Which versions of the later Folia have been
written down, transcribed or recorded?

(in alphabetical order of composer, letters M)

Machado, Manuel (c.1590-1646)

See Anonymous for ensemble(?) (composers chapter anonymous)

Maddonni, Antonino (1960- )

Introduzione e variazioni sulla Folia di Spagna (flute, clarinet & guitar)(1988)
Antonino Maddonni wrote about his composition in an e-mail:

I have chosen 'madness theme' because it is a stimulating and fine piece of music and it's very suitable for variations and recreation. In different periods lots of great composers have used the Folia-theme but my variations are not like the ordinary ones. They are as 'sonorous panels' as water-colours with the starting point the theme and becoming each of the variations a new composition, calling to mind the idiom of Jazz, South American rhythms and classical lyricism....

For more information http://utenti.tripod.it/ninomaddonni/.

1. Trio Mauro Giuliani (Mastropirro, V.: flute, Ciliberti, G.: clarinet, Maddonni, A.: guitar) 'Prelude'
   • Released January 1990 by Fonit -Cetra Milano distr. Ricordi, Italia compact disc CDC 56
   • Duration: 12'40"
   • Recording date: unknown
   • Edition: Arianova Music
2. Trio Mauro Giuliani
   • Concert performance
   • Duration: 10'05"
   • Recording date: May 23, 1995 in Madrid
3. unpublished Score
   • Score: 18 pages
   • Available at the address of the composer Antonino Maddonni, none Losapio 30, 70052 Bisceglie (BA), Italy

Introduzione e variazioni sulla Follia

1. Trio Mauro Giuliani (Andor Kovach - Antonino Maddonni - Frank Campo - Joseph Kreutzer with Vincenzo Mastropirro: flute and Giambattista Ciliberti: clarinet)
   • Title: Introduzione e variazioni sulla Follia
   • Released 1991 by Fonit Cetra WMI compact disc 5050466330420
   • Duration 10'41"
   • Recording date: unknown

Makowski, Mieczyslaw (1933-2014)

Variazioni All'Antico sulla Folias de España (1981), theme and 12 variations for guitar solo

The sheet music of Variazioni All'Antico sulla Folias de España © Polish Musaic 1981

The theme of the Variazioni All'Antico sulla Folias de España (1981), theme and 12 variations for guitar solo

Wojciech Gurgul (www.wgurgul.pl) wrote about this composition:

The piece was composed in 1981. It won second place in the 3rd National Composition Competition for a classical guitar piece in Łódź in 1981. It was the required piece at the National Guitar Competition in Łódź in 1982. The piece was published in the collection "Materiały repertuarowe na V Konkurs Gitary Klasycznej" by the People's Music Institute in Łódź.
.

1. Makowski, Mieczyslaw
   
   • 13 pages size A4 format
   • 3,1 Mb
   • Published in 1981

Malipiero, Riccardo (1914-2003)

Aria variata sulla Follia for solo guitar (1979)
Malipiero wrote about his composition:

This Aria Variata for guitar was written thanks to the affectionate insistence of Ruggero Chiesa, who has always concerned himself with the enrichment of the modern literature for guitar. To him, therefore, I indicate this piece in duty and in friendship.
Aria variata sulla Follia is devoted to the restauration of the old repertoire for the lute and the guitar (...) but with the enrichment of the modern literature for guitar.(...) There are no bar-lines in this piece, and with their absence I intend to convey that the work should be performed very much 'a fantasia' according to the taste and imagination of the interpreter. The values indicated are meant as general guidelines. All things considered, the Aria Variata is somewhat Baroque in conception, and it is from this basic idea that the guitarist should take his cue.

1. Borbye, Anders 'Refolia, contemporary works for guitar'
   • Title: Aria Variata, su la Follia (1979)
   • Released October 2008 by Gateway ordernumber AB001
   • Duration: 9'16"
   • Recording date: August-September 2008 in the Frederikskirken, Aarhus
   • See the page Recommended Folia recordings
   • More about Anders Borbye at http://www.andersborbye.dk


2. Malipiero, Riccardo, fingering by Paolo Cherici
   • Title: Aria variata su "La Follia" : per chitarra / R. Malipiero
   • Published by Suvini Zerboni, 1979
   • Score 5 p.
   • Publisher No. S 8554 Z

Malmonde (ensemble)

La Folia (2005)
From an easy listening intro the song progresses into hardrock with the Folia-theme fully exposed.
The text of the music:

Si j'avais du courage (If I had bravery)
J'irai bien au diable (I'd go to hell)
Me vautrer, (I'd wallow)
Me saoûler (I'd get drunk)
Et monnayer mon âme (And I'd sell my soul)

Si j'avais du courage (If I has bravery)
Je rejoindrais ta couche (I'd join your couch)
Me vautrer (I'd wallow)
Dans ton bouge (In your hovel)
Et fuir encore ta bouche (And flee your mouth)

Et passe le temps (Time's passing by)
Passe les tourments (Torments are passing by)
Ne reste en l'instant (Now there's only)
Que l'envie du néant (The will of nothing)

1. Malmonde (Alain Ciavaldini: voices, Jérome Pham-Van: bass, Jimmy Macé: drums and clarinet, Andrei Pamfil: guitars and choirs, Romain Quichaud: tambourine and choirs, Edouard Jaskowiak: piano)
   
   • Lyrics by Alain Ciavaldini/Malmonde 2005
   • Recorded 2005 in France
   • More about the group Malmonde at http://www.myspace.com/malmondeperso

Mambrini, Roccu & Casalonga, Toni & Acquaviva, Nando (of the ensemble Tavagna) arrngement Pluhar, Christina

Lamentu di Ghjesu (sopra la Follia)
The song is based upon the Follia-theme as stated in the documentation of the compact disc.
The text of the music:

O tu chi dormi in sta petra sculpita
d'avè suffertu da colpi è ferita
dopu d'atroci martiri persu ai ancu la vita
oghje riposi tranquilu a to suffranza hè finita

E fù per quella cun spiritu feroce
da tanti colpi è viulenza atroce
chjodi a le mane è li pedi questi t'anu messu in croce
O diu tante suffranze fa ch'eo senti la to voce

Oghje per sempre tutta quest'he finita
avà si mortu hè persa a partita
oramai in Ghjerusalemme la ghjente hè sparnuccita
vergogna un ci ne manca morte sò a fede è a vita

1. L'Arpeggiata (ensemble): Maxime Merlandi, Jean Pierre Marchetti, André Dominici, Jean Philippe Guissani, Christina Pluhar, Eero Palviainen, Charles Edouard Fantin, Margit U´bellacker, Doron David Sherwin, Alessandro Tampieri, Richard Myron, Haru Kitamika
   
   • Released 2010 by Virgin Classics compact disc 50999 694577 0 8
   • Duration: 4'19"
   • Recording date June 2004 in St Michel en Thiérache or February 2006 or January 2008 or September 2008 or August 2009 in La Chapelle de l'Hôpital Notre-Dame du Bon-Secours, Paris, France

Manotskov, Alexander (1972- )

La Folía for string ensemble (2014)
Dedicated to Tatiana Grindenko and the Opus Posth Ensemble
Alexander Manotskov wrote about this composition:

La Folia was composed using the temporal tonality technique : every modulation on the pitch level is caused by a proportional alteration of the duration of the ostinato harmonic progression. Or, in other terms, every contraction or prolongation of metre in the progression and/or change of "speed" (notated with unchanged beat value throughout the piece) both result in a proportional change of pitch. The final choral texture is no exception : it is La Folia harmony constantly transfigured temporally, and, hence, pitch-wise.

1. Manotskov, Alexander
   • Title: La Folía for string ensemble (2014)
   • Written for 3 Violins, 2 Violas, 2 Cellos and Contrabass. May also be performed by a larger string ensemble/orchestra.
   • Published by Donemus 2015 publisher's number: 14858
   • Duration: 16'10"
   • Pages: 24
2. Musica Viva Moscow Chamber Orchestra: Elena Korzhenevich, Lyubov Zhigunova, Leonid Kazakov, Andrey Kolomoyets, Olga Kalinova, Emin Martirosyan, Alexander Rudin 'La folia & Seven Days, or Tetragrammaton Variations'
   • Title: La Folía
   • Released 2019 by Fancymusic, Russia
   • Duration: 18'56"
   • Recorded in concert at Moscow International House of Music in February 2017.

Marais, Marin (1656-1728)

Les folies d'Espagne (1701): theme and 31 variations (couplets) dédicataire a Philippe d'Orléans, frère du Roi, dit "Monsieur"
The sheet music can be found in the public domain at The Petrucci Library
The original score published in Pieces de Viole, 2e livre (Paris, 1701). However it is common knowledge that Marais already worked on his Folies d'Espagne long before they were published by Corelli in 1700 and that will be no suprize since he was a student of Lully for a short while who composed the first Folies d'Espagne in 1672. So there is an early 'Folies d'Espagne' by Marais but the figured bass parts in the original unpublished Scottish (he gave it to a Scottish student who went back to Edinburgh) manuscript were either missing, according to the tastes of an earlier period, or lost.
The American gambist John Hsu was responsible for bringing attention to three manuscripts in the Scottish Library in Edinburgh incorporating about 150 manuscript pieces by Marais, including over forty never published. Two of these have recently been shown to be in Marais’ own handwriting; this may help in time to identify other pieces or annotations by this uniquely great viol player.
To quote the slipcase of the recording by Dunford:

Some time during the 1670's, while still studying with Sainte Colombe, Marais met another of his students, the Scottish nobleman Harie Maule. To Maule he presented 150 manuscript pieces. Maute took these pages home with him when he returned to Edinburgh. Records indicate their presence in Scotland before 1685, or in other words before Marais' first book (Premier Livre) was published. The 150 pieces are anything but simple sketches. About two-thirds of them appeared later in Marais'first three Books, published successively in 1686, 1701, and 1711. Somehow however, about forty-five of them, as well as an original version of the celebrated Folies d'Espagne never came to light.

An analyse of the piece in sheet music by musiclycee Duration:18'09" direct link to YouTube © unknown

The sheet musicand and other arragnements for different instruments of the Folies d'Espagne © Public Domain Source Library ILSMP

Duration: 15'36", 44 kB sequenced by Hélène Schneider for two celli from the facsimile of the original edition. © 1999 and used with permission. You can mail H. Schneider at helene_schneider@wanadoo.fr

Opening of Marais' Les folies d'Espagne	by Hudson Vol I, p. 123

1. Ensemble A deux Violes Esgales
   • Broadcasted May 14, 2008 by the Dutch radio AVRO 'Middagconcert'
   • Duration: 18'49"
   • Recording date: October 15, 2006 in Versailles, France during a live concert Sweden
2. Accademia Strumentale Italiana (Alberto Rasi: viola da gamba, Patrizia Marisaldi: harpsichord, Béatrice Pornon: theorbo) 'Marin Marais, Les Folies d'Espagne dal II libro'
   In the slipcase Gregorio Carraro wrote (translation by Emmanuelle Bousquet):

   Il (Marais) termine ses jours (il meurt le 15 août 1728) dans cette atmosphère si bien décrite dans le film réalisé en 1990 'Tout les Matins du Monde' d'Alain Corneau où Gérard Depardieu est un Marais sombre et nostalgique.
   Couplet est la traduction littérale de 'couple' : dans ce cas, la liaison 'Couplets de folies' indique une série de variations sur le thème de la 'Folie' (basse obstinée qui decoule de la "cara cossa", une ancienne danse qui renvoie justement à la folie espagnole), publiée par Marais en 1701, une année après la 'Follia' d'Arcangelo Corelli (qui conclut le recueil des sonates du cinquième recueil pour violon).
   Cette version française de la Folie s'accompagne d'une série de danses articulées en une Suite (Prélude, Allemande, Courante, Sarabande, Polonaise, Menuet, Gigue 'la favorite') qui offre la possibilité d'ecouter nombre d'expressions idiomtiques précédemment citées, et auxquelles nous devons apporter une ultime précision.

   • Title: Couplets de folies
   • Released 2005 by Stardivarius compact disc STR 35703
   • Duration: 16'58"
   • Recording date: February 1997 in Soave
   
   
3. Aitken, Robert (flute) 'French flute music, volume 2'
   • Released c.1982 by Djursholm Sweden BIS LP 178 BIS
   • Released also as compact disc BIS CD 183 BIS 'The Romantic flute'
   • Duration: 17'12"
   • Recording date: September 14-16, 1980 at Nacka Aula, Sweden
   
   
4. Alonso, Ronald Martin (viola da gamba), Thomas Soltani (harpsichord), Damien Pouvreau (theorbo) 'Les Folies Humaines, Marin Marais'
   In the slipcase is written:

   [...] Son Deuxième Livre (1701) est à la fois un hommage rendu à ses deux maîtres disparus, à travers les deux Tombeaux, et une ouverture sur le style italien, par le biais de l'utilisation du thème de la Folia utilisé par Corelli dans son opus 5 publié un an plus tôt. Les trents-deux couplets des Folies d'Espagne de ce deuxième livre sont à eux seuls une bible pour tout violiste.[...]

   • Title: Les Folies d'Espagne (Deuxième livre, Paris 1701)
   • Released 2015 by Association VedadoMusica
   • Duration: 20'20"
   • Recording date: 13 September 2014 in l' Église Haute deSaint-Michel-l'Observatoire dans les Alpes-de-Haute-Provence, France
   
   
5. Amarandos, Dorothy (viola da gamba) and Ingram, Madeline (harpsichord) 'Ars Antiqua'
   • Title: La folia (Variations for bass viola da gamba, Entertainment for Louis XIV)
   • Released 2005 by EMI 4 cd-box CDC 7 49161 2
   • Duration: 7'02"
   • Recording date: 1960-1965 live in the Rochester Memorial Art Gallery
   
   
6. Baumel, Dom Michel (organ), Guillaume, Willie (violoncelle) 'Orgue et Violoncelle à l'Abbaye de Saint-Wandrille'
   • Released 1998 by Editions de Fontenelle compact disc CD 0298
   • Duration: 6'03"
   • Recording date: February 1998 at Saint-Wandrille (which is an abbaye along the Seine, near Rouen in France)
   
   
7. Belladonna: C. Galhano (recorder), M. Humphrey (baroque violin), R. Humphrey (baroque cello), B. Weiss (harpsichord) 'Folias Festivas'
   • Title: Folies d'Espagne
   • Released 1999, year of release not indicated at all or it should be the small inprint on the cd itself 'bella99cd' indicating the year 1999, a 'production of The Schubert Club, Ten Thousend lakes' compact disc without ordernr. barcode 6 0197199032 3
   • arranged by C. Galhano
   • Duration: 5'50"
   • Recording date: November 1998 at St. Bernard's Church in Saint Paul, Minnesota USA
   
   
8. Bazelaire, Paul (editor of the sheet music)

   The Bazelaire version by a Japanese orchestra Duration:10'21" direct link to YouTube © u402a42ka and Japanese orchestra

   • Title: Variations for violoncello and string orchestra; originally for viol and continuo
   • There is also a Bazelaire version for piano and cello..
   • Published in unknown year
   • arranged by Paul Bazelaire
   • Plate no.: A.L.19.956 (solo); A.L.19.983 (score and parts).
   • 1 score (12 pages) + parts ; 34 cm
   
   
9. Bernfeld, Jay (viola da gamba), Sempe, Skip (harpsichord), Fentross, Mike (theorbe), Lewis, Carol (viola da gamba), Johannel, Francoise (harp)
   • Released by Accord compact disc 206082
   • Duration: 19'22"
   • Recording date: June 1996
   
   
10. Bernfeld, Jay (viola da gamba), Sempe, Skip (harpsichord), Fentross, Mike (theorbe), Lewis, Carol( viola da gamba), Johannel, Francoise (harp) 'Marais, Suites pour viole'
    Jay Bernfeld wrote for the slipcase:
    

    The Folies d'Espagne takes its name from a popular Spanish dance celebrated for its extreme agitation. During the bleak years following the Spanish Inquisition the folia first arrived in Italy as a harmonic progression well suited to displays of brilliant improvisation.
    Beginning with a stately Sarabande (another fugitive of the Iberian peninsula), the Folies d'Espagne represent a voyage into the universe of the expressive and sonic possibilities of the bass viol.

    • Released 2000 by Accord compact disc 465 933-2
    • Duration: 19'22"
    • Recording date: June 1996 in Paris in Les Anciennes écuries du Couvent Saint-Antoine
    
    
11. Bernfeld, Jay (viola da gamba and direction), Ronald Martin Alonso (viola da gamba), André Henrich (theorbo), Bertrand Cuiller (harpsichord) 'Folies d'Espagne & Pièces de viole'
    Jay Bernfeld wrote for the slipcase:
    
    • Released 2017 by Paraty / Harmonia Mundi compact disc PTY417164D
    • Duration: 18'24"
    • Recording date: June 2016, Eglise de Lassay-sur-Croisne
    
    
12. Boyd, Bonita (flute) 'Music for solo flute'
    • Released 1979 by Spectrum as LP SR-112
    • Duration: 9'12"
    
    
13. Canter, Robin (oboe) Pleeth, Anthony (cello) Tan, Melvyn (harpsichord) 'Oboe Collection'
    • Title: Variations on 'Les Folies d'Espagne' for Baroque Oboe and continuo
    • Released by Amon Ra compact disc CD SAR 22
    • Duration: 8'56"
    • Recording date: February 1985, at Finchcocks, Gouldhurst, Kent (UK)
    
    
14. Canter, Robin (oboe) Pleeth, Anthony (cello) Tan, Melvyn (harpsichord) 'A golden treasury of ancient instruments'
    In the slipcase was written:

    Oboe (baroque) with 2 manual harpsichord: Variations on 'Les Folies d'Espagne' (extract) ( Marin Marais, 1656 - 1728). The oboe developed from the shawm and (like the more primitive bombarde) has a smaller double-reed and narrow conical bore. It was developed by Hotteterre and others at the beginning of the 17th C. to be able to cope with the greater demands of composers of the time. Performers: Robin Canter, Melvyn Tan Instrument makers: oboe after J. Denner c.1720, harpsichord by Jacob Kirckman, London 1756

    • Title: Variations on 'Les Folies d'Espagne' for Baroque Oboe and continuo
    • Released 1999 by Amon Ra compact disc CD SAR 69
    • Duration: 2'01"
    • Recording date: February 1985, at Finchcocks, Gouldhurst, Kent (UK)
    
    
15. Cavasanti, Lorenzo (alt-flute in f), Guerrero, Jorge Alberto (cello), Erdas, Paola (harpsichord) 'Lo Specchio Ricomposto (the mirror recomposed)'
    10 Variations have been left out, as considered not really suitable for the recorder. The missing variations are 6, 8, 11-14, 23, 25, 27, and 29.
    

    Duration: 0'52", 820 kB.( 128kB/s, 44100Hz) The ending of Les Folies d'Espagne as played by Cavasanti, Guerrero and Erdas © Cavasanti, Guerrero and Erdas 2004, used with permission

    Gilles Cantagrel wrote for the slipcase: (translation by Christopher Cartwright and Godwin Stewart):

So, to the very famous variations in trio on la Follia by Corelli, which open the concert, the response in false symmetry at the very end will be the trio of the Folies d'Espagne by Marin Marais, his exact contemporary the other side of the Alps two admirable pieces of equal length on the same motif, that Portuguese dance of the folia which passed through Spain (whence the name "Folies d'Espagne" given to it by the French) and whose popularity soon swept throughout Europe in the 17th century.
Lully adopted the famous theme and d'Anglebert won fame with his variations for harpsichord on the same subject. This is before one finds it in Italy with the 23 variations from Corelli, and then again in France from Marin Marais. Would extravagance itself not be a symbol of the Baroque, a precious asset of the imaginary and a pretext for everything daring, for all metamorphoses?

• Title: Les Folies d'Espagne
• Released July 2004 by Stradivarius compact disc STR 33684
• Duration: 10'55"
• Recording date: July 8-10, 2002 in Montevarchi, Arezzo, Italy
• alto flute in f built by Luca de Paolis after P. Bressan (c.1710), cello built by Claude Pirot (end of 18th century), harpsichord built by Augusto Bunza, Turbigo (1988) after J.H. Hemsch
• See also the page Recommended Folia-recordings
16. Les Cuivres Français (brass)/Caens, Thierry conductor 'Fanfares pour les Rois de France'

    les Folies d'Espagnes Duration: 11'30" direct link to YouTube © 1997 by Les Cuivres Français

    • Title: Les Folies d'Espagne
    • Released 1997 by Pierre Verany compact disc 730080
    • Duration: 11'30"
    • Recording date: unknown
    
    
17. Cavatina Duo (Eugenia Moliner flute, Denis Azabagic guitar)
    Alan Thomas wrote for the slipcase:

    Marin Marais (1656-1728) is widely acknowledged as the greatest bass viol player of the French Baroque era, becomlng known throughout western Europe as a virtuoso performer and composer of stature. Though he composed a number of operas (and a variety of Instrumental music, he is most known today for the five collections of bass viol music that he published between 1686 and 1725. These volumes consist of grouped suites of over 550 compositions for bass viol with figured bass continuo parts, with the Folies d'Espagne recorded here coming from the second volume. Marais himself said that he had endeavoured to make his viol pieces playable on other instruments (and indeed in this connection specifically mentions both the flute and guitar!), s0 it is fitting that the work is presented here in this combination, even more so when one considers the background of the Folies d'Espagne. Known widely in early 17th century Spain as "La Folia", this piece achieved great popularity as a dance played by the five-course Baroque guitar. The title means "mad" or "empty- headed", because the speed and intensity of the piece gave the impression that the dancers were out of their minds. As the Spanish guitar and the forms associated with it travelled to Italy and France. the Folia was widely taken up and developed by performers and composers, and it remained popular throughout Europe during the Baroque period. In essence, the Folia is a set minor key chord progression in triple time with the general meter and feeling of a sarabande. The form's basic melody is rather unremarkable, consisting of a stock line arising from the gultarlst's strummed chords, but it is the plece's highly satisfying 16-bar rhythmic/harmonic scheme that has proven so attractive to musicians over the centuries as a framework for virtuosic flights of fancy and invention. Countless versions of La Folia have been created by musicians, extending into the twentieth century with works by Rachmaninoff for solo piano (Variations on a Theme by Corelli) and Manuel Ponce for solo guitar. Just as with the Rachmaninoff and Ponce works. Marals' Folies d'Espagne is a monumental set of variations on the Folia framework. In all there are thirty-two variations (which Marais calls "couplets") on the harmonic progression. After the initial statement of the Folia's basic theme, the couplets move through a huge variety of textures, rhythmic forms and characters by turns stately and noble, tender and delicate, fiery and intense. Through all of this, Marals manages to create a dramatic progression leading to the final bravoso bursts that bring the piece to its brilliant close. Marais' score consists of a completely notated part for the viol along with a contlnuo accompaniment part. While flautists sometimes play the solo viol part in the more flute-friendly key of E minor. In this performance Marals' original key of D minor Is preserved. Given the Folia's connections with the Baroque guitar, it is fitting that the continuo part is here taken by that instrument's modern descendent (in a realisation by Johannes Tappert), and Denis Azabagic brings the piece closer to its Spanish origins by replacing the figured bass part in some of the couplets with quasl-flamenco guitar strumming.

    • Title: Folies d'Espagne 'Folias and Fantasias'
    • Released 2000 by Bridge records 9541
    • Duration: 18'18"
    • Recording date: June 19th and 20th, December 22nd 2019 in Ganz Hall, Roosevelt University, Chicago IL, USA
    
    
18. Cunningham, Sarah (viola da gamba), Meyerson, Mitzi (harpsichord) Maurette, Ariane (viola da gamba) 'Marais: Pieces de violes'
    • Released 1988 by ASV Digital compact disc CD GAU 112
    • Re-released by Musical Heritage Society 1992 with the title 'pieces de violes, Marais'
    • Duration: 18'21"
    • Recording date: 1987 at Lampert Hall Northamptonshire
    
    
19. Dangain, Guy (clarinet solo) 'Hommage à Louis Cahuzac'
    • Title: Les folies d'Espagne by Marin Marais
    • Released June 25, 2013
    • Duration: 6'16"
    • Recording date: November, 1998
    
    
    
20. Familie David 'Musik der Renaissance und des Frübarock auf alten Instrumenten'
    • Title: La Follia Variationen
    • Released 1987 by unknown label LP without order number
    • Duration: 6'59"
    • Recording date: in Klosterkirche St. Mariä Himmelfahrt Sollingen/Gräfrath, Germany
    
    
21. Dent, Clara (oboe), Brigitte Engelhard (harpsichord), Hans-Jakob Eschenburg (cello) 'Les Folies d'Espagne'
    • Title: Les Folies d'Espagne, 32 Variations pour flûte seule
    • Released 2006 by Farao Classics compact disc ordernumber B108028
    • track 1 Couplet 1 (Thema) - Couplet 2 - 3 - 4 - 5 - 6: duration 3'57"
      track 2 Couplet 7 - 8 - 9 - 10 - 12 - 13: duration 3'06"
      track 3 Couplet 14 - 15 - 16 - 18 - 20 - 21: duration 3'24"
      track 4 Couplet 23 - 27 - 28 - 31 - 32 - 1 (Thema): duration 3'31"
    • Recording date: 2005 in the FARAO Studios, München, Germany
      
      
    
    
22. Dreyfus, Laurence (viola da gamba) Haugsand, Ketil (harpsichord) 'Pieces de violes, 2e livre, selections'
    • Released 1989 by Simax Norway compact disc PSC 1053
    • Duration: 18'51"
    • Recording date: February 27 & March 2, 1989 at the Gamle Aker Church, Oslo
    
    
23. Duftschmid, Lorenz (viola da gamba)Boysen, Thomas C. (Guitar, Theorbo) Hämmerle, Johannes (harpsichord) 'Pièces de Caractère'
    David Mathieu Maurer wrote for the slipcase:
    

    The origins of the Folies is found in Portugal. It is a dance in three-bar time with song, accompanied by guitar and cow bells. The performance is so fast that the dances appears completely crazy, hence the name. This dance spread in Spain and Italy, and through the Spanish rule in Europe. The theme is received by many musicians there. In Paris, it becomes known thnks to violinist Michael Farinelli in 1672, who later on takes it to London. The theme causes a sensation in Paris. Lully takes on the task to write a melody for the oboe while d'Anglebert arranges it for the harpsichord. Violinist and composer Corelli manages to make the theme immortal in a remarkable way by turning it into a showpiece for the violin in 1700. The violinists then use everything their instrument can do in their technically top performance. As an answer to this proof of the violin's virtuosity, Marin's Folies prove that the violin is not at all inferior to this. Who was the first to approach these themes, Corelli or Marais? Was Marais just a plagiarist of the Italian master's work? ... not important.
    The Frenchman used the same themes, the same key in D-Minor and, like Corelli, moved between fast, lively and slower, more expressive variations ....And yet, his arrangement remains brilliant and original. He retains the key of D-Minor throughout the piece, a key that so beautifully shows the viol's timbre and allows him to use its full range, actually also force the musicians to use their entire knowledge about the instrument in order to overcome the difficulties of certain passages. One does not spare anything to achieve a grandiose result, which proves in a masterful way what an exceptional solo instrument the viol is, and that gamba players, just like violinists, are capable of a virtuosity that goes to extremes. The complexity of some of the variations was clearly intended to show Marin's own skill and his genius, playing his works himself in many concerts. But the Folies also show true sensivity, some variations almost make make the instrument cry, they take the listener to a dream world, richly coloured and full of nuances describing the beauty of the human soul. The composer's creative genius underlines just how much the viol is the ideal instrument to express sensitivity, emotions and sensitiveness.

    • Released 2004 by CPO compact disc 777 007-2 without indication of the place of the recording
    • Duration: 13'56"
    • Recording date: June 25-28, 2003
    
    
24. Duftschmid, Lorenz (viola da gamba by Nicolas Bertrand, Paris, 1699) and Erdas, Paolo (harpsichord)
    • Concert: Festival Wunderkammer 2006 see www.wunderkammer. t r i e s te . i t
    • Duration: 13'35"
    • Recording date: 5 December 2008 in Civico Museo Sartorio, Sala Giorgio Costantinides at the L'Eco del Danubio, Trieste, Italy
    
    
25. Dunford, Jonathan (viola da gamba), Abramowicz, Sylvia (viola da gamba), Perrot, Benjamin (theorbe and Baroque guitar), Fuget, Stéphane (harpsichord) 'Marin Marais, manuscript de la bibliotheque nationale d'Ecosse (avant 1685)'
    Quoting the slipcase:
    

    'Which brings us to the present recording. We have selected from among the 45 neglected pieces, arranged them as two Suites, grouped them by tonality as Marais typically did in his published music, and included with them the early version of the Folies d'Espagne. The figured bass parts in the original Scottish manuscript were either missing, according to the tastes of an earlier period, or lost. We have therefore recreated them to correspond to performance practice of the time'.

    • Released 2000 by Universal Music Accord compact disc 465 946-2
    • Duration: 20'05"
    • Recording date: August 21-24, 2000 at Eglise Protestante de Bon Secours, Paris, France
    
    
26. Dunford, Jonathan (viola da gamba), Abramowicz, Sylvia (viola da gamba), Perrot, Benjamin (theorbe and Baroque guitar), Stewart, Laurent (harpsichord)
    • Broadcasted concert performance 28 October 2007 by Klassika Raadio, Talin, Estonia
    • Duration: 19'07"
    • Recording date: October 15, 2006 in Versailles, France.
    
    
27. Dutton, David (oboe)and Beverly Biggs (harpsichord) 'Musette, french Baroque Favorites'
    Beverly Biggs and David Dutton wrote for the slipcase:
    

    'La Folia', one of the most well-known themes of all time, was set to variations by most of the composers of the 17th and 18th centuries. This setting by Marin Marais, originally for viola da gamba but published as being suitable for many instruments, is heard in its first recorded performance of this oboe arrangement by Biggs and Dutton. A veritable tour-de-force, the Marais setting encompasses beautiful slow variations, gigues, dynamic variations in the style of the French ouverture, and virtuosic displays that must have been quite astounding in the late 17th century.

    • Released 1992 by B&D Recordings compact disc CD102
    • Duration: 15'16"
    • Recording date: July 7-11, 1992 at B&D Recordings Studio, Spokane Washington, USA
    • Boxwood oboe by Ken Decker, harpsichord built by David Dutton (1972) after Pascal Taskin (French double, 1769)
28. Dutton, David edited arrangement for solo instrument and basso continuo. Keyboard realization by Beverly Biggs.
    • Published by Spokane, Wash (W. 615 Cotta Ave., Spokane 99204) B&D Publications c. 1987
    • Score 16 p. and 2 parts, 31 cm
29. Ensemble Galilei (Liz Knowles: fiddle, Deborah Nuse: Scottish small pipes and fiddle, Sarah Weiner: oboe recorders and pennywhistle, Sue Richards: Celtic harp, Carolyn Anderson Surrick: viola da gamba with Jan Hagiwara: percussion and Nancy Karpeles: bowed psaltery) 'From the Isles to the Courts'
    As mentioned in the slipcase some variations of Corelli are mixed into this Folia-medley, where the Marais-variations are more prominent.
    • arrangement by Liz Knowles, published by Major B Music (ASCAP)
    • Released 2001 by Telarc compact disc CD-80536
    • Duration: 09'16"
    • Recording date: June 19-22, 2000 in Gordon Center for the Performing Arts, Owings Mills, Maryland
30. Ensemble Harpophonie Gérard Martin: harp, Régine Ferber: violoncelle 'Ensemble Harpophonie'
    Nice harp arrangement and solo parts although the violoncelle is with much vibrato as the style of play in the 1960's
    • Title: La folia (Marin Marais)
    • arrangement by Ensemble Harpophonie
    • Released by Ensemble Harpophie cassette EH2
    • Duration: 7'39"
    • Recording date: not mentioned, place not mentioned either the Performing Arts, Owings Mills, Maryland
    
    
31. Ensemble Spirale (Marianne Muller viola da gamba and conductor, Sylvia Abramowicz viola da gamba, Violaine Cochard harpsichord, Charles-Édouard Fantin, baroque guitar, Claire Antonini theorbo) 'Marin Marais'
    François-Pierre Goy wrote for the slipcase:
    

    An autograph manuscript from around 1680 contains a first draft of the 'Couplets de folies', which Marais must have gradually revised and enriched until the publication in his second book of viol pieces (1701) of the version recorded here. This distant echo of the English tradition of 'divisions on a ground' - introduced to France by André Maugars - is the only work by Marais to make use of a borrowed theme, in fact a harmonic scheme attested in Spain since the mid-sixteenth century and extremely popular in France from the last quarter of the the seventeenth onwards. The version by Marais, one of the most strikingly extensive and varied elaborations of the theme, stands up well to comparison with those of his French predecessors such as the lutenist Jacques Gallot and the harpsichordists Jean-Henry d'Anglebert and Marc-Roger Normand Couperin, and with Corelli's celebrated sonata 'La Follia', published in 1700. Marais exploits all the instrument's registers and plays on contrasting bowings and tempos. The bass often emerges from its role of simple harmonic support to engage in dialogue with the solo line or accompany it in thirds.

    • Title: Les Folies d'Espagnes, 32 variations
    • Released 2006 by Zig-Zag Territoires compact disc ZZT060801
    • Instrument: seven-string viola da gamba after Michel Colichon (1693) built by Reinhard Ossenbrunner (2003)
    • Duration: 18'12"
    • Recording date: October 10-14, 2005 at St Michael Church Paris 8e, France
    
    
32. Ensemble Spirale (Marianne Muller viola da gamba and conductor, Sylvia Abramowicz viola da gamba, Violaine Cochard harpsichord, Charles-Édouard Fantin, baroque guitar, Claire Antonini theorbo) 'Marin Marais'
    • Title: Les Folies D’Espagne, Livre II de Pièces de Viole: 32 Variations
    • Released 2017 (Reissue ) by Alpha Classics ‎– Alpha 338,
    • Instrument: seven-string viola da gamba after Michel Colichon (1693) built by Reinhard Ossenbrunner (2003)
    • Duration: 18'12"
    • Recording date: October 10-14, 2005 at St Michael Church Paris 8e, France
      
33. Eppinger, Sigrid & Michael, Frank edited the music for flute and b.c. (for instance violoncello and guitar)
    • Published 2001 by Zimmermann Verlag (33820 and 30620)
    • Publisher No. ZM23580
    • ISMN: M-010-23580
34. Fedotova, Marija (flute solo)
    • Title: Variacijas par folijas temu
    • Broadcasted by Latvian Radio April 16, 2009
    • Duration: 9'23"
    • Recording date: June 2008 Latvian concert halls Ieskanojumi V Kremerata Baltica festival (ARI) Classical concerts 2008, Latvia
35. Foulon, Philippe (violoncello), Buckley, Emer (harpsichord), Waters, William (theorbo) and the Lachrimae Consort 'Couplets de Folie'
    
    • Title: Les Couplets de folie (IIe livre de pièces de viole) (violoncello, harpsichord, baroque guitar)
    • Released October 2006 by Natives compact disc CDNAT07, series Les organistes du Roy
    • Duration: 19'12"
    • Recording date: February 9-11, 2006 in le Grand Salon du château de Vaux-le-Vicomte, France
    
    
36. Franco, Horacio (recorder solo) 'De Bach los Beatles y otros más'
    
    • Title: Variaciones sobre 'Les Folies d'Espagne'
    • Released 2005 by Quidecim Recordings compact disc QP 135
    • Duration: 7'17"
    • Recording date: November 23-26, 2004 in Biblioteca del Desierto de los Leones, Mexico
    • More about Horacio Franco at his website http://www.horaciofranco.com/
    
    
37. Gaouyat, Nathalie calligraphie de la basse continue for variations for viola da gamba and continuo
    • Published by A. Zurfluh c.1988, series: Musique pour viole de gambe VdG 05
    • Score 25 p. and 1 part 15 p., 21 x 30 cm
38. Gastinel, Anne (violoncelle), Bossard, Suzy (piano) 'Debut recital: Faure, Debussy, Marais, Merlet, Gastinel'
    • Released 1991 by Ottavo compact disc OTR C79032
    • Duration: 8'43"
    • Recording date: July 16-19, 1990 at De Doelen Rotterdam, the Netherlands
39. Gendron, Maurice transcription and editing arrangement for violoncello and piano
    • Published by Schott & Co. c.1951 B.S.S. 37779 Schott
    • Score 12 p. and 1 part 4 p., 30 cm
40. Gendron, Maurice (violoncello) & Inoue, Naoyuki (piano) 'Sonate en la mineur pour violoncelle et piano D 821: Arpeggione: Schubert, La folia: Marais arrangement Gendron, Sonate en re pour violoncelle et piano: Locatelli arrangement Gendron'
    • Released 1981 by RCA Red Seal LP RL 10487, reissue of SRA-2999
    • Duration: 8'12"
    • Recording date: April 1975
41. Graf, Peter-Lukas (flute) 'Peter-Lukas Graf spielt Werke für Soloflute'
    • Released 1971(?) by Claves LP P-235 (on labels LP 30-235)
    • Duration: 9'32"
    • Recording date: August 1970 at the Johanneskirche Thun, Swiss
42. Graf, Peter-Lukas (flute) 'Works for flute solo'
    • Released 1989 by Claves compact disc 50-8005
    • Duration: 9'32"
    • Recording date: 1973 at the Johanneskirche Thun, Swiss. Probably there was a mistype with the year 1973 because the location and the duration of the recording are exactly the same as the previous item recorded in 1971
43. Grafenauer, Irena (flute) & the Academy of St. Martin-in-the-Fields (orchestra) 'At the Court of the Sun King' Golden Baroque
    • Released by Philips Classics compact disc CD 454 423-2
44. Grafenauer, Irena (flute) Engelhardt, Brigitte (harpsichord) Baumann, Jörg (violoncello) Stoll, Klaus (double bass) 'La Flute a Versailles'
    • Released 1990 by Philips Classics compact disc CD 426 713-2
    • Recording date: September 1989
45. Grafenauer, Irena (flute) Engelhardt, Brigitte (harpsichord) Philharmonisches Duo Berlin 'Französische Barockmusik'
    • Released 2003 by Universal Classics compact disc CD 476 130-0
    • Duration: 14'10"
    • Recording date: 1990
46. Grauwels, Marc (flute) 'Musique française pour flute seule'
    Marc Grauwels wrote for the slipcase:

    In the preface to the second volume of his Piéces de Violes (Paris 1701), from which these Variations has been taken, Marin Marais, virtuoso of the viol da gamba at the courts of Louis XIV and Louis XV, also renowned as a composer of operas, wrote that he had composed these pieces in such a way as to enable them to be played not only on the viol da gamba, but also on other instruments, such as the flute. Thanks to their diversity, these variations on the theme of the Sarabande de la Follia, very popular at that time, allow the flautist to bring out all the inherent wealth of his instrument.

    • Released 1982 by Pavane LP ADW 7101 and compact disc ADW 7101 with the title 'French music for flute'
    • Re-released (year not indicated) as compact disc Asoria DP 87022 with the title: Romantic French Flute Music - Marc Grauwels
    • Duration: 14'28"
    • Recording date: 1982 in Eglise St-Bavon, Chaumont
47. Grindenko, Anatolij (viola da gamba) and Alekszandr Szuetyin (lute)
    • Title: Les Follies d'Espagne
    • Broadcasted by the Hungarian Radio (A Bartok Radio) April 13, 2009
    • Duration: 14'57"
    • Recording date: June 25, 2006 in front of an audience in Gothic Lovagterme Budapest History Museum, Hungary
48. Gutierrez, Laury (viola da gamba), Harnish, Cora (viola da gamba), Nishikiori, Fumi (harpsichord), Partridge, Richard (viola da gamba)
    • Title: Couplets de folies
    • Recorded by Indiana University, School of Music in Bloomington
    • Sound tape reel 1991-1992 no. 506
    • Duration: 16'05"
    • Recording date: February 21, 1992
49. Hamburger Ratsmusik (Simone Eckert viola da gamba)
    • Broadcasted August 13, 2012 by the Swedish radio (Live klassiskt : Konsert med Ratsmusik, Hamburg Musik av Händel, Montéclair, Telemann och Couperin) of a live performance during the Händel Festspiele
    • Duration: 11'05"
    • Recording date: May 25, 2012 in the university of Göttingen, Germany
    
    
50. Harmonious Blacksmith (Joseph Gascho harpsichord, Joshua Lee viola da gamba, Justin Godoy recorder)
    • Broadcasted December 4, 2010 by Classical Public Radio, Carolina Live . recorded at the The Magnolia Baroque Festival
    • Duration: 14'04"
    • Recording date: 2010 at The Magnolia Baroque Festival, Winston-Salem, North Carolina, USA
    • You can hear the live performance at Carolina Live http://www.worldofopera.org/june-9-2010/item/169-the-magnolia-baroque-festival
    
    
51. Duo Harpéole: Ralincourt, Marion (Flute), Marical, Lucie (harp)
    • Broadcasted by Radio France
    • Duration: 8'50"
    • Recording date July 13, 2008 in Studio Sacha Guitry de Radio France, Paris, France
    
    
52. Haupt, Eckart (recorder) and Rost, Monika (guitar) 'Virtuoso music for flute'
    • Released 1995 by Corona Classic Collection compact disc cd 0059-2 (0782124005924)
    • Duration: 12'30"
    • Recording date: unknown
    
    
53. Hauwe, Walter van (recorder) 'Blokfluitmuziek uit vijf eeuwen: Bassano, Van Eyk, Marais, Shinohara en Ishii'
    • Title: Les Folies d'Espagne (only 18 of the original 32 variations are selected for this track)
    • Released 1980 by CBS, Netherlands LP 71102
    • Duration: 9'22"
    • Recording date: not indicated in the documentation
    • Alt baroque recorder built after Bressan by Hans Coolsma in 1973
    
    
54. Hauwe, Walter van (recorder) 'Music for the recorder from the Middle Ages to the twentieth century'
    • Released 1981 by Vanguard LP VSD 71251, licensed from K. Posthuma Productions, Castricum Netherlands
    • Duration: 9'25"
55. Heinitz, Eva (viola da gamba) & Ehlers, Alice (harpsichord) 'Couplets des Folies d'Espagne'
    • Recorded as mono analog tape reel produced by the Music Division and the Recording Laboratory of the Library of Congress
    • Included is a program with 4 pages.
    • catalogued LWO 2607 r49 Library of Congress (10 in. acetate tape - not for playback)
    • Recording date: March 7, 1958 in the Coolidge Auditorium of the Library of Congress, Washington D.C.
56. Heinitz, Eva (viola da gamba) Hamilton, Malcolm (harpsichord) 'The art of the viola da gamba, volume 2'
    • Released 1975 by Delos LP
    • Duration: 8'42"
57. Hollinger, Heinz (oboe), Jaccottet, Christiane (harpsichord) Cervera, Marcal (viola da gamba) 'Bach, Couperin, Marin Marais, Werke für oboe und continuo'
    Heinz Hollinger wrote for the cover of LP LP 9502 070:
    

    Marin Marais, celebrated player of the bass viol at the courts of Louis XIV and Louis XV, published five volumes of "Pièces de violes" suites, amd four operas. His 32 'Couplets' on 'Les folies d'espagne' are possibly his best-known works. The folia, a fifteenth-century dance in triple time consisting of two eight-bar sections, was one of the favourite subjects for variations in the Baroque period, serving more often as a rhythmic and harmonic base rather than a genuinely varied melody. Marais writes in his preface to the 'Pièces de violes': "...Most of these pieces can be played on several other instruments, such as the organ, the harpsichord, the guitar, the transverse flute, the recorder, and the oboe; it is merely a question of choosing whichever piece best suit each instrument." This would seem to justify the choice of instrument here. For the oboe certain variations must be left out, for example those conceived with the polyphonic possibilities of the strings in mind, or those in which transposing the melody two octaves up would cause technical problems. The present selection of variations on the 'Folies d'espagne' gives us some insight into the teeming mind of this eminent contemporary of Lully, who succeeds in building, on a constant harmonic and metrical base, a real compendium of the Baroque art of writing variations.

    • Title: Couplets über 'Les folies d'espagne' für Oboe & Continuo
    • Released 1974 by Philips LP 9502 070 and 6500 618
    • Duration: c.12'54"
    • Recording date and place not mentioned at all
    
    
58. d'Hont, Sabine (recorder) and Belder, Pieter-Jan (harpsichord and recorder), Walder, Sarah (violoncello) 'J.S Bach, Froberger,Händel, Hotteterre, Marais, Muffat, Telemann'
    • Title: Les Folies d'Espagne in g
    • Released 2001 by Contrapunctus Musicus compact disc VC 2510
    • Duration: 6'59"
    • Recording date: September 16-18, 2000 in Church van Persingen, The Netherlands
    
    
59. Hsu, John (solo viola da gamba) Bagger, Louis (harpsichord) Davidoff, Judith (viola da gamba) 'Pieces de viole from the second book, 1701 for solo viola da gamba and continuo'
    • Released 1975 by Musical Heritage Society LP MHS 3078
    • Recording date: May 15, 1974 in Ithaca N.Y.
    
    
60. Knox, Garth (viola d'amore), Vesterman, Agnès (cello)
    • Title: Les folies d'Espagne, arranged: Garth Knox and Agnès Versterman
    • Released 2008 by ECM compact disc 001127502
    • Duration: 10'44"
    • Recording date: 2006
    
    
61. Kuijken, Wieland (viola da gamba), Dart, Thurston (harpsichord)
    • Title: Les folies d'Espagne
    • Broadcasted by BRT3 (Belgium Radio) August,1, 2008
    • Recorded live during a concert in Sint Jans Hospital, Brugge, Belgium
    • Duration: 21'01"
    • Recording date: July 31, 1974 (correct, 34 years earlier than the broadcasting by BRT3)
62. La Bellamont: (Sara Ruiz, viole de gambe - Rafael Muñoz, théorbo - Laura Puerto, harpsichord) "Marais, La voix de la viole"
    • Title: Les Folies d'Espagne
    • Released 2011 by Brilliant Classics compact disc BRIL93806
    • Duration: 16'42"
    • Recording date: unknown
    
    
63. Laurin, Dan (recorder solo)
    • Released by Acoustica compact disc ACCD 1012
    • Recording date: September 1987
64. Laurin, Dan (recorder solo)
    • Title: Les folies d'Espagne
    • Broadcasted by Sveriges Radio P2 (Swedish Radio) February 7, 2007
    • Recorded live during a concert in Kammarkonsert i Grünewaldsalen, Stockholms konserthus, Sweden
    • Duration: 8'57"
    • Recording date: unknown
65. Lécot, Jean-Paul (organ) 'Marin Marais à l'Orgue'
    • Title: Les Folies d'Espagne (17 variations). Arrangement by Jean-Paul Lécot
    • Released 2008 by Bayard compact disc S373741
    • Duration: 10'08"
    • Recording date: unknown at the organ of Caudebec-en-Caux
    
    
66. Legene, Eva (recorder) 'faculty recital'
    • Title: Folies d'espagne
    • Recorded by Indiana University, School of Music in Bloomington
    • Sound tape reel 1992-1993 no. 445
    • Duration: 06'40"
    • Recording date: January 29, 1993
67. Legene, Eva (recorder), Smith, Marie-Louise (recorder), Gruskin, Shelly (recorder and traverso), McGaughey, Martha (viola da gamba), Haas, Arthur (harpsichord)
    • Title: Variations on Les folies d'Espagne
    • Recorded by Indiana University, School of Music in Bloomington
    • Sound tape reel 1993-1994 no. 073
    • Duration: 16'32"
    • Recording date: July 21, 1993
68. Les Voix Humaines: Napper, Susie (viola da gamba) and Little, Margaret (viola da gamba) 'Folies, les voix humaines'
    Normally the harpsichord or lute is used as basso continuo. In this ingenious arrangement for two viola da gamba's one does not even notice the missing of a plucked basso continuo and the sound of the viols is elaborate and rich in the tiniest detail.

    Duration: 0'53", 833 kB.( 128kB/s, 44100Hz) Excerpt (two variations) in an arrangement for two viola da gamba's © 2002 ATMA Classique, used with permission

    Duration: 0'28", 440 kB.( 128kB/s, 44100Hz) Excerpt (another variation) in an arrangement for two viola da gamba's © 2002 ATMA Classique, used with permission

    Bruce Haynes wrote for te slipcase (used with permission):

    While the Rameau (another piece of the program, added by webmaster) was an exact transcription, adding and removing nothing that was not in the original version, the arrangement of Marais's Folies and Voix humaines heard on this recording demanded more musical intervention. As Susie Napper explains, these pieces were originally for a solo line and a continuo, so she expanded them to create a third line by using the material already present in the other two lines and composing new counter-melodies and chords that work well on viol. For pieces like these, since the solo line was originally for viol, many elements remained similar.

    • adaptation for two viola da gambas by Susie Napper
    • Title: Folies d'Espagne
    • Released 2002 by ATMA Baroque ACD2 2203
    • Duration: 17'25"
    • Recording date: September 2000 in Eglise St Augustin, Quebec, Canada
    • More about the oeuvre at the website of Les Voix Humaines (including some fine acoustical examples).
    
    
69. Luolajan Mikkola, Markku (viola da gamba), Mustonen, Elina (harpsichord), Palviainen, Eero (lute), Haavisto, Varpu (viola da gamba) 'Pieces de viole du second livre'
    • Title: Couplets de folies (20)
    • Released by BIS compact disc CD909
    • Duration: 16'46"
    • Recording date: September 1997
    
    
70. Meulenbroeks, Ralph (Viola da Gamba solo) 'Voix Humaines'
    • Title: Les folies d'Espagnes (excerpts)
    • Released 2003 by STS digital recordings without ordernumber
    • Instrument: seven-string viola da gamba after Michel Colichon (1693) built by Reinhard Ossenbrunner (2003)
    • Duration: 6'11"
    • Recording date: July 3rd, 2003 at Hoogland, The Netherlands
    
    
71. Meulenbroeks, Ralph (Viola da Gamba solo) 'Gambomania'
    • Title: Les folies d'Espagnes (excerpts)
    • Released 2005 by Ralph Meulenbroeks DVD STS611128
    • Instrument: seven-string viola da gamba after Michel Colichon (1693) built by Reinhard Ossenbrunner (2003)
    • Duration: unknown
    • Recording date: November 5, 2004 during a concert in Eindhoven, The Netherlands
    
    
72. Meulenbroeks, Ralph (Viola da Gamba solo) 'Moved by Marais'
    • Title: Les Folies d'Espagnes
    • Released 2006 by STS compact disc 611168
    • Instrument: seven-string viola da gamba after Michel Colichon (1693) built by Reinhard Ossenbrunner (2003)
    • Duration: 18'29"
    • Recording date: February 23 and 24, 2006 in Hoogland, the Netherlands
    • One of the few cd's where the hairstyler and make-up next to the dresser are mentioned (need I say more...).
    
    
73. Näsbom, Torbjörn (nickelharpa = keyed fiddle) and Edlund Andreas (harpsichord) 'From Castle and Cottage'
    • Title: Des 32 Couplets de Folies (Folia variations orig. for Viola da gamba)
    • Released 2007 by Mvsica Rediviva compact disc MRCD-014
    • Duration: 15'01"
    • Recording date: 16-18 January 2006, 16-18 in Dala-Järna Kyrka, Sweden
    
    
74. Palladian Ensemble, Pamela Thorby (recorders), Rodolfo Richter (violin), Susanne Heinrich (bass viol) William Carter (guitar, lute, theorbo) 'Les Elements: Marais & Rebel'
    William Carter wrote for the slipcase:

    The epic set of variations on "La Folia" which close our programme are also from the 2nd book although they exit in a manuscript version which would place them among his earliest works. All scholarship aside though, at the end of the day, the only reason to make an arangement of a piece of music (or indeed, to play music at all) is that you love it and think you can make it sound good. We certainly love this music and can only hope that you will enjoy listening as much as we did playing!

    • Title: Folies d'Espagne
    • Arrangement by Susanne Heinrich
    • Released 2003 by Linn Records compact disc Linn CDK 221
    • Duration: 14'37"
    • Recording date: May 15-17, 2003 at St. Andrews Church, Toddington, United Kingdom
    • Instruments built by Fred Morgan, Yuzuru Fukushima, Tim Cranmore (recorders), Andrea Guarneri, Cremona 1674 (violin), Robert Eyland after M. Collichon, 1998 (7 string bass viol), Klasu T. Jacobson (theorbo), Martin Haycock (baroque guitar).
    
    
75. Pandolfo, P. (viola da gamba), Balestracci, G. (viola da gamba), Boysen, T. (theorbo and baroque guitar) Costoyas, D. (theorbo and baroque guitar), Meyerson, M. (harpsichord) 'Grand Ballet, music by Marin Marais'
    From the slipcase:

    Besides the principal CD, containing 70 minutes of music, we have included a 20-minute complimentary disc, on which Pandolfo offers us, with his surprising and personal vision, the well-known Folies d’Espagne.

    • Title: Couplet de Folies ('IIe Livre')
    • Released 2002 by Glossa Music compact disc (2cd-set) GCD 920406
    • Duration: 17'18"
    • Recording date: October 2001 in Berlin, Germany
    
    
76. Paull, Jennifer (oboe d'amore) Sartoretti, Christine (harpsichord) Canuti, Stefano (bassoon) 'Louis de Caix d'Hervelois, Marin Marais' as part of the series 'The Oboe d'Amore Collection, Vol. 1'
    Paull wrote about her own interpretation of Marais' Folies d'Espagne:

    The story of the Folia is one of the most curious in the history of music. For nearly three and a half centuries, the early Folia followed by the later Folia enjoyed great popularity with both composers and public alike. One same theme was set by composers simultaneously in Italy, France, Germany and England. Originally a wild Portugese dance, the Folia gradually evolved into the stately sarabande, although the title, 'madness' stayed the same. Couperin, in giving titles to the variations of his 'Folies Françaises' was creating imagery. This style of encapsulating 'tableaux' and thus adding a theatrical dimension to the music became very popular between 1700 and 1730, and was known as the 'Fêtes galantes'.
    The adaption of these variations for oboe d'amore (alto oboe) and basso continuo through the following titles are entirely my own. I was inpired by the amazing palette of colours in the everchanging kaleidoscope that is the 'Folies d'Espagne'. These images became the inspiration for my ornamentation which instinctivily followed

    01. Noble, gracious (Theme) 02. Beautiful, but sad 03. Gently provocative 04. With grief 05. Sighing 06. Carrying a burden 07. An elegant dance 08. A dance with curtsies 09. Elegant, positive, proud 10. Coquette, winsome 11. Nostalgic, homesick 12. On tiptoe, cheekily 13. Dramatic, pleading 14. With intrigue 15. With regret 16. Chattering gossip in whispers 17. With supplication

    18. Positively 19. With happiness 20. With conspiracy 21. With love and sensuousness 22. With gentle humour 23. With outrage 24. With resignation and inevitability 25. With insolence 26. With tender seduction 27. A Sunday morning canter 28. With insistence and anger 29. In parallel solitude 30. In the gardens at midnight 31. Riding round in the manège 32. Proudly strutting home 33. Souvenir (Theme)

    • Released 1995 by Doron Music, Switzerland compact disc DRC 5006
    • Duration: 21'57", variations not indexed.
    • Recording date: April 21/22, 1995 in the English Church, Villars Switzerland
77. Perl, Hille (Viola da Gamba) and Santana, Lee (Theorbo) 'Marin Marais, pour la violle et le théorbe'
    In the slipcase is written:
    

    At this point we want to give thanks to our friend and colleague Jonathan Dunford, who has done extensive research into the viol music of the French viol composers Sainte Colombe and Marais, and who first send us the Scottish manuscript in the early 1990s, asking Lee to provide a bass line for the different earlier Folias variations that are to be found in this manuscript. This is the version you can hear on this cd.

    • Title: Folies
    • Released 2004 by Deutsche Harmonia Mundi - BMG classics compact disc 82876587912
    • Duration: 14'15"
    • Recording date: January 2-6, 2004 Colnrade, Germany
    • Theorbo built by Henfrik Hasenfuss 1989, Köln, Germany, Viola da Gamba built by Claus Derenbach 2002, Köln after Romain Chéron à Paris.
78. The Purcell Quartet (featuring the viola da gamba) 'Les folies d'Espagne and other music for viols and violins'

    The Purcell Quartet plays all variations by Marin Marais Duration: 16'22" direct link to YouTube © 1998 by The Purcell Quartet

    • Released 1989 by Hyperion compact disc CDA66310
    • Duration: 14'24", variations not indexed.
    • Recording date: May 4/6, 1988 in the Church of St. Peter and All Saints, Petersham.
79. The Purcell Quartet (featuring the viola da gamba) 'Les folies d'Espagne and other music for viols and violins'
    • Released 2007 by Hyperion Helios compact disc CDH55235
    • Duration: 14'24", variations not indexed.
    • Recording date: May 4/6, 1988 in the Church of St. Peter and All Saints, Petersham.
    
    
80. The Purcell Quartet 'La Folia, variations on a theme'
    This cd assembles 'La Folia'-inspired works by six composers, starting with the original Corelli Sonata and ending with Geminiani's orchestral arrangement of it. The C.P.E. Bach and A. Scarlatti works are for solo keyboard. The six pieces are all taken from a series of earlier Hyperion cd's individually devoted to the respective composers. Duration of the six folias (incl. Marais, Vivaldi) 68'22"
    • Released 1998 by Hyperion compact disc CDA67035
    • Duration: 16'22"
    • Recording date June 4/5 & 12, 1987?
    
    
81. Ricercar Consort (Philippe Pierlot and Romina Lischka: viola da gamba, Xavier Diaz-Latorre: guitar and theorbo, François Guerrier: harpsichord)
    • Title: Les couplets de folies
    • Broadcasted the first of July 2012 live by radiostation RTBF (Belgium) of the program 'Folies d'Espagne' by the Ricercar Consort as part of Festival Musiq3 en direct de Flagey
    • Duration: 15'35"
    • Recording date: July 1st, 2012 at Flagey, Brussels, Belgium during a live performance
82. Ricercar Consort (Philippe Pierlot, viola da gamba, Sophie Gent violin, Daniel Zapico theorbe and guitar, Julien Wolfs harpsichord)
    • Title: Couplets de folies (a selection)
    • Broadcasted: March 10, 2024 live by radiostation Radio 4, The Netherlands
    • Duration: 7'30"
    • Recording date: March 18, 2024 at Hertz, Tivoli/Vredenburg, Utrecht, The Netherlands
83. Rønnes, Kristian Oma (bassoon solo)
    

    Les folies d'Espagne for bassoon solo Duration: 4'19" direct link to YouTube published by Kristian Oma Rønnes © 2013 by Kristian Oma Rønnes, used with persmission

    Kristian Oma Rønnes wrote about his Marais-variations in an e-mail January 6th, 2014:
    

    I played some of the variations by Marin Marais, because as you probably know they are written for Viola da Gamba, and when I am playing them (as a bassoonist) there are certain variations that does not really suit the bassoon, and are intended as more idiomatic string parts. For example variations with essential chords that should be played non arpeggio.

    • Title: Les folies d'Espagne
    • Published 2013 by Kristian Oma Rønnes for YouTube
    • Duration: 4'19"
    • Recording date: September 3rd, 2013 in Oslo, Norway.
    • More about the composer Kristian Oma Rønnes at his website http://www.kristianomaronnes.com/
    
    
84. Sampson, Peggie (viola da gamba) & Shapiro, Susanne (harpsichord) 'Pieces de violes, 2e livre'
    • Title: Les Folies d'Espagne
    • Released 1974 by Orion LP ORS 74162, re-released 2006/2007 by Marquis Classics compact disc 83114-2 (774718311429)
    • Duration: 13'55"
    • Recording date: not mentioned in the doumentation
    • Bass viol da gamba by Günther Helling, Lübeck, 1966 and harpsichord by Eric Herz of Boston
85. Savall, Jordi (basse de viole with 7 strings), Lislevand, Rolf (theorbe), Behringer, Michael (harpsichord) 'La Folia, 1490-1701'
    • Title: Couplets de Folies, second book (1701)
    • Released 1998 by Alia Vox compact disc AV 9805
    • Duration: 18'07"
    • Recording date: September 21-22 in the Church of St. Hippolyte in Castres, France
    • See also recommended recordings
    
    
86. Savall, Jordi (viola da gamba) and Lislevand, Rolf (theorbe)
    • Title: Couplets de Folies, second book (1701)
    • Recorded by BBC during the Proms in London August 18, 2008
    • Duration: 12'20"
    • Broadcasted by BBC radio 3 in the Early Music Show August 23, 2008 and Radio 4 (Netherlands) August 25, 2008
    • Recording date: August 18, 2008 in the Cadogan Hall in London, England
    
    
87. Savall, Jordi (viola da gamba) Gallet, Anne (harpsichord) Smith, Hopkinson (theorbo) 'Pièces de viole du second livre, 1701'
    

    A prominent classical recording of this piece by Jordi Savall Duration:18'05" direct link to YouTube © 1989 Jordi Savall (vdg), Hopkinson Smith (theorbo), Anne Gallet (hpschd)

    Jordi Savall wrote for the documentation:
    

    The 'Couplets de Folies' are a sequence of 32 variations on a given theme which, seen as a whole, form a wide developing arc. Hardly any other work in viola da gamba literature displays in such a compressed form the entire possibilities of this instrument, its various registers, its virtuoso technique and welth of expression.

    • Title: Folies d'Espagne, II. 20. 32 Variationen über eine Altspanische Sarabande
    • Released 1976 by Astree, Telefunken -Decca, Das Alte Werk LP 6.42121
    • Duration: 18'05"
    • Recording date: not indicated in the documentation but it is most likely July 1975, L'eglise romane de Saint-Lambert-des-Bois, Yvelines .
    
    
    
88. Savall, Jordi (viola da gamba) and Xavier Díaz Latorre (theorbo)
    

    Jordi Savall and Xavier Díaz Latorre live in Amsterdam 13 May 2015 Duration:13'30-" direct link to YouTube © 2015 Jordi Savall (vdg), Xavier Diaz Latorre (theorbo)

    • Title: Couplets de Folies d'Espagne
    • Broadcasted by Max Avondconcert Radio 4 in the Netherlands 13 May 2015
    • Duration: 13'30"
    • Recording date: 15 May 2015 in Het Muziekgebouw aan 't IJ, Amsterdam, The Netherlands as part of a concert entitled "Spanish improvisations"
    
    
89. Savall, Jordi (viola da gamba) Behringer, Michael (harpsichord) 'Barocca'
    • Released 1991, 1998, 2003 Alia Vox, 2004 by La Repubblica Sabato compact disc
    • Duration: 17'59"
    • Recording date: 1998
    
    
90. Savall, Jordi (viola da gamba) Gallet, Anne (harpsichord) Smith, Hopkinson (theorbo) 'Pieces de viole du second livre'
    

    A prominent classical recording of this piece by Jordi Savall Duration:18'05" direct link to YouTube © 1989 Jordi Savall (vdg), Hopkinson Smith (theorbo), Anne Gallet (hpschd)

    • Released 1989 by Astree, Re-released May 1995 under the title 'Pieces de Viole' Auvidis Astree compact discs (5x) 8505 and E7770
    • Duration: 18'05"
    • Recording date: July 1975, L'eglise romane de Saint-Lambert-des-Bois, Yvelines.
    
    
91. Savall, Jordi (artistic director) extraits 'improvisation sur Les Folies d'Espagne' as part of the filmscore 'Tout les matins du monde', a film by Alain Corneau.
    
    • Released 1991 by Auvidis Valois compact disc K4640
    • Duration: 1'06"
    • Recording date: January/April and August, 1991
    
    
92. Schellenberger, Hansjorg (oboe), Koenen, Rolf (harpsichord) & Fink, Johannes (viola da gamba) 'Les folies d'Espagne: Marais, Sonata in G minor BWV 1030b for oboe & harpsichord, Sonata in E-flat major BWV 1031 for oboe, harpsichord & viola da gamba: J.S. Bach'
    • Released 1988 by Denon compact disc CO-2142
    • Duration: 16'54"
    • Recording date: May 18-19, 1987 in Vario Hall, Tokyo
    
    
93. Schellenberger,Hansjorg (oboe), Süss, Margit-Anna (harp) & Stoll, Klaus (violone) 'Musique a Versailles'
    • Released 2000 by Campanella Musica compact disc C 130090
    • Duration: 18'48"
    • Recording date: September 1999, Berlin Philharmonic Hall Music, Chamber Music Hall
94. Schmieder, Birgit (oboe), Tappert, Johannes (guitar) 'French sonatas of the 18th century'
    Quoted from the slipcase:

    The Folies d'Espagne are a famous work by Marin Marais, the court gambist of Louis XIV. The title refers to a Portuguese (fertility) dance, to part of an equestrian ballet at the end of a riding tournament and to a musical form attested as early as the late fifteenth century, but not identified with the dance and the name 'folia' until the late seventeenth century. In this form the folia is closely related to the (Italian) pazzamezzo antico and romanesca variation or bass formulas. It was also mentioned together with the ciaconna and the sarabanda.
    The folia enjoyed its greatest flourishing as a basis for virtuoso variations beginning in 1649 with compositions by Farinelli, Pasquini, d'Anglebert, Cabanilles, Corelli, Marais, and A. Scarlatti. The variations by Marais were highly artistic, sumptuous, and intricate and thus received a typically French stamp from their composer. Eighteen of the thirty-two couplets have been selected for presentation on this recording.

    • Title: Les Folies d'Espagne
    • Couplets in order of being played: 1, 2, 3, 7, 8, 9, 11, 12, 13, 14, 18, 21, 22, 23, 25, 26, 27, 31, 1
    • Released 1995 by Musikproduktion Dabringhaus und Grimm compact disc MDG 617 0631-2
    • Duration: 10'58"
    • Recording date: January 1995 in Oranienburg Schloss Nordkirchen
95. Schmitz, Hans-Peter 'Marin Marais, Les Folies d'Espagne' for flute solo
    • Published by Masters Music Publications Inc., Florida
    • Written in the key of e minor
    • Master Wind Series
    
    
96. Schmitz, Hans-Peter herausgabe arrangement for flute solo
    • Published by Barenreiter, Kassel c.1956 Series: Flute music
    • Score 11 p., 30 cm
    • Das vorliegende Stuck ist entnommen aus 'Hans-Peter Schmitz, Flotenlehre, Band II'.
    • Music No: BA 33ll
97. Spectre de la Rose (Marie Knight: baroque violin, Alison Crum: treble and bass viols, Susanna Pell: treble and bass viols, Elizabeth Liddle: bass viol, Paula Chateauneuf: theorbo and baroque guitar, Timothy Roberts: harpsichord) 'Marais: Viol Music for the Sun King'
    
    Elizabeth Liddle and Alison Crumwrote for the slipcase:
    

    We end the programme with the couplets de Folies from Book II of the Pièces de Violes. This is a set of variations on the Iberian dance tune La Folia, published a year after Corelli's variations on the same bass. Like Corelli's better known variations, Marais's encompass a wide range of moods and techniques, and as such, form a digest of his vast idiomatic vocabulary. However, the piece transcends being a mere sampler, and it is an indication of Marais's stature as a composer that the 32 couplets (theme and 31 variations) add up to much more than the sum of their parts; the piece has an overall architecture that has the masterly pacing of a great play.

    • Title: Pieces de Violes 2de livre: Couplets de folies
    • Released 1994 by Naxos compact disc 8.553081
    • Duration: 16'34"
    • Recording date: 1994
    
    
98. Staege, Roswitha (flute) Engelhard, Brigitte (harpsichord) & Schneider, Ansgar (violoncello) 'Flotenmusik des Barock'
    • Released 1976 by Odeon LP
99. Solisten des Symphonieorchesters des Bayerischen Rundfunks: Anja Kreynacke (viola), Christine Schornsheim (harpsichord), Stefan Schilli (oboe), Marco Postinghel (fagot)
    • Title: La Folia
    • Broadcasted by Radio broadcasting station Bayern4 May 11, 2006 in the program 'Kammerkonzert mit Solisten des Symphonieorchesters des Bayerischen Rundfunks, Aufnahme des Benefizkonzerts 'Lebensmut - Leben mit Krebs e.V.'
    • Duration: 13'52"
    • Recording date: Live during a concert November 13, 2006 in Max-Josef-Saal, Munchen, Germany
    
    
100. Trio Armin Rosin: Claude Rippas (trumpet), Armin Rosin (trombone), Susy Luthy (piano) 'Light Music By Great Masters'
     • Title: La Folia
     • Released 1991 by Hanssler compact disc CD-98.988
     • Duration: 8'49"
     • Recording date: unknown
     
     
101. Unknown performer 'Viaggio a Pompei', a film by Gaetano Capasso
     This is a (virtual) documentary about the Roman city of Pompei. Only the theme for flute solo is played 4 times in a row while a voice-over explains the architecture.
     • Title: Les Folies de Espagne by P.(slip of the keyboard?) Marais
     • Released 1997 by Capware Digital Video, il edizioni Giugno 2001, light edition.
     • Duration: documentary 21 minutes, Folia-theme from 15'25" till 19'46"
     • Recording date: unknown
     
     
102. Veilhan, Jean Claude (recorder), Robert, Guy (theorbe), Bloch, Marie Francoise (viola da gamba)
     • Released by Arion compact disc ARN 55410
     • Recording date: 1976/1978
     
     
103. Verbruggen, Marion (recorder) & Trio Sonnerie (Sarah Cunningham: bass viola da gamba, Mitzi Meyerson: harpsichord)'Bach, Bassano, Fontana, Marais: the art of the recorder'
     • Title: Couplets de folies
     • Released 1987 by ASV Digital compact disc CD GAU 113
     • Duration: 9'51"
     
     
104. Walter, Johannes (flute solo) 'Flöte und Orgel'
     • Released 1990 by Ars Vivendi compact disc 2100197
     • Duration: 9'13"
     • Recording date: 1988 in the Aufstehungskirche zu Dresden-Plauen, Germany
     
     
105. Watillon, Sophie (viola da gamba), Heumann, Friederike (viola da gamba), Diaz, Xavier (théorbe and baroque guitar), Mascardi, Evangelina (baroque guitar), Guglielmi, Luca (harpsichord) ' Marin Marais, la réveuse et autres piéces de violes'

     Sophie Watillon cum sui Duration: 16'44" direct link to YouTube © 2002 by Alpha Productions

     • Released April 2003 by Alpha Productions compact disc Alpha 036 (3760014190360)
     • Duration: 16'44"
     • Recording date: March 2002 in the church of Franc-Warêt à Namur, Belgium
     
     
106. Wiesler, Manuela (flute) 'Manuela Wiesler plays French solo flute music by Marais, Tomasi, Ibert, Francaix, Jolivet and Debussy'
     Manuela Wiesler wrote for the slipcase:

     The pieces recorded on this disc are an expression not only of my admiration for French culture but also of my own private nostalgia. I often think back to my studies in Paris - I was sixteen years old, smoked vast numbers of filterless French cigartettes, lived otherwise from café noir and was permanently in love. It was then that I played most of these pieces publicly for the first time - not in a concert hall but in the Châtelet Métro station, where I earned the money for my flute lessons as an "underground" musician. Sometimes, though, the music came to an abrupt end, if a well-meaning passer-by shouted out: "The Police are coming!" - and I fled to the next tube station, my pockets full of small change and my flute. Since then this music has been associated in my mind with the unique smell of the Paris Métropolitian. This applies especially to <b>Les Folies d'Espagne</b>, which I discovered then (in a "censored" version). I was fascinated by this work - gradually the variation form came to be a philosophy of life for me, of unity within variety, and vice versa. For my life is also a theme with variations - experiences, people, days - and it is no coincidence that for many years I have begun each new year of my life by playing the Folies. Marin Marais (1656-1728) must have been a very interesting person: gamba virtuoso at the court of the Sun King, director of the opera orchestra and a composer who not only wrote numerous operas (Ariane et Bacchus. Alcyone, Sémélé) and five books of Pièces de violes but even made a musical depiction of a gall-stone operation!. He also had ten children. The Folies d'Espagne are taken from the second book of Pièces de violes. In his preface Marais writes: "In writing these pieces I have taken heed of the fact that they (the complets) can be played upon all type of instruments, such as organ, harpsichord, theorbo, lute, violin, flute." Here I play my own transcription, which is transposed from D minor to F minor, resolves double-stops and puts certain passages up an octave but otherwise follows the original text. I hope gamba players will forgive me this intrusion into their territory...

     • Released 1990 by BIS, Djursholm, Sweden compact disc CD-459 BIS
     • Duration: 23'56"
     • Recording date: September 29-30, 1989 at Furuby Church, Sweden
107. Wiesler, Manuela (flute) 'Your Favourite Classics'
     • Title: Excerpts from ‘Les Folies d’Espagne’ (I; XXIV; XXV; XXVI; XXVII; XXXI; Theme)
     • Released 1996 by BIS, Djursholm, Sweden compact disc BIS CD-750A
     • Duration: unknown
     • Recording date: September 29-30, 1989 at Furuby Church, Sweden?
     
     
108. Wilson, Ransom (flute) 'Ransom Wilson plays music for solo flute'
     
     • Title: 25 variations on Les folies d'Espagne
     • Duration: 10'47"
     • Released 1972 by Orion LP ORS 7289
     
     
109. Wilson, Ransom (flute) 'Flute of the High Baroque'
     Ransom Wilson wrote for the documentation of the vinyl recording:
     

     Marin Marais (1656-1728) was the greatest viola da gamba virtuoso of his day. His mastery was recognized at an early age by Louis IV of France, who immediately made him a soloist in the royal orchestra. At the age of thirty he published his first composition, a set of pieces for one and two viols. Along with later successful operas, oratorios and concerti, h produced in all four volumes of these Piès de Violes. It was in the second that the Folies d'Espagne appeared.
     The piece is a set of variations on the famous Folies theme, which was used by countless 17th and 18th Century composers, including J.S. Bach, Vivaldi, Corelli, and Pergolesi. Interestingly, Les Folies is not really Spanish at all, but rather of Portuguese origin. It was a noisy dance accompanied by tambourines and performed by men dressed as women who worked themselves into an insane frenzy, hence the word 'folies' (literally, 'crazies').
     . The viola da gamba being a six-stringed and partially polyphonic instrument, one would think a version for flute would be impractical. But in the preface to the volume, Marais writes of the pieces, 'I have given attention in composing them to render them proper to be played on all sorts of instruments like the organ, harpsichord, theorbo, lute, violin, and German flute ...' Of the 32 couplets of the original version, 25 are presented here, and the original key of d minor has been shifted to e minor to better accommodate the flute.

     • Title: 25 variations on 'Les Folies d'Espagne'
     • Released 1981 by Sina Qua Non LP SA2046 and cassette tape C2046
     • Duration: 10'47"
     • Recording date: not mentioned in the documentation (made in the USA a dolby system, low noise recording)
     
     
110. Wolf, Jürgen (Viola da gamba), Praetorius, Lisedore (harpsichord) 'La Folia'
     
     • Title: Couplets de Folies d'Espagne
     • Released c. 1950 by Impromptu LP CS 93402
     • Duration: 7'51"
     • Recording date: not mentioned on the backside of the cover
     • see also the page Recommended Folia-recordings
     
     
111. Zucker, Laurel (flute) 'Inflorescence II, music for flute solo'
     
     • Title: Marin Marais -Les Folies d'Espagne, 25 variations
     • Released 2003
     • Duration: 20'31"
     • Recording date: not mentioned
     
     

Marco (Aragón), Tómas (1942- )

Vanitas con chaconas y folías (2006)
Throughout the piece there are weird percussion sounds (whooshing cymbals, woodblocks and rattles) which are easily associated with steam engines, the breathing of a living being or the recording of Paniagua (1980, La Folia) as a quotation of the literal meaning of the word Folia 'madness'. It makes the music very suggestive and powerful. In the opening of the piece it is not that hard to hear the imitation of tropical birds with the glissandos on the recorder. The tone is set for a playful but ambitious piece for full orchestra.
Some fragments of the Chaconne are only detected after the piece is heard at least once before. The descending bass lines in the beginning are referring to things to come as an embryonal phase of the Chaconne.
The traditional Folia melody starts of in a weird harmonic context which gets its apotheose in an orchestral setting which forcefully puts the melody in line (8'40"). Some short fragments are quotations of other Folia-composers as the dramatic phrase by Howard Newton (12'33") which only lasts for the film score of 'Restoration' just to rearrange the work in a very modern and twisted harmony.
The Chaconne which stands model in this composition is obviously the one attributed by Vitali. A full quotation of the theme of this highlight in classical music starts at 14'00" with the melody line by the recorder and this section ends with the orchestral version at 18'30". However the piece is fragmented and put together once more in an inventive way.
From now on the Folia and Chaconne get intermingled. The territories are set and in a playful game between orchestra and recorder the piece develops with unexpected twists. The piece is much too lighthearted and friendly to speak of a battle in any sense. Besides the two themes are expressions of exposure of sheer beauty not of associated with any kind of destructive symbol.
The listener has all the reason to expect that the melodies will be in complete unity in the end and so they do with the recorder playing the Folia melody and the orchestra the Chaconne (27'17"). A masterpiece that should be released as soon as possible for the demanding listener to enjoy to the full extend.

Carlos Escalante wrote in a translation of an introduction to the Spanish radio broadcasting:

This Madrid-born composer has a catalogue with more than 200 compositions that range from guitar and piano music to the most diverse combinations of instrumental, choral-symphonic and stage music. The work included in this concert, "Vanitas con chaconas y folías" is the product of a commission by the ORCAM that took place after Marcó had already composed a work for Alvaro Marias, "Floreal 2" for solo recorder. The idea of an orchestral work where the recorder was the soloist instrument, was fascinating for both performer and composer, and thus, the commission of this work by the Madrid-based group generated this score, which, as many other works by Marcó is strongly rooted in the Spanish culture.
According to the author, he wanted to create a musical "Vanitas" about the pass of time and the vanities of life, following the same principles found in some paintings and literary works of the Spanish baroque, as conceived by Juan de Valds Leal o Antonio de Pereda. This explains an abundance of baroque references that occur in many forms within the composition. For instance, the use of an instrument linked to that period: the recorder, of which three types are used: alto, soprano and sopranino. Equally important, is the nature of the musical material with multiple elements borrowed from the Chacona, as well as the theme of the Spanish Folia.
In the composer's own words, the work does not follow a progressive development, but is instead a juxtaposition (mixture) and a series of variations of very well-defined musical objects which are artistically modelled without losing their original character. It is, according to Marco, a reflexion of the flow, recurrence and inexorable pass of time, key elements in music.

1. Orquesta de Córdoba conducted by Manuel Hernández Silva with soloist Alvaro Marías (recorder)

   Duration: 0'55", 649 kB.(96kB/s, 44100Hz) Fragment of Vanitas con chaconas y folías © RNE, Orquesta de Córdoba conducted by Manuel Hernández Silva May 17, 2007 in the Gran Teatro de Córdoba

   • Title: Vanitas con chaconas y folías (2006) commissioned by ORCAM
   • Broadcasted by RNE (Spanish Radio) July 23, 2008
   • Duration: 25'10"
   • Recording date: May 17, 2007 in the Gran Teatro de Córdoba

Margot (1957 - )

La Follia parte II: un caso di malinconia (a case of melancholy)

Nicola Nicolis wrote about this track:

Margot is an italian songwriter and singer. She wrote in 1976 this two-parts suite in order to discuss madness. In the first part she got inspiration from Jonathan Swift's Modest Proposal. The second part tells the strange tale of a landowner wife, whose husband dies while hunting. In this second part appears the Folia-theme. Note that, although the theme is first played and then sung often, music is ascribed to Margot only, without referring to the original theme.

1. Margot, 'La Follia, part I & II'

   Text Un caso di malinconia

   Sono usciti coi cani nella notte per cacciare i l cinghiale fra le grotte uria Ia belva e spande sangue nero cade riversa morta sul sentiero. I I mio Signore, fosco fantasma, corre stanotte fra servi e cagne smunte affamate, fra sterpi e rocce nelle sue terre non coltivate. Urla la belva e spande sangue nero cade riversa morta sul sentiero l'occhio feroce rivoltato al cielo la zanna strappa della morte i l velo. I contadini quassü ogni giorno portano olive, formaggi e biada; marcio tesoro senza padrone nelle cantine non rende oro. L'occhio feroce rivoltato al cielo il sangue infiamma della morte i l velo viscere secche colte in Paradiso terra bruciata come 11 mio bel viso. Nessun mercante viene al castello a vender lini, pizzi di Fiandra, pettini e scialli ben lavorati; Ie mie speranze sono aflogate, Due rose blanche colte in Paradiso terra bruciata come i l mio bel viso il nodo è rotto e i l fuoco è spento e sparso la torcia è a terra e i l cuor di ghiaccio è arso. Vien dalla corte aspro l'odore di stalle e mosto, di foglie e fieno non ha denari 11 mio Signore grida di rabbia se i l giorno muore. I I nodo è rotto e i l fuoco è spento e arso rotta è l'alta colonna e i l verde sparso che fanno ombra al mio stanco pensiero urla la belva e spande sangue nero.

   .La nave bianca della mia vita qui si è arenata, terra bruciata; terra senza uomo, uomo senza terra, Dio ci ha lasciato, non c'è piü guerra. Ombre ombre sul mio stanco pensiero perduto ho quel che ritrovar non spero verra l'aurora e l'aria tutta imbianca dov'è la vita, dov'è la morte mia? O dolorosa gioia, o soave dolore per cui quest'alma è morta e lieta muore! Volan come farfalle i miei pensieri. A te che ti accatasti alcuna cosa a vili prezzu annanti lu tempu. A te che tenisti lu salariu a quilli che ti serveru. A te che donasti bestii in guardia et fachisti pagari l i bestii morti. A te che vendisti alcuna cosa a termini pluy che non vali a manu. A te che imprestasti denari et pigliasti alcuna cosa oy sperasti avirindi alcuna cosa. A te che tegni i pigni usufructuali. A te che non guardasti gli occhi mia. Candido e verde fiore che di speranza tu, tu pur m'imbianchi i l cuore. Tu che tenisti lu salariu a quilli che ti serveru. Sparge la morte al mio Signor sul viso tra squallidi pallori pietosissimi orrori. Lo guardo e son pietosa io son la Morte che geme e sospira e piü ferir non osa lui che temer mi mira inclina i l capo nasconde i l viso e spira. O dolorosa gioia, o soave dolore volan come farfalle i miei pensieri... .

   • Directed and arrangements by Virgilio Savona
   • Released 1976 by Divergo, distributed by Phonogram LP DVAE 009
   • Duration: 13'29"
   • Recording date: November 3, 1976 in la Mondial Sound, Milano, Italy

Mariani, Alberto(1983- )

Variazioni sulla Follia for guitar solo (2011)
New variations on the old Spanish theme

1. Mariani, Alberto
   • Published by Bèrben, Ancona, Italy catalogue number 5783
   • Source: Berben catalogue http://www.berben.it/Data/Catalogo_Generale_2013.pdf#zoom=55
   • Pages 12, language Italian
   • Skill level intermediate - advanced

Martín y Coll, Antonio (c.1660-c.1740)

Diferencias sobre las Folias: 13 variations (1709)
Manuscript 'Flores de Música', p. 1357-1360 (1706-1709), National Library, Madrid contains two Folias. One is the long Diferencias sobre las Folías and there is the shorter Folías
Antonio Martin y Coll was a franciscan friar who collected a lot of anonymous works for keyboard instruments. The reason why I classified this manuscript under the name of Martín y Coll is that he often is called the 'composer' of this music.

Duration: 5'11", 11 kB The complete Diferencias sobre las Folias

Duration: 7'16" direct link to YouTube The Ms. collected by Martin Y Coll in an arrangement by Hesperion XX (Jordi Savall) © Mezzo television

1. Águeda, Sara (arpa doppia) and Mulder, Juan Carlos de (baroque guitar)

   Sara Águeda and Juan Carlos de Mulder play Sanz and Martin Y Coll Duration: 5'15" direct link to YouTube © Sara Águeda and Juan Carlos de Mulder

   • Title: Folías (by Gaspar Sanz and Martín Y Coll)
   • Released April 2, 2014 on YouTube by Sara Águeda
   • Duration: 5'15"
   • Broacasting date: April 2, 2014


2. Capella de Ministrers directed by Carles Magraner 'Il Barbaro Dolore, Arias y Cantatas del siglo XVIII español'
   • Title: Folía as part of 'Suite española (Madrid h. 1706)
   • Released 2003 by Licanus compact disc V-97-2003 (0306)
   • arranged by Carles Magraner (revision and transcription of the manuscripts)
   • Duration: 4'18"
   • Recording date: 20, 21 and 22 January 2001 in Saló Alfons el Magnànim del Centre Cultural La Beneficència de Vàlencia, Spain
   
   
3. Composizioni Inedite dai 'Flores de Música di Antonio Martin y Coll'
   Carlo Stella wrote as an introduction to the manuscripts:

   An exquisitely Baroque metaphet, Flores de Música, is the title given by the Franciscan friar Antonio Martín y Coll (c. 1660 - c. 1740) to a manuscript collection of works for keyboard instrument.
   This collection, divided into four volumes, includes the finest works of a musical production representative of the cultural and artistic climate in which Spanish musical consciousness flourished during the Baroque era.
   An author of musical treatises, Martún y Coll was a student of Andrés Lorente-the author of the important theoretical treatise El porqué de la Música-and, during his youth, organist in the monastery of San Diego al Alcalácute; de Henares. He subsequently moved to the Monastery of San Francisco el Grande at Madrid, where he remained for the rest of his life, as chief organist. In four years, from 1706 to 1709, he completed his vast anthology, thus leaving us an unequalled tool of fundamental importance lo the knowledge of Spanish music in the Sixteenth and Seventeenth centuries; especially with regard to the breadth and variety of the music it contains, including works of the Spanish, French and Italian organ and cembalo schools, although the two latter are represented by far fewer works.
   Almost all the compositions in Flores de Música are anonymous; Martín y Coll obviously felt it unnecessary to give the name of the composer with each piece, since the works he collected piece by piece over the years were very well known at the time. The only pieces bearing the composers' names are an Obra en Ileno de 3e tono de (Diego) Xarava, in the first volume, the Tocatas alegres de Coreli (Arcangelo Corelli), a Marche de Gautier (Denis Gaultier or Jacques Gaultier, both of whom lived during the Seventeenth century), and a Jaboste (gavotte) de Ardel (Hardel or Hardelle, c. 1640-1679, student of Chambonnières), all in the fourth volume. In any case the efforts to attribution begun by Anglés have made it possible to identify, among the anonymous composers, figures of primary importance such as Aguilera de Heredia, Clavijo del Castillo, Pablo Bruna and Cabanilles. To these names was subsequently added that of Andrés Lorente (Anchuelo, 15 April 1624 - Alcalá de Henares, 22 December, 1703) who, thanks to the research of Louis Jambou (cf. Louis Jambou: Andrés Lorente, compositeur.
   Essai d'identification de la tablature du Ms. M. 1358 de la Bibliothèque Nationale de Madrid, in 'Melanges de la Casa Velázquez', Vol. XIII, pages 251 269, Paris 1976 and, by the same author, Andrés Lorente - Datos biograficos - Semblanza in 'Tesoro Sacro Musical', 1976/3, pages 67-78) must be considered the composer of the eighty sheets in Spanish figures comprising the 2nd volume. The name of Andrés Lorente must be emphasized in particular, especially since it was thanks to his cultural preparation and his encouragement that Martín y Coll carried to completion his four volumes of Flores de Música.
   We ourselves have identified, to date, works by Antonio de Cabezón, Frescobaldi, Andrés de Sola and Xarava. The latter, nephew and student of the famous Pablo Bruna, was chief organist of the Royal Chapel ofl Madrid. Born al Aragon in 1652, the exact date of his death is unknown, but we cannot go too far wrong by placing il, as does the musicologist Pedro Calahorra Martinez, around 1714.
   The four volumes of the 'Coll Collection', are al present housed in the Biblioteca Nacional de Madrid in the section Manuscritos, and are catalogued M 1357, M 1358, M 1359 and M 1360. A precise and exhaustive description of them is published in the first volume of the Catálogo Musical de la Biblioteca Nacional de Madrid compiled by H. Anglés and J. Subirá (Barcelona, 1946, pages 295-309).
   The original titles of the individual volumes are as follows:
   I - Flores de Mvsica/obras y versosIde varios organista-Y1 Escriptas/por/Fray Antonio Martín Coll/Organista de San Diego de Alcalá/Ano de 1706 (M 1357)
   Il - Pensil deleitoso/de/svabes flores/de mvssica/Recogidas de varios/Organistas/por F. Antonio Martín/0rganista de S. Diego/de la Ciudad de Alcalá/ano 1707 /Estevan de Yusta Calvo (M 1358)
   III - Hverto ameno/de/varias flores/de Musica/recogidas de muchos/organistas por/Fray Antonio Martún/ano 1708 (M 1359)
   IV - Hverto ameno/de/varías flores/de mussica/Recogidas de Ua/rios Organistas/Por Fray Antonio/Martínl año 1709/de/Estevan Yusta Calvo (M 1360)
   With regard to the name Estevan de Yusta Calvo, which appears at the bottom of the title page of the second and fourth volumes, it is not yet clear what role this person had in the compiling of the anthology. Anglés and Subirá advance the hypothesis that Estevan de Yusta Calvo may have been responsíble for the decorative drawings around the title page of the second volume, as well as owner or copyist of the fourth. The latter theory seems the most plausible, since the manuscripts are written in different hands.
   The pages are numbered according lo two different systems. The first, with progressive numbers on either side of each sheet, indicates the page numbers and is used in the first and third volume, while the second, with numbers on the recto of each sheet, indicates only the number of sheets, not pages, and appears in the second and fourth volume. The notation used is that in round notes on a double stave with alternating clefs. Each page contains a maximum of five double staves (systems) on which the clefs of G, C and F alternate according lo the requirements deriving from the range occupied by the individual parts. The end of each piece is indicated by a fermata and also, sometimes, by the word Fin or Finis.

   • Published by Editioni Suvini Zerboni, Milano, Italy
4. Forma Antiqva 'Concerto Zapico Vol 2'
   
   • Title: Las Folías (Flores de Música 1706)
   • Released 2018 by Winter & Winter compact disc 910 248-2
   • Duration: 4'39"
   • Recording date: December 2017 in Estudio Uno, Colmenar Viejo, Spain
   • Arrangement for harpsichord, baroque guitar and theorbo
   
   
5. Frigé, Antonio (organ) 'The joyful organist'
   Absolutely the finest performance of the manuscript I know. Great organ, nice playing, highly recommended.
   • Title: Variaciones sobre 'las Folias' Bayle del Gran Duque
   • Released October 1991 by Nuova Era as compact disc 7042
   • Duration: 5'31"
   • Recording date: April 29, 1991 in the Basilica S. Maria della Passione, Milano
   • Organ: Mascioni (Cuvio - Italy) rebuilt on a pre-existing XVII century organ
   
   
6. Grupo de musica barroca La Folia directed by Pedro Bonet (harpsichord solo) ' Música de la Guerra de Successió Espanyola'
   
   • Title: Folías, Huerto ameno de varias flores de música (1709)
   • Released 2008 by Columna Musica 2 cd-set ordernr. 0181
   • Duration: 7'54"
   • Recording date: unknown
   
   
7. Hesperion XX: Savall, Jordi (viola da gamba) Smith, Hopkinson (guitar) 'El Barroco Español, Tonos humanos & Instrumental music c.1640-1700'
   John H. Baron wrote as part of the introduction for the LP Folge 7 with three compositions of Martín y Coll:

   Volume V contains Martin y Coll's own works, mostly verses. Not all the works are intended for the organ; volume 5 includes Martin y Coll's treatise on keyboard-instruments in general and the harp, which suggests that many of the pieces might be performed on any keyboard instrument or the harp and some of the pieces in the earlier volumes actually designate other instruments. Further more, it is possible that the secular works such as the three on this recording would have been just appropriately played on gamba, with harpsichord or lute and violin as sustaining instrument, as the organ.
   The first Diferencias (variations) will immediately remind the listener of Corelli's more famous setting of the same harmonic bass 'La Folia'

   
   
   
   • Released 1978 by EMI Reflexe LP 63418
     re-released in series 'Stationen Europäischer Musik' Folge 7 LP quadrophonie 1c 065-30 942
     re-released 1990 by EMI Electrola GmbH Reflexe compact disc CDM 7 63418 2
     re-released August 1998 by Virgin Classics Veritas compact disc 61346 and again re-released 2001 in the series 'Espagña Antigua' 8 cd-box Emi Records Ltd/Virgin Classics compact disc 7243 5 61964 2 1
   • Duration: 6'47"
   • Recording date: September 1976 in Seon Switzerland
   
   
   
8. Hesperion XX directed by Savall, Jordi (viola da gamba)
   with: Adela Gonzalez-Campa (castanuelas), Rolf Lislevand (guitar), Arianna Savall (harpa topia)
   • Recorded and broadcasted live by BRT 3 Radio (Belgium) as part of the 'Festival Laus Polyfoniae 1998'
   • Duration: 9'45"
   • Recording date: August 26, at the church of St. Augustine, Antwerpen, Belgium
   • Producers: Walter de Noel, John van Kranenbroek (technique) and Michel Hoedemakers (director)
   
   
9. Hesperion XX directed by Savall, Jordi (viola da gamba), program: 'Tonos Humanos and Variaciones instrumentalis'
   with: Adela Gonzalez-Campa (castanuelas), Rolf Lislevand (guitar), Arianna Savall (harpa topia)
   • Broadcasted by VPRO Radio (The Netherlands), September 09, 1998
   • Duration: 9'47"
   • Recording date: August 30, live at the Festival of Ancient Music, Utrecht, The Netherlands
   
   
10. Hesperion XXI directed by Savall, Jordi (viola da gamba), program: 'Folias & Canarios'
    With: Adela Gonzalez-Campa (castanets), Xavier Diaz-Latorre (theorbe, guitar), David Mayoral (percussion) Andrew Laurence King (harp)
    • Broadcasted April 12, 2006 by AVRO Radio IV (Dutch radio)
    • Duration: 8'50"
    • Recording date: September 11, 2005 in the Church of the University of Wroclaw, Poland as part of the 'Bratislava Kantans Festival'
    
    
11. Hesperion XXI directed by Savall, Jordi (viola da gamba)
    • Broadcasted March 12, 2008 by Polskie radio Dwójka (Polish radio)
    • Duration: 8'32"
    • Recording date: July 21, 2007 in Brussels, Belgium
    
    
12. Ensemble La Romanesca 'Música en tiempos de Velázquez'
    Luis Robledo wrote for the slipcase:

    The Folías are a series of variations upon a basso ostinato well-known through its wide diffusion in other European countries and very well established by this time. The sterotyping of this rhythmic-harmonic model permits the happy combination of the discoveries of Sanz with the Folías of Martín y Coll.
    Of Antonio Martín y Coll very little is known: he was born in Reus; he entered the Franciscan order in 1690. He was organist of the church of San Diego in Alcalá de Henares, and, later, of San Francisco el Grande in Madrid (possibly from 1707); and he died after 1734. His importance for Spanish music is, nevertheless, considerable on account of the five manuscript volumes of keyboard music preserved in the Biblioteca Nacional de Madrid which were compiled between 1706 and 1709. The first four volumes contain copies and transcriptions of works by Spanish authors and also by Frenchmen and Italians, amongst whom figure the standard-bearers of the European Baroque, Lully and Corelli. The repertoire of dances, including many of those common in the previous century, naturally occupies an important place in Martín y Coll’s collection. It is interesting to be able to compare in the present recording two versions of Canarios, those of Gaspar Sanz and Martín y Coll, which follow what is essentially the same scheme: lively triple rhythm over a bass built on the succession of what we should now call the subdominant, dominant and tonic. In Sanz’s version, in addition, important use is made of hemiola.

    • Title: Folías (in combination with the Folías by Gaspar Sanz)
    • Released by Glossa 1999 compact disc GCD 120 201
    • Duration: 4'04"
    • Recording date: November 1991 and April 1992 in San Lorenzo de El Escorial, Spain
13. La Sfera Armoniosa: Laarhoven, Paulina van (viola da gamba), Rodriguez Van der Spoel, Adrián (percussion, renaissance guitar), Fentross, Mike (theorbo, vihuela, renaissance guitar, baroque guitar) 'Senhora del Mundo, Early music from Spain, Portugal and the New World'
    • Title: Folias by Anonymous composer (16th century)
    • Duration: 8'43"
    • Recording date: September 19-22 2000 at the Nederlands Hervormde Kerk, Gapinge, The Netherlands
    
    
14. Laganà, Ruggero (harpsichord) 'Folías italianas'
    
    • Title: Las Folias
    • Released 2010 by Concerto compact disc CD 2058
    • Duration: 3'47"
    • Recording date: October 2009 Bartok Studio, Bernareggio (Mi), Italy
    • See also the page Recommended Folia-recordings
    
    
15. Laganà, Ruggero (harpsichord) 'Follie, bizzarrie e stravaganze in musica, dal '500 all '800'
    Theme and 7 variations
    Source: in Pensil deleitoso de suabes flores de música recognidas de varios organistas por F. Antonio Martín 1707, ff. 68r-69r.
    • Title: Tonos de Palacio - Folias (Tema di Follia di 8 battute ripetute con otto variazioni)
    • Released 2005 by Amadeus Darp, Milano, Italy double compact disc AMS 092-2 DP together with a magazine special devoted to the Folia Theme (April 2005)
    • Duration: 2'22"
    • Recording date: August 18-19 and November 15-19, 2004 in Chiesa di S. Maria Incoronata, Martinengo (Bg), Italy
    • See also the page Recommended Folia-recordings
    
    
16. Le Poème Harmonique
    
    • Title: Folías as part of the program 'Hope, feel and than die'
    • Broadcasted by dutch radio KRO 'Avondconcert' January 23, 2006
    • Duration: 3'35"
    • Recording date: Live concert Febryary 27, 2005 in 'de Waalse Kerk' Amsterdam, The Netherlands
17. Los Otros (Perl, Hille: Viola da gamba and Baroque guitar, Santana, Lee (Chitaronne and Xarana), Player, Steve (Baroque guitar)
    Hille Perl wrote for the slipcase:
    

    The Diferencias sobre La Folia survive in a manuscript of the Spanish organist Martin Y Coll. They are a typical example of the development of instrumental variation over traditional basses, melodies and dances in the late 17th century, which gives us plenty of excuses to try out our own versions of the material.

    • Title: Diferencias sobre las Folias
    • Released 2002 by Deutsche Harmonia Mundi compact disc 05472 77861 2
    • Duration: 12'47"
    • Recording date: July 9 till 12, 2002 in the Colnrade church, Germany
18. Los Otros (Perl, Hille: Viola da gamba and Baroque guitar, Santana, Lee (Chitaronne and Xarana), Player, Steve (Baroque guitar, dance)
    
    • Title: Diferencias sobre las Folias (introducion with dance)
    • Broadcasted by Classico Notturno NRK P2 (Norwegian radio), February 22, 2006
    • Duration: 12'40"
    • Recording date: July 30, 2005 at Odsherred Theatre Centre, Anneberg
    
    
19. Nichifor, Serban, editor of the original manuscript
    
    

    The arrangement in a midi setting by Serban Nichifor Duration: 8'07" direct link to YouTube © 2013 by Serban Nichifor, used with permission

    11 pages in pdf-format sheet music, 605 kB 8 pages cello and harpsichord(score) and 3 pages for the cello (part) © August 2013 by Serban Nichifor, used with permission

    Duration: 5'08", 11 kB The complete Diferencias sobre las Folias in an arr. by Serban Nichifor © 2013 by Serban Nichifor, used with permission

    Serban Nichifor ( cellist  and chamber music professor at the National University of Music, Bucharest) wrote about the music:

    I was very impressed by the Folia composed by Antonio Martín Y Coll - and I made this arrangement for my students in chamber music.
    My arrangement and the links are absolutely free - and it can be used without any restrictions!
    I think the most important goal is precisely to serve the wonderful music of Antonio Martín Y Coll!

    • Title: La Folia, from the fifth volume of the "Flores de Música", "Ramillete oloroso: suabes flores de música" (1709) , National Library, Madrid, M 2.267 p. 1357-1360
    • Arrangement for cello and harpsichord (ossia piano, ossia organ)
    • Published August 2013 by Serban Nichifor
    • More about the composer Serban Nichifor you can find at http://www.voxnovus.com/composer/Serban_Nichifor.htm and http://en.wikipedia.org/wiki/%C5%9Eerban_Nichifor
    • Some thematical music by Serban Nichifor you can find at http://www.shoahmusic.com/
20. Savall, Jordi (viola da gamba [basse]), Savall, Arianna (harpe triple), Lislevand, Rolf (guitar), Gonzalez-Campa, Adela (castagnettes)
    • Title: Diferencias sobre las Folias (c.1707)
    • Released 1998 by Alia Vox compact disc AV 9805
    • Duration: 10'48"
    • Recording date: July 31 and/or August 1-2, 1998 in the Studio Fondation Tibor Varga, Sion (Switserland)
    • See also recommended recordings
21. Tamminga, Liuwe (organ) 'Islas Canarias, Historical Organs of the Canary Islands'
    • Title: Diferencias sobre las Folías source Madrid, Biblioteca Nacional, ms 1360 Huerto ameno de varias Flores de música recogidas de varios organistas por Fray Antonio Martin, año 1709, f. 212-215
    • Released 2008 by Accent compact disc ACC 24204
    • Duration: 5'00"
    • Recording date: October 2007 in La Laguna, Convento de las Catalinas, Tenerife
    • Organ built by Rudolf Meyer (1725) in Hamburg, restored by Bartelt Immer (1989)
22. Tetampel, Olof and Jörg Jacobi (harpsichord basso continuo)
    • Title: Differentia sobre 'Las Folias' for Viola da gamba and harpsichord (after 'Las Folias' for a Keyboard instrument)
    • Published 2008 by Edition Baroque, edition for Early Music
    • Publishers No. eba2127
    • Number of pages and parts unknown
    • More about this publication at http://www.edition-baroque.de/eba2127_Martin_y_coll_Differentia.html
    
    
23. Tonatiuh Herández, Gabriel Alejandro (Baroque violin), Bérengère Sardin,(Baroque harp), Edwin Garcia (Baroque guitar),
    Joaquim Arau (theorbo)
    
    • Title: Folia (Ms. de Antonio Martín y Coll. s.XVIII)
    • Released 2009 by Gabriel Alejandro Tonatiuh Herández at YouTube
    • Duration: 5'00"
    • Recording date: 2009
    
    
24. Trombone ensemble Harry Ries & Co (4 trombones and an organ)
    
    • Title: Las Folias
    • Recorded by De Concertzender for the program 'Concertzender Live', broadcasted September 15, 2005
    • Duration: 8'30"
    • Recording date: April 24, 2005 in the Waalse Kerk, Amsterdam, The Netherlands
    • The recording can be heard (starting after 53 minutes of the concert) at the page of the Concertzender http://cgi.omroep.nl/cgi-bin/streams?/cz/portal/oudemuziek1/donderdag/05.rm
    
    
25. Vaere, Hannelore De (Spanish baroque harp) with Daniel Zuluaga (Spanish baroque guitar), Thomas Baeté (viola da gamba) 'The Fellowship: Hannelore De Vaere plays chromatic harps by Rainer M. Thurau' '
    The collection of variations on Las Folias by Antonio Martín y Coll is performed on gamba, guitar and harp.
    • Title: Las Folias
    • Released 2008 by hanneloredevaere.be
    • Duration: 5'05"
    • Recording date: January 27, 2008 in Sint Rembert kerk (church), Torhout, Belgium
    • Harp built by Rainer M. Thurau after Iván de la Torre (end of the 17th century)
    
    

Folías (1709)

1. Belladonna: C. Galhano (recorder), M. Humphrey (baroque violin), R. Humphrey (baroque cello), B. Weiss (harpsichord) 'Folias Festivas'
   • Title: Folias (1709)
   • Released 1999 year of release not indicated at all or it should be the small inprint on the cd itself 'bella99cd' indicating the year 1999, a 'production of The Schubert Club, Ten Thousend lakes' compact disc without ordernr. barcode 6 0197199032 3
   • arranged by Barbara Weiss
   • Duration: 2'09"
   • Recording date: November 1998 at St. Bernard's Church in Saint Paul, Minnesota USA
   
   
2. Jordà, Ignasi and La Dispersione (ensemble conducted by Joan B. Böils): Flauta de pico: David Antich, Oboe: Albert Romaguera, Fagot: Ximo Osca, Violines: Luis Osca P. and Josep Ribes, Viola: Adolf Giménez, Violonchelo: Gustavo Canet, Contrabajo: Juan Perfecto Osca, Guitarra and theorbo: Josep Maria Martí, Harp: Manuel Vilas, Keyboard: Ignasi Jordà, Percussion: Luis Osca G.(arrangement for recorder and ensemble) 'Martín Y Coll'
   
   • Title: Las Folias
   • Released by 2011 by Enchiriadis compact disc ordernumber EN2031
   • Duration: 3'37"
   • Recording date: December 2010 in the church of Montesa, Spain
   • See also the promo: http://vimeo.com/19909246
   
   
3. Laganà, Ruggero (harpsichord) 'Follie, bizzarrie e stravaganze in musica, dal '500 all '800'
   Theme and 3 variations.
   Source: in Huerto ameno de varias flores de m&uactute;sica recogidas de muchos organistas por Fray Antonio Martín 1708, Madrid, Bibliotheca Nacional, Ms 1359, pp 593-595.
   • Title: Folias (tema di Follia di 7 battute ripetute e variate quattro volte, con diminuzioni)
   • Released 2005 by Amadeus Darp, Milano, Italy double compact disc AMS 092-2 DP together with a magazine special devoted to the Folia Theme (April 2005)
   • Duration: 1'42"
   • Recording date: August 18-19 and November 15-19, 2004 in Chiesa di S. Maria Incoronata, Martinengo (Bg), Italy
   • See also the page Recommended Folia-recordings
4. Laganà, Ruggero (harpsichord) 'Follie, bizzarrie e stravaganze in musica, dal '500 all '800'
   Theme and 8 variations
   Source: in Huerto ameno de varias flores de música recogidas de muchos organistas por Fray Antonio Martín 1709, Madrid, Bibliotheca Nacional, Ms 1360, ff. 215v-217v
   • Title: Otras Folias per clavicembalo (1709)
   • Released 2005 by Amadeus Darp, Milano, Italy double compact disc AMS 092-2 DP together with a magazine special devoted to the Folia Theme (April 2005)
   • Duration: 2'17"
   • Recording date: August 18-19 and November 15-19, 2004 in Chiesa di S. Maria Incoronata, Martinengo (Bg), Italy
   • Three parts of variations nicely indexed
   • See also the page Recommended Folia-recordings
   
   
5. Sgrizzi, Luciano (harpsichord) 'Musique espagnole choisie par Cervantès'
   Robert Tifft (the co-webmaster of the Sgrizzi website) wrote about this track:

   According to the notes, this work is from a manuscript collection copied by Antonio Martin in 1708. The repertoire in this collection, by anonymous composers (perhaps Martin himself), stems from the 16th and 17th centuries. I have not been able to find the original Cycnus issue of this recording, but I do have the Nonesuch publication, which, of course, was quite common.

   • Title: Folia
   • Released by Cycnus LP 60 CS 530 and by Nonesuch (c. 1965) LP H-71116
   • Duration: 2'35"
   • Recording date: not mentioned in the documentation
   • More about Luciano Sgrizzi (including a full discography at http://www.jsebestyen.org/sgrizzi/
   
   
6. Tamminga, Liuwe (organ) 'Islas Canarias, Historical Organs of the Canary Islands'
   • Title: Las Folías, source Madrid, Biblioteca Nacional, ms 1360 Huerto ameno de varias Flores de música recogidas de varios organistas por Fray Antonio Martin, año 1709, f. 215v-217v
   • Released 2008 by Accent compact disc ACC 24204
   • Duration: 2'48"
   • Recording date: October 2007 in La Laguna, Convento de las Catalinas, Tenerife
   • Organ built by Rudolf Meyer (1725) in Hamburg, restored by Bartelt Immer (1989)

Mascitti, Michele (c.1664-1760)

Allegro from Trio Sonata in g, Opus 6 No.15 (published between 1704 and 1738 in Paris)
The Folia-theme is quoted once in the middle of the allegro (see also the review by Paul Geffen of composer Blidström): 8 bars only

1. Macklin, Kersti (nyckelharpa) and the Midgardensemblen (recorder, baroque violin, viola and cello, bass guitar) 'L'agreable'
   
   • Released 1996 by Tongang compact disc AWCD-10, distribution by CDA, Box 4225, 102 65 Stockholm
   • Duration: 2'00"
   • Recording date: April/June, 1996 in Falun Sweden

Matteis, Nicola (unknown-c.1710)

Divisions on a ground (La folia) in D minor (c.1687)

Duration: 1'26", 04 kB. The last two variations by Matteis (Oxfords Bodleian Library MS Sch C61) for violin and continuo.

1. Bell'Arte Antiqua (Dael, Lucy van (violin), Ross, Jacqueline (violin), Hunt William (viola da gamba), Charlston, Terence (harpsichord) 'The Italian Connection'
   
   • Released 2000 by Gaudeamus (ASV) GAU compact disc GAU 199
   • Duration: 4'26"
   • Recording date: September 1998 in St. Michaels Church, Highgate, London

Mattos, Fernando (1963- )

Variações sobre Folias de España (c.2009)

The sheet music of the Variações sobre Folias de España © Public Domain Source Library ILSMP

1. Fernando Mattos
   
   • Released 2009 by Fernando Mattos at ILSMP library
   • Dedicado à amiga Lucia Becker Carpena
   • Instruments: alto recorder and harpsichord
   • 17 pages inluding title (13 pages of sheet music)
   • Available at ILSMP http://ks.imslp.info/files/imglnks/usimg/9/91/IMSLP409972-PMLP663992-Folias_de_Espa__a__flauta_doce_e_cravo_.pdf

Matyas, Thomas (1969 - )

Variations on 'La Folia' for Keyboard (2004, revised and expanded 2009)
The Folia-variations are sounding very serious indeed. Every variation seems to be a representative of a Baroque Style. No playing around in the theme but a solid statement for the listener. There are variations like listening to an ensemble with the harmony between the melody part for the violin and the bass part for the viola da gamba in the Italian Baroque style.
Other variations remind the user of a smooth arpegio-style, or my kind of stuff the German style with that lovely contrapunt in the two equal voices so suitable for the harpsichord. There are variations I could so easily associate with the French Ouverture. Stately and with an air if Louis XIV could enter the music chamber any moment!

Thomas wrote about his composition in January 2005:

I'm a self-taught composer from Buffalo, New York. I would like to commend you on your fascinating website. It was brought to my attention by fellow members of the Delian Society. I would like to contribute a link to an MP3 recording of four 'Folia' variations for keyboard that I began writing in late 2004. The variations, in the manner of the late Baroque, range from playfully contrapuntal to sombre and homophonic.
My reason for making use of the Folia theme? - Your web site devoted to La Folia first made me conscious of the theme, although it immediately sounded somewhat familiar to me. I might have heard it a long time ago and simply forgotten it, or perhaps this is part of the theme's unusual appeal, that it evokes an immediate sense of familiarity even in those who have never heard it. In any case, it stuck in my head and the outlines of two variations began to take shape in my mind very quickly. Never having written variations before, I was eager to try my hand at a set, and the current four variations are the result. I have a fifth sketched out, and plan to add at least three more.
I have no plans at the moment for recording or publishing the piece, although when the full set is complete I might make the score available through my web site.

1. Lewis, Lisa Michele (harpsichord)

   The complete variations in a live performance of Lisa Michele Lewis Duration: 8'00" direct link to YouTube © 2009 by Lisa Michele Lewis and Thomas Matyas

   Duration: 8'00",7.5 mB.(128 kB/s, 44100 Hz) The complete variations in a live performance of Lisa Michele Lewis July 19th, 2009 at St. John United Lutheran Church, Seattle © Thomas Matyas 2009, used with permission

   • Recorded during a live performance in Seattle
   • Duration: 8'00"
   • Recording date: July 19th, 2009 at St. John United Lutheran Church, Seattle
   • The concert was sponsored by the Delian Society and Matthew Weiss of the Octava Chamber Orchestra
   • More about the works of Thomas Matyas at his website http://www.thomasmatyas.com

Canon on 'La Folia' (for three voices unison) (2006)

Duration: 1'05", 1024 kB. (128KB/s, 44100 Hz) Canon on 'La Folia' © Thomas Matyas 2006, used with permission

Thomas wrote about his composition March 4, 2006:

I would like to send you a link to an MP3 file of a canon on "La Folia" that I have just finished. It is a 3 voice canon at the unison, in 6/8 time, based on a simple step-wise theme. When all 3 voices enter they form the harmonic progression of the first half of the "Folia". At some point it may become a part of my slowly expanding set of "Folia" variations, although I'm not yet sure how I can best fit it in with the other completed variations. I hope you enjoy it.

1. Thomas Matyas (organ/sequencer?)
   
   • Not yet published or even finished. Only the theme and four variations have been written down and hopefully some more will follow.
   • Duration: 1'05"
   • Recording date: February 2006 at Buffalo, New York, USA
   • More about the works of Thomas Matyas at his website http://www.thomasmatyas.com

Maute, Matthias (1963- )

How I love you, sweet Follia! (für Tenorblockflöte solo) (1986)
Quoted from the introduction to the sheet music:

From the Basis of the baroque Follia-Bass model, the variations on 'How I love you, sweet Follia!' are developed and given a special brilliance with the use of virtuoso sixteenth note ostinato and different performance techniques

Duration: 0'49", 02 kB. The opening theme as indicated below and 11 more bars

Opening of 'How I love you, sweet Follia!'	reproduced with permission of Ascolta Music Publishing

1. Ensemble Caprice: Maute Matthias (recorder) and Larivière, Sophie (recorder) 'Sweet Follia, la flûte a bèc sur deux continents'
   • Released 1999 by Atma Classic Montreal Canada (9 place Cambrai, Outremont, Quebec), Canada as compact disc ACD 2 2213
   • Duration: 1'57"
   • Recording date: June 30, July 1 and 2, 1999 in Eglise Saint Augustin, Saint Augustin-de-Mirabel, Quebec, Canada
2. Maute, Matthias (recorder) 'Les Barricades'
   • Released 1990 by Sacral LC7277 as compact disc SACD 9008-3
   • Recording date: Spring 1990, in the Bauer Studios in Ludwigsburg
3. Maute, Matthias edited the music
   • Published 1995 by Ascolta Music Publishing
   
   
4. Peters, Ellen (recorder)

   A live performance in the Arke zaal, Enschede, The Netherlands Duration: 1'57" direct link to YouTube © 2011 by Ellen Peters, used with permission

   • Broadcasted at YouTube by TSJeroen
   • Duration: 1'57"
   • Recording date: January 8, 2011 in the Arke zaal of Muziekcentrum in Enschede, The Netherlands
   • The link to YouTube: http://www.youtube.com/watch?v=IfIKxblazQk&feature=colike

Maydew, Peter (1953- )

Pyramid and Frisbee (1995)

1. Maydew, Peter 'Hubbub'
   A rather weird Folia in 2/4 meter with a lot of different instruments and incorporating lots of music styles
   Peter Maydew wrote about the track Pyramid and Frisbee:

   This is a culture clash track - the first of many. Its title is a garbled version of Pyramus and Thisbe, the play within a play from Shakespeare's Midsummer Night's Dream. The alternating blues and Arabic scales are backed by a chord sequence taken from a Folia, a Spanish dance dating back to the late fifteenth century and referred to as a 'fool's dance', 'mad' or 'empty headed'. Originally the track had a Latin American rhythm and went by the working title of Spanish Reggae, but you can stretch a point too far.

   • Released 2000 by peoplesound.com (http://music.peoplesound.com/artists/en_artist_home.asp?artistID=172851) where you can hear this track online in mp3-format. Originally released in 1996. The version currently in circulation was re-mastered (but the music is exactly the same).
   • Duration: 2'24"
   • Recording date: 1995

Mazzella, Salvatore (? - ?)

Folia spagnola partite for violin and continuo: 3 variations (1689)

Duration: 0'42", 03 kB. The theme (16 bars) and passacaglia (10 bars) for violin and harpsichord (b.c.)

Opening of Mazzella's Folia spagnola	by Hudson Vol I, p. 115

1. Mazzella, Salvatore
   • Published in 'Balli, correnti, gighe, sarabande, gavotte, brande, e gagliarde con la misura giusta per ballare al stile inglese : con la giunta della Folia de Spagna, passagagli per dui tuoni con molte partiti, dui ciaccone, una spagnola, e l'altra italiana ... a dui violino, e viola, o cimbalo : opera prima'.
   • Published by G. A. Mutij, Rome 1689.
   • 1 score, 44 p.
   • Microfilm 35 mm negative of original in the British Library, 197? London.

McChesney, Kevin (1963- )

Variations on a Theme by Corelli for English handbells (1997)
Dick Crawford, an expert in bell-ringing, wrote as an explanation of the English handbells I had never heard of:

English handbells (so-called because they were first developed in -- guess -- England) are bells small enough to be rung by hand. They have a clapper mechanism that includes an axle (so that the clapper can move only in one plane) and a spring mechanism that allows the ringer to control the movement of the clapper (so that it doesn't just wobble back and forth, repeatedly hitting both sides of the bell).
They were originally developed several hundred years ago primarily so that the teams of tower-bell ringers who ring changes (the English tradition of ringing ever-changing patterns of bells rather than tunes) could practice without scaring the neighbours.
Handbells are rather simple acoustically. There is the fundamental pitch, of course, and a single prominent overtone -- the twelfth. Tower bells, on the other hand, have very rich sonic spectra, and of a decidely minor character since the strongest overtone is often the minor third.
The first sets more-or-less matched tower sets -- usually six or eight bells of almost any pitch. But once someone discovered that handbells could be precisely tuned, accurately-pitched chromatic sets became available and tune-ringing became possible. Sets can span as few notes as an octave or as many as seven octaves.
There are two kinds of ringing. In one kind, each ringer is responsible for ringing perhaps four bells -- two adjacent diatonic notes and their associated accidentals. This kind of ringing is rather different from, say, playing the violin -- the ringer follows the score and plays every instance of a particular pitch, whether it be part of the melody or the accompaniment. This kind of ringing requires, typically, eight people to cover three octaves or a dozen to cover five.
The other kind of ringing is more like what most musicians are used to -- each ringer follows his or her own part, whatever the notes. Since it doesn't matter which ringer rings which notes, when lines cross one ringer always rings the lower notes and another the upper notes. With this scheme a small number of ringers can cover many octaves of bells -- but the music will be fairly thin in texture. There is literature for solo handbells (usually with piano accompaniment) and increasing numbers of ringers up to a sextet. Beyond that the two styles of ringing merge, and there's no longer a reason for the arranger to worry about how many ringers will be available.
Handbell choirs -- or 'teams' or 'ensembles' or 'bands' or whatever -- have become fairly wide-spread here in the States -- primarily in churches, but with growing numbers in schools. They are also popular in other parts the world -- notably England, Canada, and Japan. It has not really caught on in continental Europe -- there are only a handful of groups in France and Germany. I know of one in Finland and another in Estoina, however ...
Much of the literature consists of arrangements of hymns and other liturgical music, although popular songs -- even rock and roll! -- are making inroads. And there are a handful of composers who specialize in writing original works for the medium. But by and large handbells are still seen by the general populace as a 'Christmas instrument', which annoys us (yes -- as you no doubt have guessed already, I am an avid ringer) greatly.
Handbell ringing also is done in the Netherlands, but Dutch bells are tuned differently than English bells -- Dutch bells have a minor tenth as their strongest overtone rather than a major twelfth, which makes Dutch handbells sound more like miniature tower bells than do English handbells. As you might guess, this can be annoying when tunes or chords in a major key are played.
There are only four manufacturers of English handbells that I know of -- Whitechapel (the granddaddy of bell makers) and Taylor in England, Schulmerich and Malmark in the USA. Petit and Fritsen is the only Dutch handbell maker I am aware of.

1. Bobb, Barry
   • Published by Concordia Publishing House 1997
   • Publisher No. 97-6662
   • 18 pages size 29 x 21 cm

McGibbon, William (c.1690-1756)

Joy to Great Caesar (10 variations, violin part only)

1. The Broadside Band directed bt Jeremy Barlow 'Popular tunes in 17th Century England'
   In the slipcase is mentioned:
   

   La folia is based on one of several harmonic sequences or grounds which spread like wildfire through Europe from Italy in the first half of the 16th century. La folia was also known in England as Farinel's ground because of the setting made in about 1680 by Michael Farinelli. This version with its variations is found in Durfey's Pill to Purge Melancholy as the song 'All joy to great Caesar', with words fitting not only the theme but the variations too.

   • Title: La Folia (var. by McGibbon) for violin, guitar and bass viol
   • Released 1980 as LP HM 1039 and 1992 as CD by Harmonia Mundi compact disc HMA 1901039
   • Duration: 2'29"
   • Recording date: not mentioned in the slipcase of the cd
   
   
2. Young, David compiled the MacFarlane manuscript in 1738-1740
   Young was an Edinburgh writing-master and fiddler, having been instructed by his patron Walter McFarlane of McFarlane. Young seems to have borrowed various unpublished works by Scottish composers to copy. Many of the originals are now lost
   In the 2000 programme 2a 'Music from St. Cecilia's Hall' of 'Edinburgh Barock' (http://www.selville.abel.co.uk/edinbar.htm) these variations on 'La Folia' were incorporated.
   • McFarlane Manuscript (1740), vol iii page 168 (copy in National Library of Scotland Ms. 2085)
   • Modern edition in: Musica Scotica, Vol. iii
   • Published by University of Glasgow Music Departement Publications
   • ISBN 0 953 8212 3 0

Médard, Rémy (17th Century)

Folies from Suite en ré mineur (1676)
Rémy Médard was a French guitarist and composer who has left only one publication: "Pieces de guitarre", printed in 1676. A pupil of Corbetta, he was teaching guitar in Paris.

1. Jacques, David "Piéces De Guitarre De Mr. Rémy Médard" (Baroque guitar)
   
   • Folies from Suite en ré mineur
     
   • Released 2009 by XXI-21 Productions compact disc Catalog No XXPD 1586
   • Duration: 1'25"
   • Recording date: 2008 in Aum Studio à Sainte-Adèle, Canada
   
   
2. Jacques, David, editor of "Livre De Pièces De Guitarre (1676) With CD by Remy Medard" (Baroque guitar)
   The publication is the first published transcription of all the pieces little known to modern guitarists. The work is accompanied by a recording by the transcriber on Baroque guitar. The CD features David Jacques playing Baroque guitar.
   • Folies from Suite en ré mineur
     
   • Published compact disc and sheet music Catalog No DZ1010
   • Duration: 1'25"
   • Recording date: 2008 in Aum Studio à Sainte-Adèle, Canada

Merchi, Giacomo (18th century)

Folia di Spagna for solo guitar (30 variations) published in 'Le guide des écoliers de la guitarre Oeuvre VIIe' (1761)
This Folia is in an advanced learning style and sets a standard for later developments of the theme in guitar music. Merchi emancipated the guitar from tablature by writing the music contained in his method in staff notation, thus placing the guitar's notation in a common language with other instruments. His Folia di Spagna served as a tool for the perfection of right-hand arpeggios, as a contrasting right-hand pattern is the focal point of each of its thirty variations.

Gérard Rebours wrote in 2001 an article about this composition and its context for the French magazine 'Les Cahiers de la Guitare'.
In the article Gérard Rebours refers to a brief history of the Folia in guitar playing. Before the second half of the eighteenth century the theme was used in an inspiring and original way by composers as Corbetta, Sanz, Murcia and Bartolotti. Composers of a later date, starting with François Le Coq (1827) and especially Le Moine or Baillon wrote former Folias, as a vehicle to exercise guitar techniques. Testing different techniques in every variation, but within the variation itself the music sounds in a mechanical way with every bar and chord progression treated in the same way. Rebours does not describe every variation in detail of the 30 in total although they are interesting from a technical point of view. The opening theme based on Corelli's arrangement is not that suitable for the guitar. He focuses on some strinking features to describe briefly.
To show the differences between the arpeggio technique and rhythm of the second and sixth variation. The sixteenth variation is significant because of the movement between the three different voices. The 18th variation stresses the lower register, while tension creeps into variation 21 with its long notes. Variation 23 features dissonants on a steady bass and variation 22 bears the features of a brave performance. Variation 24 emphasizes repeating notes within the chord and variation 26 shows the range from low to high in arpeggios. In variation 27 chromatic lines are displayed as in variation 29 the syncopation. Variation 30 is an example of tremelo technique like in the etude 3 by Leo Brouwer.

1. Le Guide des écoliers de guitarre
   • Published 1981 by Minkoff as a facsimile, Geneve
   • Publisher No. unknown
   • Folia di Spagna at page 14-20 (total pages unknown nor the format size of the publication)
2. Rebours, Gérard
   

   Folies d'Espagne by Merchi played by Gérard Rebours Duration: 5'45" direct link to YouTube © 2000 by Gérard Rebours

   Gérard Rebours wrote about his recorded Folia track

   I recorded variacioni 2, 6, 16, 18, 25, 21, 23, 22, 24, 26, 27, 29 and 28 (in that order). The recording was played during the exhibition called 'Un musée aux Rayons X in Paris, Cité de la Musique, which took place from April till August 2001. There was a not-for-sale CD used as promotion material.

   Duration: 1'49", 1710 kB. (128KB/s, 44100 Hz) Variation 6, 22, 24 and 28 of Merchi's Folia-variations as played by Gérard Rebours © Gérard Rebours 2000, used with permission

   • Released 2001 by unknown record company and the sheet music published in Les Cahiers de la Guitare et de la Musique no. double 79-80/2001 pages 40-42
   • Duration: 6'03"
   • Recording date: December 2000, Cité de la Musique's auditorium, Paris, France
   • More about Gérard Rebours at his website http://www.GerardRebours.com
3. Takeuchi, Taro 'Affectuoso: Virtuoso Guitar Music from the 18th Century'
   Byzantion wrote about this piece:

   Giacomo Merchi and his brother Joseph both did much to promote the guitar in eighteenth-century Europe; here Takeuchi - perhaps to remind listeners about his previous CD! - plays a seldom-heard but captivating take on the so-called 'La Folia' theme, which was made famous by Lully and Corelli and used by more than a hundred other composers, including Geminiani, whose strikingly modern-sounding Menuet Affectuoso gives the CD its title and brings Takeuchi's marvellous recital to an end.

   • Title: La Follia di Spagna con Variazioni, for guitar
   • Released 2012 by Deux-Elles compact disc DXL 1146
   • Duration:15'05"
   • Recording date: 18-20 July 18-20, 2010 in the Holy Trinity Church, Weston, Southampton, England

Mey, L(ouis) (c.1846-1868)

Les Folies d'Espagne, air ancien, for piano (paedagogical)

1. No published music of Les Folies d'Espagne, air ancien, for piano found.
   • Published in Pazdírek, Franz, The Universal Handbook of Musical Literature,XIII, Wien, 1904-1910, p. 557
   • Thanks to François-Emmanuel de Wasseige for detecting this item in literature

Miehling, Klaus (1963- )

Folia-Variationen für vier Blockflöten (ATBGb), op. 209 (2013)

1. Miehling, Klaus
   
   • Published in Flautando-Manuskriptesammlung, 2013
   • Duration: 7'15"
   • Publisher No. FEM142
   • Available through Edition Walhall

Mihalovici, Marcel (1898-1985)

Follia, paraphrases pour orchestre opus 106 (1977)

1. Mihalovici, Marcel
   
   • Published 1979 by Heugel, Paris
   • Duration: ca. 20'00"
   • Publisher No. PH 304

Minguet y Irol, Pablo (? - ?)

Folías italianas por el abecedario (1774), for guitar
In the documentation of a vinyl-recording set (ARN 336 018) Rodrigo de Zayas stated that Minguet y Irol made an exact copy of the manuscript of Caspar Sanz (1674) in 1774!

Opening of Folías italianas por el abecedario	by Hudson Vol I, p. 146

1. Minguet y Irol, Pablo
   • Published in: Reglas y advertencias generales que enseñan el modo de tañer todos los instrumentos mejores: La guitara, tiple, y vándola, Madrid 1774
   • Copy in: Biblioteca Nacional, Madrid

Folías italianas, Estas las baila una persona sola, haciendo toda suerte de passos, y sainetes con su bra(zo) (c.1774), for violin

Duration: 0'50", 04 kB. The theme as indicated in the sheet music below for violin solo and a diferencia with castagnets

Opening of Folías italianas for violin	by Hudson Vol I, p. 146

1. Minguet y Irol, Pablo
   • Published in: Reglas y advertencias generales para tañer el violín (c.1774), Madrid
   • Copy in: Biblioteca Nacional, Madrid

Mörner, Hedevig Manuscript (1692)

Les Folies d’Espagne
Les Folies d’Espagne, an anonymous setting for five-course guitar with one variation from the Hedevig Mörner manuscript dates to around 1692. Original: Sweden: Stifts- och Landsbiblioteket (Diocesan and Regional Library), Skara, Katedralskolans musiksamling 468, fol. 5v – 6. A photocopy of the Mörner Manuscript (which includes seven pieces for five-course guitar) was provided to Rocky Mjos in 1993 by Peter Rydbom from the Stifts- och Landsbiblioteket.
One of the seven pieces is called Les Folies d'Espagne and is perfectly in line with the melody and chord progression of the 'later' Folia as Richard Hudson called the Folia theme as used by Jacques Gallot and others. The manuscript has been commented on by Kenneth Sparr and mentioned by Peter Tyler.

Rocky Mjos wrote about Les Folies d'Espagne:

This version for guitar comes from a music manuscript belonging to Hedevig Mörner (1672-1753). The manuscript contains music in both staff and tablature notation and can be dated to the end of the 17th century, when Mörner was an attendant at the Swedish court. A note in the manuscript informs us that she began her guitar studies in November of 1692.

1. Mjos, Rocky editor and transcriber of the original manuscript

   Duration: 0'48", 03 kB. Les Folies d'Espagne originally for five-course guitar © Rocky Mjos 2008, used with permission

   2 pages in pdf-format in tablature and modern sheet music, 63 kB © Rocky Mjos 2008, used with permission

   • Title: Les Folies d’Espagne as part of 'Pieces for Guitar' from the Hedevig Mörner manuscript
   • Published February 2008 by Rocky Mjos at the Early Guitar and Vihuela list
   • Score 2 p. 22 x 30 cm
   • More about Rocky Mjos (and the complete Mörner guitar tablatures) at his page http://earlyguitar.ning.com/profile/RockyMjos

Moine, M. le (Lemoine, M.) (18th century)

Folies d'Espagne avec sept Variations pour la Guitarre ou la Lyre (second edition 1773): theme and 7 variations as part of Nouvelle Méthode courte et facile pour la guitarre
Second edition (1773) published in Paris.

Theme of Folies d'Espagne by Le Moine	reproduced with permission from the Minkoff-edition 1972 p. 18

1. Le Moine's publication was joined by another instruction book for the guitar written by Bailleux (including another Folia!). The facsimile of the second edition by le Moine and the first edition of Bailleux both published in 1773 were reprinted by Minkoff in one beautiful volume.
   • Title: Nouvelle méthode courte et facile pour la guitarre à l'usage des commençants.
   • Published 1972 re-published 1980 by Imbault-Paris/Minkoff
   • Re-published by Minkoff
     
   • Score 2 p. 22 x 30 cm
   • Publisher No. ISBN 2-8266-0299-3

Moonlight Gazette (ensemble: Howard Haigh & Andy Hornby)

La Folía

1. Moonlight Gazette 'Moonlight Gazette'
   La Folia or Folias were originally dances tunes in 3/4 from Spain and Portugal. They are based around a chord sequence (Dmin, A, Dmin, C, F, C, Dmin, A7 || Dm, A, Dmin, C, F, C, Dmin, A7 D maj). It is a pattern that lends itself to inprovised variations and became a favourite of baroque composers including Vivaldi and Scarlatti. We have put it into 4/4 and explored its Latin roots!
   • Title: La Folia
   • Released April 2017 by Moonlight Gazette
   • Duration: 5'18"
   • Recording date: 2017
   • Find the recording at: https://moonlightgazette.bandcamp.com/track/la-folia
   
   

Moortel, Arie Van de (1918-1976)

La Folia for chamber orchestra (1961-1964)

Duration: 2'42", 08 kB. The opening of La Folia (Panaché-Pastiche, Air de deux Airs, Pastorale) originally for guitar, alto and tenor recorder and cello.

1. Centre Belge de Documentation Musicale (CeBeDeM)
   • Title: La Folia and the subtitles: 1 Panaché-Pastiche, Air de deux Airs, Pastorale, Canon a 4 violen, Gig-Zag
   • Published unknown in the archive of http://www.cebedem.be/(CeBeDeM), Bruxelles, Belgium copies can be hired or photocopies can be produced
   • Score 10 p. 35 x 27 cm
   • Publisher No. 109286, March 26, 1964

La Folia, conclusion for chamber orchestra (1961)

1. Centre Belge de Documentation Musicale (CeBeDeM)
   • Title: La Folia, Conclusion
   • Published unknown in the archive of http://www.cebedem.be/(CeBeDeM), Bruxelles, Belgium copies can be hired or photocopies can be produced
   • Score 8 p. 35 x 27 cm
   • Publisher No. not indicated, Anderlecht, April 22, 1961

La Folia, nieuwe variaties op een oude wijs (1959) for beiaard (carillon) with four octaves

1. Moortel, Arie Van de
   • Title: La Folia, nieuwe variaties op een oude wijs
   • Published by Maurer, Watermanlaan 7 B-1200 Brussel tel. +32 2 770 93 39
   • Score unknown
   • Publisher No. unknown

Moret, V(ictor) (?-?)

Les Folies d'Espagne, in "Six petits morceaux récréatifs très faciles et progressifs", violin & piano – paedagogical

1. No published music of Les Folies d'Espagne, forviolin & piano found.
   • Published in Pazdírek, Franz, The Universal Handbook of Musical Literature, XIII, Wien, 1904-1910, p. 803
   • Thanks to François-Emmanuel de Wasseige for detecting this item in literature

Moretti, Luigi (19th century)

Variazioni per chitarra sola sopra il tema delle follie di Spagna, Op. 7 (c.1817)
The original manuscript is conserved at the library of the conservatory of Milano, Italy
I'm not quite sure if the midi below is composed by Luigi Moretti as mentioned above or another Moretti. Information about the midi indicates another title and frontname of the composer. The style of the Folia is according to the beginning of the 19th century, so perhaps some errors in the sources have been made.

Duration: 3'13", 08 kB. All variations sequenced by Manuel Ferre. His midi archive with lots of guitar-tunes is located at http://www1.tip.nl/~t249768/ © Manuel Ferre 1999, used with permission

Morini, Guido (1959- )

Follia, improvisation for harpsichord (1998)

Duration: 0'51", 806 kB. (128KB/s, 44100 Hz) Two Folia-variations and a part of the finale during the September 30, 1998 concert © Guido Morini 1999, used with permission

February 2005 Guido Morini wrote in an e-mail about his Follia-improvisation:

I used the Folia theme because it was one of the most common grounds of the 18th century. Many composers all over Europe have shown their skills with variations using this ground and it also was often used during performances of improvisation. Note the perfect symmetry of this theme: D A D C F C D A D

1. Morini, Guido (harpsichord) 'Accordone, L'Amore ostinato'
   
   • Title: Follia
   • Released 1999 by ORF Edition Alte Musik, Radio Österreich 1, 2 cd-set CD 212
   • Duration: 6'36"
   • Recording date: September 30, 1998 during a concert of improvisation in Sendesaal, Radiokulturhaus, Vienna, Austria
   • More about the activities of this composer/performer at http://www.guidomorini.com/home.htm

Moss, Piotr (1949 - )

Adagio as second Impromptu for guitar solo dedicated to the guitarist Dana Chivers (1982)
The Folia is only very recognizable in the very beginning as point of departure although the intervals keep on echoing till the end.

Adagio (Impromptu 2 played by Marcin Koziol Duration: 2'28" direct link to YouTube © Marcin Koziol

Opening of Adagio (Second Impromptu)	Fragment of PWM Edition 1987

Wojcieh Gurgul wrote about this composition:

I am sending information about another Polish guitar composition that contains references to Folia. This time it is a kind of fantasy on the initial theme of Folia, being the second of five Impromptus for guitar by Piotr Moss. The cycle was composed in 1982 and is dedicated to the guitarist Dana Chivers. The piece has been performed by many French and Polish guitarists, including Pierre Laniau, Marek Nosal, Marcin Koziol and Radoslaw Wieczorak. It's published by Polskie Wydawnictwo Muzyczne (PWM Edition) in 1987.

1. Koziol, Marcin 'Piotr Moss, Solo & chamber works for guitar'
   • Title: 5 Impromptus: 2. Adagio
   • Released 2020 by Experimental Workshop
   • Duration: 2'28"
     
     
     
2. Moss, Piotr
   • Title: 5 Impromptus: 2. Adagio
   • Published 1987 by Polskie Wydawnictwo Muzyczne
   • Year 1987
     
     
3. Nosal, Marek 'Utwory kompozytorów polskich na gitarę solo'
   • Title: 5 Impromptus: 2, Adagio
   • Released 2013
   • Duration 2'36"
   • CD is a part of book 'Twórczość kompozytorów polskich na gitarę solo po 1945 roku' published by Karol Szymanowski Academy of Music in Katowice, Poland.
     
     

Murcia, Santiago de (manuscript, 1732)

Folias Italianas Despaci, p. 60v

Duration: 8'24", 17 kB, Theme and all variations Sequenced by François Faucher (visit his Classical Archives Midi Archives) © François Faucher 2005, used with permission

1. Armoniosi Concerti, directed by Juan Carlos Rivera. .
   
   • Title: Folías italianas
   • Broacasted by Radio Catalunya Música, Spain
   • Duration: 4'36"
   • Recording date: July 31, 2008 by Ràdio Txeca in Palau Letohrádek Hvezda, Prague
2. Axivil Castizo directed by F. Sánchez (with C. Carazo) 'Sarao Barroco'
   This is an arrangement of the three Folías by Sanz, Guerau and Santiago de Murcia originally for guitar.
   • Title: Folías
   • Released 2005 by Harmonia Mundi Espagnol compact disc MAA 003
   • Duration: 4'58"
   • Recording date: unknown
   
   
3. Ensemble Kapsberger and Lislevand, Rolf 'Santiago de Murcia, Codex'
   

   Folias Italianas an arrangement by Ensemble Kapsberger and Rolf Lislevand Duration: 5'43" direct link to YouTube © 2000 by Naive Astrée

   In the slipcase is mentioned that Murcia was obviously acquainted with Corelli's violin style when he wrote the 'Folias Italianas'.
   • Title: Folias Italianas
   • Released 2000 by Naive Astrée compact disc 8661
   • Duration: 5'43"
   • Recording date: June 1999 at Tibor Varga studio (Sion Switzerland)
   
   
4. Hall, Monica
   • Title: The Guitar Anthologies of Santiago de Murcia
   • 2 Volumes
   • Published dissertation 1983 by The Open University
5. Lislevand, Rolf (Baroque guitar)
   • Title: Folies Espagnol
   • Broadcasted live from a concert by JMA and Espace 2 in corporation with le Granit (Swiss radio)
   • Duration: 1'29"
   • Recording date: March 16, 2008 in Temple protestant in Porrentruy, Switzerland
   
   
6. O'Dette, Paul (lute) 'Jacaras!, 18th century Spanish Baroque guitar music of Santiago de Murcia'
   
   • Title: Folias Ytalianas
   • Released 1998 by Harmonia Mundi (France) as compact disc HMU 907212
   • Duration: 7'30"
   • Recording date: September 7-11, 1997 in Valkkoog Church, Holland
   
   
7. Orchestra Barocca della Fondazione Alessandro Scarlatti, conductor Stefano Sabene 'Fandango!, music of Spanish Baroque'
   An arrangement for arpa tripla (Olga Ercoli), baroque guitar (Alessandro Lilli), spinet (Luca Purchiaroni), viola da gamba (Laura Macor), salterio (Stefano Sabene) and bass (Carlo Pelliccione).
   Maria Melchionne wrote for the slipcase:
   

   In this wide mosaic of Spanish dances the two files which are perhaps the most characteristic could not be left out, Jota and Folias themes with which numerous composers of later eras have identified Spain tout court valid for all is the example of the lisztian Rhapsodie espagnole which contains both. Revisited by Santiago de Murcia they transform themselves into completed works with an instrumental repertoire for competent performers; in particular Folias which becomes a theme of (correction: 'or' was written in the slipcase) acrobatic variations

   • Title: Folias (Santiago de Murcia)
   • Released 1999 by Nìccolò as compact disc NIC 1014
   • Duration: 8'23"
   • Recording date: December 1998 in Chiesa di S. Giovanni Battista, Sacrofano, Italy
   
   
8. Russell, Craig H.
   • Title: Santiago de Murcia's Codice Sald-var no. 4: A treasury of Secular Guitar Music from Baroque Mexico
   • Vol. 1 Commentary
   • Vol. 2 Facsimile and transcription
   • Published 1995 by Urbana University of Illinois (Music in American life)
9. Sald-var Codex, No 4. Santiago de Murcia Manuscript of Baroque Guitar Music
   • Found: Mexican musicologist Dr. Gabriel Sald-var y Silva (1909-1980)
   • Location: Leon, Guanajuato, Mexico
   • Year: September 1943
   • Publication: Preface and commentary by Michael Lorimer, Santa Barbara, CA: M. Lorimer, 1987.
   
   
10. Savino, Richard (baroque guitar) 'Danza y Differencias - Santiago de Murcia'
    • Title: Folias Italianas Despacio
    • Released October 1998 by Koch International Classics as compact disc 7445

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