a year or so.
It is doubtful whether the few surving works ascribed to him really are from his pen. La Folie d'Espagne is one of the "great" melodies of music history, originally an old Spanish dance (the title means Spanish folly). It has been used by numerous composers right up to our time. Particularly famous examples are a violin sonata by Corelli, Liszt's Rapsodie Espagnol, and Rachmaninov's Variations on a Theme of Corelli, because Rachmaninov mistakenly believed that the melody that Corelli used in his sonata was composed by Corelli himself. But it is, in fact, the old Spanish dance he used for his variations. The melody also forms the basis of the minuet in Kuhlau's music for Elverhoj- Title: La Folie d'Espagne
- Released (year not mentioned in the documentation) by Classico 3 cd-box Classcd 528-30
- Duration: 1'05"
- Recording date September 14-15, 2004 on the Compenius Organ (built in 1610) in the chapel of Frederiksborg castle , Danmark
The parts: I. Maestoso, II. Allegro, III. Lamentoso, IV. Allegro con moto
Commissioned by the Settlement Music School
- Trowbridge Chamber Orchestra
Sharon Torello wrote for the website http://localartslive.com/profiles/blogs/trowbridge-chamber-orchestra on June 12, 2011 :Ludwig, who was introduced before his piece was performed, said that the "La Follia" melody he used was one of the earliest pieces of published western music and that publication was attributed to Jean-Baptiste Lully. Ludwig mentioned after the concert that he enjoyed the experience of working with the students. "La Follia for String Orchestra" had some contemporary elements and was tailored with the young musicians in mind so the resulting performance was very good.
- Published 2011 by David Ludwig Music
- Duration c. 12'00"
- Premiered June 2011 by the Trowbridge Chamber Orchestra
Ordered by the King in 1672.
Air des hautbois arranged for orchestra (just think there are only oboes and percussion)
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Duration: 1'50", 07 kB. |
| Opening of Lully's Air des Hautbois | by unknown source |
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- Academy of St. Martin-in-the-Fields/Marriner, Sir Neville
'Baroque Passion - Charpentier, Lully, Rameau, Purcell'- Released September 1, 1992 by EMI Laser Series 2x compact disc 67425
- Ensemble de Cuivres de Paris/Paillard (Quator de trombones de l´Orchestre
de la R.T.F.) 'Music at the court of Versailles'
- Released by Teldec compact disc TELDEC 4509-92404-2
- La Bande des Haubois du Roi conducted by Paolo Tognon 'Jean Baptiste Lully'
- Title: March for orchestra ("Les Folies d'Espagne"), LWV 48
- Released 1999 by Nuevo Era compact disc series Ancient Music W 78287
- Duration: 1'38"
- Recording date: December 28, 1998 in Teatro Comunale Polivalente, Italy
- Musica Antiqua Köln/Goebel, Reinhard
'Le Roi Danse' (film music)
Goebel has arranged the air des hautbois for full orchestra, starting
with the oboes and repeating every line for full orchestra. The trick
to arrange sober chamber music for full orchestra in a dramatical way
is not particular original (compare for instance Händel's Sarabande).
In the film the Folia is used in three scenes:
- Louis XIV is seriously ill in 1661 and Lully fears for his position at the court. He is called home because his wife is in labour (starting of the folia-tune). However he barely gives any attention to his wife. He get dressed up and takes his violin to rush back to the court instantly (the folia stops here). With some average music Lully overcomes the fever of the king. Wisely the Folia-tune played no role in this because the King would surely have thought he entered heaven already.
- In 1670 Louis is too old to dance properly. Lully is in doubt of his future at the court and in a dronken mood he dances the same choreogaphy as the king with in the background the folia. A fan enters and knows how to set his mind to peace.
- Lully has died. Louis XIV is watching the sunset and wonders why there is no music at all today. In the company of the court he leaves the room while the folia sets in. The folia is extended into the end with the credits of the film.
- The original film by Gérard Corbiau
- Released November 2000 by Deutsche Grammophon GmbH, Hamburg compact disc B0000501C3
- Duration: 2'52"
- Oboe Ensemble Michel Piquet 'Baroque Collection'
- Released compilation 1992 by EMI Classics CDZ 7 67425 2
- Duration: 4'04"
- Recording date: 1973
- La Simphonie du Marais/ conductor Reyne, Hugo 'André Philidor,
Marches, Fêtes et Chasses pour Louis XIV'
In the slipcase Marcelle Benoit stated:
André Philidor's music does not seek to be inventive, aiming instead to be appropriate to the circumstance; it reflects in form and style the influence of Lully. In Les Folies d'Espagne written in collaboration with Lully on the fashionable air of La Folia which inspired so many composers, the eight-bar ostinato theme of adjacent notes is taken up in six couplets, or variations, the fourth and fifth including a nimble diminution for bassoons
- Title: Les Folies d'Espagne (La batterie de tambour de la marche du régiment du Roy (Lully) 1670, les 7 couplets de hautbois faits par Philidor l'aîné et par Mr. de Lully en trio, 1672)
- Released 2000 by Virgin Veritas compact disc 7243 5 61778 26
- Duration: 3'20"
- Recording date: July 1994
- La Simphonie du Marais/ conductor Reyne, Hugo 'Musiques pour les mousquetaires'
In the slipcase is written:
"The Marche du régiment du roi of 1670 appears on this recording because it too was played by the Musketeers, as Philidor himself explains in the 1705 manuscript: "When the king's Regiment was founded it was the French March that was sounded but the officers of the aforesaid regiment who had been drawn from the Musketeers asked the King for the side-drums to beat the March of the Musketeers. When this request was granted, they sounded the above march [Marche du régiment du roi] then struck up the March of the Musketeers once more, as is still done today." This march is accompanied, with the same side-drum rhythm (batterie), by the variations on Les folies d’Espagne (La folia) which Louis XIV commissioned Lully to write in 1672, an order the king transmitted to Philidor at Saint-Germain-en Laye.
- Title: Marche du regiment du roi - 1er air et 2e air sur les Folies d'Espagne
- Released 2005 by Calliope compact disc 9527
- Duration: 3'22"
- Recording date: September 2003 in l'abbaye de Saint Michel en Thièrache
The classe de TLA du Lycée Jeanne d'Arc de Rouen
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- La classe de TLA du Lycée Jeanne d'Arc de Rouen
- Broadcasted at the website of YouTube and the website of the School
- With the participation of Rémi Brandely, Eva Danino, Marie Riondet, Thibault Venant, Manon Grange, Félicie Bernard, Marie Lambart-Quénaon, Zély Hubert, Lucy Moigné, Louis-Andrien Foltz, Blandine Champion, Suzy Robbe, Samuel Lascoux, Janice Salomon and art direction by Emmanuel Thiry.
- Duration:11'41"
- Recording date:May 2012 in Rouen, France
