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

(in alphabetical order of composer, letter T)

Tamponi, Franco (19??- )

Variazioni sulla follia di Spagna (1983)

Fragment of the tv-film Stradivari Duration: 2'11" direct link to YouTube © 1987 by Tamponi and Accardo

The complete soundtrack recording of the film Stradivari Duration: 7'20" direct link to YouTube Variazioni sulla follia di Spagna (1983) published by EFN84's channel © 1987 by Tamponi and Accardo

These Folia-variations used in the film 'Stradivari Cremona', which is dedicated to the life of the famous violin maker, are well worth mentioning because these variations are one of the finest for violin solo. Especially the recording made of the film is of outstanding quality and contains many extented versions as used in the film
In the film the Folia is used in four scenes:

1. Right at the opening of the film we see Stradivari as a small boy confronted with the violin for the first time when at the river a violinist boarded at a vessel plays the folia-melody.
2. Stradivari is remembering the emotional moment that crafstmen discovered that he built secretly a violin as a small boy all by himselfm but that he smashed the instruments into pieces when he heard it was badly made although the instrument was a piece of art onsidering it was made by an unskilled boy.
3. The Folia-theme is the background for the scene when his fiance wonders if Stradivari loves building the violin more than he loves her. Stradivari admits that the perfect violin is kind of an obession for him and she orders him to leave. Back in his atelier we see his girlfriend coming back to him.
4. The most impressive Folia-film fragment is without doubt when folia-fragments are played by a virtuoso violinist for the music-master of the king to let him compare the different sounds of violins from several instrument makers in order to select a new instrument. The last pick of course is the Stradivari which leaves a stunning impression. In fact this scene is cut in three parts while it is interrupted by scenes at the household of Stradivari

A visitor of the pages was so kind to send me a tape with the Folia-fragments as played in the TV-film 'Stardivari Cremona' when he watched it at his television in Canada. Although the soundtrack of the film is no longer available a visitor from Belgium provided me in October 2001 with a copy of this masterpiece. Outstanding performance on the violin with first the theorbe (Andrea Damian) and later the harpsichord (Rinaldo Alessandrini) as a basso continuo.

1. Accardo, Salvatore musical supervision and violin execution for the tv-film 'Stradivari Cremona'
   • Soundtrack of the film 'Stardivari' released by Philips 1987 compact disc PHILIPS 422 849-2
   • Duration: 7'13"
   • Recording date: February 1987 in Rome Italy
   • 'Stradivari Cremona' was released 1985 by 'Wellcome films and television of Rome' and directed by Vittorio Salerno. Released as Video-VHS (in England) and double DVD inThe Netherlands (duration 160 minutes) by Entertainment Plus Artikel number DV1374795562 with dutch sub-titles

Tangerine Dream (Froese, Edgar & Franke, Chris)

Force Majeure (1979)

1. Tangerine Dream
   The theme of la Folia is played twice towards the end of Force Majeure.
   The Tangerine Dream-theme consists of 4 lines of each 8 bars. The first line is similar to the first 8 bars of La Folia (in 2/4 meter) and the last 8 bars correspond with the final 8 bars of La Folia.

   The complete Force Majeure by Tangerine Dream Duration: 18'40" (with the Folia theme starting at 16'35") direct link to YouTube © 1979 by Tangerine Dream

   Duration: 0'29", 03 kB. The theme as played somewhat similar by Tangerine Dream

   The first part of the Folia-theme	Similar to Tangerine Dream

   • Released 1979 by Virgin Music, compact disc 1984 (AAD)CDV 2111
   • Duration 18'18"
   • Recording date: August-September 1979 at Hansa Studio, Berlin, Germany

Tapiola Choir conducted by Pohjola, Erkki (group)

Lampaanpolska (1992)

1. Tapiola Choir conducted by Pohjola, Erkki & Tapiola Sinfonietta conducted by Panula, Jorma 'Sininen ja Valkoinen'
   • Text in English:
     One, two, three, four
     let's be happy for evermore! If sorrows should come
     send them packing again.
     Horse-flies are humming,
     four mice are a-skipping,
     kitty hops on the barrel
     with an almighty din.
   • Title: Lampaanpolska (The Merry Sheep's Reel in the translation)
   • Released 1992 by Ondine Inc. compact disc ODE 785-2
   • Duration: 3'23"
   • Recording date: March 1992 at the Tapiola Hall

Tarade, Théodore-Jean (1731-1788)

Les Folies d'Espagne, theme and 8 variations for one and two violins

The opening of Les Folies d'Espagne	from the original publication 1776

1. No published music of Les Folies d'Espagne found.
   • Published in Premier Recueil des plus beaux airs : la Romance de M. Gavignes. Les Folies d'Espagne. Romance de M. Tarade. Air d’Hylas de M. Bury, menuet du Sr St Martiny. Air des fleurs de M. Rameau. Les sauvages de M. Rameau. Varié pour deux violons ou pour un seul par Mr Tarade.
     Edition, Paris, 1776 page 5-8
   • Source: Bibliothèque nationale de France, département Musique, K-6179
   • The sheet music can be found at http://gallica.bnf.fr/ark:/12148/btv1b9078731p/f6.image
   • Thanks to François-Emmanuel de Wasseige for detecting this item in literature

Tárrega, Franscisco (attributed incorrectly) (1852-1909)

'Estudio sobre un fragmento de Fossa' for classical guitar

1. Zvellenreuther, Jean-Marc 'Folias'
   Actually the piece 'sobre un fragmento de Fossa' is attributed to Francisco Tarrega for this recording. However Matanya Ophee wrote already in 1981 that the Tarrega-piece is simply a rip off of the second variation of de Fossa's Variation. In a message in the newsgroup rec.music.classical.guitar January 17, 2002 he wrote as a reaction of mentioning the Tarrega-folia by Zvellenreuther: [...]

   I wrote about this in 1981, this is the very reason I go into de Fossa research, and thus into guitar history research, and to see this being repeated as a Tarrega piece is just plain infuriating.

   Jean-Marc Zvellenreuther (translation into english by by Atez Eloiv) wrote for the slipcase:

   the Folia theme is treated with arpeggios with 'campanellas', that is to say the use of open strings to imitate the sound of little bells, in an atmosphere that is very sort and intimate dear to the composer.

   • Released by La Follia Madrigal 1999 compact disc LFM099900
   • Duration: 0'33"
   • Recording date: September 1999 at La Cave Dimière, Argenteuil France

Taube, Sven Bertil (1934- )

Sinclairsvisan

Sven Bertil Taube sings Sinclairsvisan Duration: 7'20" direct link to YouTube © 1962 by Sven Bertil Taube

See for the background of the Sinclairvisan Anonymous traditional

1. Taube, Sven Bertil 'Skillingtryk'
Sung by Sven Bertil Taube, orchestration and direction by Ulf Björlin, words by Anders Odel. In this tune the singing is backed up by a string quartet, flute and halfway by variations on the oboe during the singing of the verses. Towards the end the (plucked) bass is improvising on the Folia-scheme quite similar as in the Baroque Era.
• Title: Sinclairsvisan
• Released 1962 by His Master's Voice LP 33 RPM SCLP 1015
• Duration: 7'20"
• Recording date: not mentioned in the documentation but the photos are from the recording session in May 1962
• The complete text in the Swedish language, written by Anders Odel can be found at http://members.tripod.com/minata/sincl.html

Taylor, Jason R. (1975- )

Variations on La Folia for solo guitar (1993)

1. Taylor, Jason R.
   • the recording is only available on tape in a bad quality according to Jason R. Taylor
   • Duration: 5'12"
   • Premiered at Moravian College, Foy Hall, April 1993
   • The oeuvre of Jason R. Taylor can be found at http://www.jasonrtaylor.com/

Taylor, W.J. (? - )

La Folia for Piano in A Major (2011)

1. Taylor, W.J.
   • Copyrigt by WJT Music 2011
   • Duration: 6'48"
   • Recorded and uploaded to YouTube November 2011
   • Direct link to YouTube http://youtu.be/2C04wVfjaIY

La Folia in A Minor for Chorus (2010)
Rather brilliant variations in the style of minimal music. It might have been Philip Glass.

1. Taylor, W.J.
   W.J. Taylor wrote about his variations:
   

   .All I know is that is one of the oldest melodies in Western Europe. It was originally from the Pyrenees towards Spain; hence the reason why it is knows as "Les Folies d'Espagne". The baroque composers used this melody a lot because it is so easy to improvise on and it filled empty spaces in movements of important cantatas and concertos. .

   • Copyrigt by WJT Music 2010
   • Duration: 6'48"
   • Recorded and uploaded to YouTube November 2011
   • Direct link to YouTube http://www.youtube.com/watch?v=CmdboaLpATs&feature=colike

La Folia: Variations on a Theme (2010)
Variations written for harpsichord.

1. Taylor, W.J.
   W.J. Taylor wrote about his variations:
   

   I thought I would add to the collection of La Folia variations out there. (YouTube)

   • Copyrigt by WJT Music 2010
   • Duration: 6'14"
   • Recorded and uploaded to YouTube February 2010
   • Direct link to YouTube http://youtu.be/UU_qRNo7GTU

Timpelan, Helmut M. (1937- )

Folies d'Espagne mit 3 Variationen aus der einstimmigen Violin-Vorlage aus 'Farinell's Division on a Ground' für Cembalo/Klavier ( 2003/2004)
Commissioned by the (ballet)dancer and choreographer Evelyn J.L. Puefken for an instruction film featuring three dancers with castanets, a percussionist and harpsichordist.

© Bernd Schumacher, 2004. Used with permission

Picture taken during the making of the demonstration-video for the Rothenfels-lecture performing 'Farinell's Division on a Ground'. Cast: dancers/castanets: Anna-Maria Beck, Nicole Döbele, Jasmin Seifried, tar(frame drum): Lee Forrest Ferguson, harpsichord: Mami Kurumada

Helmut M. Timpelan wrote about his affection for the Folia-theme in general in July 2004:

Unter den vielen uberlieferten "Folien" gilt mein spezielles Interesse der "Folie d'Espagne" in der einstimmigen Überlieferung durch Raoul Auger Feuillet in seinem Traktat "Chorégraphie ou L'art de décrire la danse par caractères, figures et signes desmonstratifs avec lesquels on apprend facilement de soy meme toutes sortes de danses" ( von 1700).
Diese aus nur vier Grundnoten geformte "Folie", deren Tonumfang bei Feuillet eine Quart minima* beträgt, ist tatsächlich ein musikalischer Urquell, aus dem sich unendlich schöpfen lässt und geschöpft wurde. (Allein schon deshalb, weil die neun Grundnoten des Themas d,cis,d,e,f,e,d,cis,d vor- oder rückläufig gespielt die gleiche Melodie ergeben): So entdeckte ich bei meinen vergleichenden Studien der Partituren von G. Fr. Händel und J. S. Bach in beider Partituren, besonders bei Fugen oder fugierten Sätzen, welche vielfältigen Möglichkeiten die ersten acht Fundamentalnoten der "Folie" (d´, cis´, d´, e´, f´, e´, d´, cis´) für kunstvolle Kontrapunkte, sei es als kanonische Verdichtung, Umkehr, Spieglung oder "Krebs" bieten. - Hierauf detailliert einzugehen würde an dieser Stelle den Rahmen sprengen. Deshalb nur folgender Hinweis:
Das Hauptthema des ersten Chores "The way of Zion" aus dem "Funeral Anthem on the death of the queen Karoline" von G. Fr. Händel ist identisch mit der Folie-Fassung von Feuillet.
Und dass dieses Thema dann später bei W. A. Mozart im "Introitus" seines unvollendeten Requiems erscheint, ist sicherlich kein Zufall. (Sehr deutlich erkennbar im Sopran ab Takt 12, beginnend auf der Zählzeit 2, bis Takt 14). Denn bekanntlich hat Mozart, als Ergebnis seiner Bach- Händelstudien, auch Themen aus Händels "Funeral Anthem" verarbeitet. Mozarts kanonische Verdichtung des Themas in der Oberquint ist in Händels Chor Nr. 6 "...and the congregation" zu finden.

*Das der modernen Musiktheorie nicht mehr bekannte, jedoch in meinen Text erwähnte musikalische Intervall: "Quart minima", welche den Umfang der von mir beschriebenen "Folie" bildet, lernte ich durch mein Studium des in Vergessenheit geratenen "Neues musikalisches System" von G.Ph.Telemann kennen. Hierin beweist Telemann, daß jeder Ton, jedes musikalische Intervall sich 4-fach unterteilt. Nämlich in: "minima (kleinstes), minor (kleines), major (großes), maxima (größtes).
Bevor Telemanns Werk in den Druck ging, schickte er 1750 von Hamburg aus seinem Kollegen Händel im Vorab ein Exemplar nach Holland. (Händel hielt sich um diese Zeit dort auf). Nach London zurückgekehrt, übersandte Händel als Dank dem Blumenliebhaber Telemann eine Kiste mit wertvollen exotischen Blumenzwiebeln.
Wenn im 17. und 18. Jahrhundert Komponisten, welche oftmals auch gleichzeitig herausragende Violinvirtuosen ( wie etwa Corelli, Geminiani) waren, die Folie aufgriffen, liegt das meiner Meinung nach in der Natur der Sache: weil auf der Violine, im Gegensatz zum temperiert gestimmten Clavier, das Intervall "Quart minima" /beziehungsweise "Kleinste Quart" ihrem Wert entsprechend absolut ausgeführt werden kann.

Helmut M. Timpelan wrote about this composition in July 2004:

Dieses Demo-Video zeigte Frau Puefken zu ihrem Referat/"Lecture-Demonstration": "Barock-Kastagnetten - Informationes-Instructiones-Demonstrationes" über die Spieltechnik des 17. jahrhunderts auf dem "1. Rothenfelser Tansymposium", welches unter dem Motto "Tanz im 17. Jahrhundert" vom 9. bis 13.06.2004 auf der Burg Rothenfels in Bayern stattfand.
Dazu erschien inzwischen im Freiburger "fa-gisis" Musik- und Tanzedition Verlag der Tagungsband: "Morgenröte des Barock - Tanz im 17. Jahrhundert". (ISBN 3-931344-04-5). Morgenröte des Barock : Tanz im 17. Jahrhundert ; Tagungsband / 1. Rothenfelser Tanzsymposion, 9. - 13. Juni 2004. Hrsg. von Uwe Schlottermüller und Maria Richter. - Freiburg [Breisgau] : fagisis, Musik- und Tanzed., 2004. - 284 S. : Ill., Noten ; 21 cm Beitr. teilw. dt., teilw. engl. - Literaturverz. S. 273 - 284, ISBN 3-931344-04-5 kart.
SW: Höfischer Tanz ; Geschichte 1600-1700 ; Kongress ; Rothenfels (2004) SG: 792, Signatur: DBF 2004 A 33340, IDN: 971568537.
In dieser Publikation steht auf den Seiten 155-180 der von Frau Puefken eigens dafür verfasste Artikel "Barock-Kastagnetten" abgedruckt. Hierin beschäftigt sie sich als Schwerpunkt mit Feuillets Kastagnettennotation zu einer " Folie d'Espagne" und wendet sie auf dessen "Folie d'Espagne pour femme" an.

1. Evelyn J.L. Puefken choreography and castanets
   • Title: Folies d'Espagne mit 3 Variationen aus der einstimmigen Violin-Vorlage aus 'Farinell's Division on a Ground' für Cembalo/Klavier
   • Filmed for release 2004 of 'Morgenröte des Barock - Tanz im 17. Jahrhundert', ISBN 3-931344-04-5
   • Duration: Folie-arrangement 2'30"
   • Recording date of film: July 12th 2004, Burg Rothenfels, Germany
   • More about the publication you can find at the website of Helmut M. Timpelan http://www.helmut-timpelan.de/

Folie d’Espagne – Faronell’s Division on a Ground Für Clavier-Instrumente und Castagnetten (for keyboard instruments and castanets)
Teil /Part I: konzertant. Theme with 10 variations (and a castanet/feet solo senza clavier)

Duration: 3'26", 16 kB. Variations 5, 5a, 6, 7 and 10 © Helmut M. Timpelan, used with permission

Evelyn Puefken wrote about this publication December 29, 2010:

As engravings of dancers in the 17th and 18th century show, castanets completed the performances of many different dances, but most of all of course, the so called “Spanish” dances like chaconne, sarabande – or specially: the folies d’Espagne.
But in contrast to their musical scores the castanet parts never were transmitted. Was it, because not musicians and percussionists, but dancers  played this percussion instrument (and these two guilds often had problems in cooperating)? Was it the improvising character of the castanet part, which forbid to note it down? Or were they simply too small and well hidden in the castanet players hands, to be noticed as a “real” and serious instrument?
Researching in historical sources as Marin Mersenne’s “Harmonie Universelle” (1636) and Raoul-Auger Feuillet’s “Chorégraphie …” (1700) the present edition wants to offer a castanet part, which combines “French” historical  with traditional “Spanish” technique. A castanet part, where castanets are more than dance rhythm underlining little woods, but “serious”, independent music instruments, and where the principles of a fixed composition of high technical challenge meet with the light character of an improvisation. It can be performed by dancers to Feuillet’s “Folie d’Espagne pour une femme” (Part II with application of arm movements to this castanet part will be published soon) or, as we want to show in this Part I, also by percussionists or concert castanet players. Reminding Mersenne’s words:
“Although the castanets […] only have one single sound, one can nevertheless perform concerts with them…”

1. Evelyn J.L. Puefken and Timpelan, Helmut M.
2. The original solo violin arranged for keyboard-instruments by Helmut Timpelan with a composed castanet part by Evelyn JL Puefken
3. Duration: ca. 8'00".
4. Containing: Score and separate castanet part, preface and basic explanation of notation and fingering of the castanet part (in german language)
5. Volume: 14 p. , 21 x 29 cm
6. Published by © timpelan-puefken, 2010
7. The website of E.J.L. Puefken http://www.ballettprojekt.de/#
8. Evelyn Puefken gives a course: The „Folie d’Espagne“ with castanets. Dates:  June 19-22, 2014 in Vienna. For more details: http://www.zeitentanz.at/castanets_workshop.html
9. Contact for information or order: ejl.puefken@t-online.de also available at:

The website of Helmut M. Timpelan http://www.helmut-timpelan.de/
Buch- und Musikalienhandlung Schloehlein
Schützenmattstr. 15
4003 Basel
Schweiz
http://www.schloehlein.ch

Canon perpetuum über "Folies d'Espagne" a 4 Voc. für Streichorchester (2004/2005)
See for more information https://www.helmut-timpelan.de/kommentare-anmerkungen-r%C3%BCckmeldungen/
Helmut M. Timpelan wrote about the form of his composition in August 2005:

Dieser vierstimmige Canon liegt unaufgelöst, das heißt als einstimmige Version, im Notensatz vor und besteht in dieser Gestalt aus 32 Takten. Die jeweiligen Stimmeinsätze sind durch Zahlen markiert. Eröffnet wird der Canon von den 2. Violinen. Ab Takt 9 setzen, eine Oktave tiefer, die Violen ein. Danach folgen im Takt 17, wieder in der Ausgangstonlage, die 1. Violinen. Im Takt 25 hat dann, zwei Oktaven tiefer, die Baßgruppe ihren Stimmeinsatz.
Aufgelöst, das heißt in 4-stimmige Partitur gesetzt, umfaßt der Canon, - auf dem Papier -, 56 Takte. Vor dem Takt 25 und hinter dem Takt 56 stehen Wiederholungszeichen. Diese Zeichen symbolisieren, daß ein "Circel" die Takte 25 bis 56 umschließt, und diese als "Canon perpetuum" - Canon ohne Ende - ständig wiederholt werden sollen.
N.B.
Inspiriert zur Komposition meines "Canon perpetuum" wurde ich im August 2004 durch die von Paul Gabler edierte Website "La Folia, a musical cathedral"!

Während der Niederschrift meines formal dem 18. Jahrhundert verpflichteten Canons*, erinnerte ich mich an die von Lorenz Mizler 1738 in Leipzig gegründete (heute in Vergessenheit geratene) "Korrespondierende Sozietät der musikalischen Wissenschaften"**. War doch der programmatische Schwerpunkt jener "Sozietät", - welche Telemann, Bach und Händel zu ihren Mitgliedern zählen durfte -, der "Cirkelcanon", respektive der "Canon perpetuum". Was sich in ihrem Sozietätssiegel folgendermaßen manifestiert: "Der Cirkel der durch die drei Winkel eines gleichseitigen Dreiecks gehet und die musikalischen Zahlen 1, 2, 3, 4, 5, 6 in sich hält, und um welchen Bienen fliegen, ist das Siegel der musikalischen Wissenschaften ..."***

*Das heißt, gemäß der Maxime des Zeitalters der Aufklärung: "Belehre und unterhalte mich"!

**Wohlmöglich könnte der ein oder andere Besucher Ihrer Website irgendwann fragen: "Ja was hat denn Mizlers "Sozietät" mit der "folia" zu tun"? Worauf sich dann antworten ließe: "Einiges"!
Denn satzungsgemäß hatte ein neu aufgenommenes Mitglied in Mizlers "Sozietät", (neben einer musikwissenschaftlichen Arbeit), sein Porträt einzureichen. Deshalb reichte Bach 1747 bei seinem Eintritt das berühmte Porträt ein, auf dem er ein Notenblatt mit einem Circelcanon/Canon perpetuum in der rechten Hand hält. Ein unaufgelöster so genannter Rätselcanon. Welcher die Überschrift trägt: "Canon triplex a 6 Voc."(Er entsteht aus 22 Noten). Die Baßstimme von Bachs "Canon triplex", bestehend aus 8 Noten, diente auch als Fundament zweier Clavier-Chaconnen von Händel. Übrigens: Bachs und Händels gemeinsamer Grundbaß ist ein "Krebscanon", der nicht nur das Fundament der "Goldbergvariationen" bildet, sondern auch in der "Bauernkantate" von 1742 in Erscheinung tritt. Und in dieser Kantate verarbeitete Bach ja auch bekanntermaßen die "folia"...

*** In dieser von vornherein auf nur 20 Mitglieder begrenzten "Sozietät" sollte 1756 Leopold Mozart (der Vater von Wolfgang Amadeus), als Anerkennung für die Publikation seines Lehrwerks "Gründliche Violinschule", das 20. und damit letzte Mitglied werden. Doch die "Sozietät" löste sich wenig später auf.

Thema und drei Variationen über 'Folie d´ Espagne' für Streichquartett (2003)
Helmut M. Timpelan wrote about this composition in July 2004:

Nur von der 3. Variation, die ich hier besonders hervorheben möchte, existiert ein Capella-Notensatz. In dieser Variation spielen die Viola und die II. Violine die Folie, etwas mit Verzierungen ausgeschmückt, als bündige Fuge beziehungsweise im strengen Kanon in der Ober- Quint. Das beinhaltet: Die Viola beginnt im ersten Takt das Foliethema auf dem Grundton d'. Zwei Takte später folgt die II. Violine und spielt das Foliethema eine Quint höher.
Da die II. Violine das Thema korrekt zu Ende spielt, hat diese Variation -statt der üblichen 16 Takte- 18 Takte.

1. Not yet performed
   • Title: Thema und drei Variationen über 'Folie d´ Espagne' für Streichquartett
   • Not yet recorded or published
   • Duration: c. 4'00"
   • More about the oeuvre of Helmut M. Timpelan http://www.helmut-timpelan.de/

Folie d'Espagne für 4 Basler Lang(Natur)trompeten und 4 Kesselpauken und 1 Basler Trommel (2011)

1 page in jpeg-format Entrée 955 px x 1455 px, 130 kB © Helmut Timpelan 2011, used with permission

Part of the Naturtrompeten Ensemble of the Schola Cantorum Basiliensis with Prof. Dr. Edward H. Tarr and conductor Jean-Francois Madeuf at the concert October 5, 2012 for the 40th Annual Celebration of the ensemble

Helmut M. Timpelan wrote about this composition in Freiburg im Breisgau, August 2011:

.Meine vorliegende Entrée für 4 Lang(Natur)trompeten, eine Bearbeitung der aus dem 17. Jahrhundert stammenden "Folie d'Espagne", wurde im Juli 2011 auf der Website "la folia - a musical cathedral" (www.folias.nl) des Niederländers Paul Gabler veröffentlicht.
Für diese gedruckte Ausgabe wurde das Instrumentarium jetzt noch um 4 Kesselpauken und 1 Basler Trommel* erweitert und dem Historischen Museum Basel gewidmet, welches in seinem Musikmuseum u.a. einige der weltweit ältesten erhaltenen Lang(Natur)trompeten in Bügelform sowie etliche historische Kesselpauken aufbewahrt und der Öffentlichkeit dankenswerter Weise zugänglich macht.
Die magische Wirkung einer Basler Trommel erlebte ich erstmalig 1980 in einer Berliner Kirche, als dort der Schweizer Schriftsteller und Robert-Walser-Preisträger Matthias Zschokke zum Reformationsfest die Urfassung von Martin Luthers "Ein feste Burg" sang und sich dabei selbst auf diesem Instrument begleitete.

*Meine Notation der Basler Trommelstimme entspricht der üblichen Trommelnotation, damit dieser Part auch auf anderen Trommeln ausgeführt werden kann.   .

1. Langnaturtrompeten-Ensemble at the Schola Cantorum Baseliensis
   • Title: Folie d'Espagne für 4 Basler Lang(Natur)trompeten und 4 Kesselpauken und 1 Basler Trommel
   • Premiere 5 October 2012 at the celebration of 40 years Langnaturtrompeten-Ensemble at the Schola Cantorum Baseliensis in Basel. Schwitzerland
   • Duration: c. 1'00"
   • More about the oeuvre you can find at the website of Helmut M. Timpelan http://www.helmut-timpelan.de/
   • At the 20th of September 2013 the Lang(Natur)trompeten-Ensemble der Schola Cantorum Basiliensis conducted by Jean-Francois Madeuf performed a composition by Helmut Timperlan in the Großratssaal of the town-hall of the city of Basel., as part of the ritual to procure the Europäische-Ensemblepreis by the Europäische Kulturstiftung Pro Europa.

Timpelan, Helmut M. & Udaeta, José de(1937- ) & (1919-2009)

Conciertino für Kastagnetten und Orchester (1995) which was ordered by the Westdeutscher Rundfunk, Köln (WDR).
Composer of the Orchester-parts Helmut M. Timpelan, composer of the Castagnet-parts José de Udaeta.
Timpelan uses in this piece the folie theme and transforms it into a fugato.
Helmut M. Timpelan wrote about this composition in July 2004:

Die "Folie d' Espagne", (nach der Vorlage von Feuillet), beginnt als solche in der Partitur gekennzeichnet ab Takt 280 im Capriccio. Anfangs im antiken griechischen Modus beziehungsweise dem 1. Kirchenton als: d, c, d, e. f, e, d.
Durch diesen Kunstgriff löst sich die "Folie", dann übergehend vom "c" in die Originalversion mit dem Leitton "cis", unter Beibehaltung des raschen Capriccio-Tempo (Vivace), organisch und nahtlos aus dem Vorangegangenen heraus. Gleichzeitig wird somit der Bogen zum Anfang des Conciertinos (der Chaconne) gespannt, weil dieses in diesem besagten Modus beginnt. Nachdem die komplette "Folie" spielerisch verschiedenste Orchestergruppen durchlief, wird nun ab Takt 295 das Foliethema durch sein eigenes Spiegelbild vergrößert. Was sich kompositionstechnisch folgendermaßen darstellt:
Zu dem "sichtbaren" Thema d, cis, d, e, f, e, d, notierte ich dessen Spiegelbild in der Quint als: a, b, a, g, fis, g, a. Nun verknüpfte ich beide Teile zu einem einheitlichen Ganzen.
Dadurch entstand folgendes "neue" Thema: d, cis, d, e, f, g, a, b, a, g, f, e, d. Notiert in achtel Notenwerten. Dieses Material diente mir jetzt als Vorlage für eine zweimalige Fugenexposition. Die zweite entsteht spiegelbildlich als: a, b, a, g, fis, e, d, cis, d, e, fis, g, a.

Notabene:

Das gespiegelte kleine Hexachord übersende ich Ihnen zu Ihrer persönlichen Hintergrundinformation.

(© Kulturausgrabung: Die Telemann-Bach-Händel-Cooperation per Helmut M. Timpelan)
Meine und Bachs musikalischen Spiegelungen sind in der musikalischen Natur begründet.
Was sich in Zahlen wie folgt symbolisieren läßt: 

Die beiden Zahlen 3 symbolisieren die Spiegelachse und das Aneinanderstoßen der Terzenintervalle major und minor.
Die hier beschriebene Einbindung der "Folie", (zwei Verse), erstreckt sich über genau 32 Takte. Und dauert, bedingt durch das rasche Zeitmaß, ca. 0,45 Sekunden. Danach folgt eine kurze Coda, die José de Udaeta abschließend noch einmal Gelegenheit bietet, sein Können als Kastagnettenvirtuose unter Beweis zu stellen.
Die Chaconne (1. Satz), welche wie gesagt den Bogen zu meiner Folie-Einbindung spannt, fußt auf der Basis des antiken griechischen Tetrachord-Systems *. Dadurch ergeben sich spezifische Sequenzen, die heutzutage verallgemeinert als "typisch spanisch" empfunden und bezeichnet werden.
Ansonsten: Das "Coniertino für Kastagnetten und Orchester" versteht sich mit als Hommage an José de Udaetas Frau und künstlerischer Weggefährtin Martha, die inmitten der Produktion ganz plötzlich verstarb.

* Vitruv (Marcus Vitruvius Pollio), Baumeister unter Julius Caesar und Kaiser Augustus, informiert im Fünften Buch, IV. Kapitel seines zehnbändigen Werkes "De architectura" kurz und bündig über das antike Tetrachord-System.

1. Orchester des WDR-Köln, conductor Gérard Oskamp with José de Udaeta castanets and dance.
   • Title: Conciertino für Kastagnetten und Orchester with the parts 1 Chaconne, 2 Recitativo, 3 Aria 4 Capriccio
   • The concert was broadcasted live by radio WDR-Germany October 14th, 1995 in the series "Nachtmusik im WDR 1995" with the title "Originelles, Virtuoses".
   • Duration: c. 13 '
   • Recording date: October 14th, 1995 in Großen Sendesaal des WDR Köln
   • More about the oeuvre you can find at the website of Helmut M. Timpelan http://www.helmut-timpelan.de/

Torrente Torrente, Bélen (1983- )

Folia improvisation (2000)
At the age of thirteen Bélen already had an interest in the Folia-music which resulted in an improvisation three years later.

1. Torrente Torrente, Bélen
   • Duration: 2'52"
   • Recorded by keyboard and computer
   • In the past you could download the mp3 at http://www.mp3.com/btorrente (size 2,6Mb) but the link is not working anymore.

Torres, Jesús (1965- )

Folías de España for orchestra (2015)

1. Orquesta Sinfónica de Castilla y León. Conductor: Gustavo Gimeno
   • Title: Folías de España for orchestra:
   • Published by Tritó Edicions August 2015
   • Duration ca. 12'
   • Recorded for YouTube World Premiere: 10/03/2015. Auditorio Miguel Delibes, Valladolid. https://www.youtube.com/watch?v=XLKifhDZ35g
   • The website of the composer: http://www.jesustorres.org/site/en/catalogo_detalle.php?id_rep=rep201508251002572686770044446%20%20&sec=tit
   • More about the composer at the Wiki page https://en.wikipedia.org/wiki/Jes%C3%BAs_Torres_(composer)

Trigos, Juan(1965- )

Twelve Variations and Fugue on the Folía de España for solo guitar dedicated to Dieter Hennings (2015)
This piece is clearly inspired on the Folía variations of Manuel Ponce. Not only is the composer born in Mexico-City, but the structure of the composition with variations concluded with a fugue is similar as the composition by Manuel Ponce.

1. Trigos, Juan (guitar)
   • Title: Twelve Variations and Fugue on the Folía de España for guitar.
   • Published by PromoMusica International Ed. in 2017
     https://issuu.com/promusint/docs/jt_fol__a_de_espa__a_pdf
   • Duration ca. 25'
   • Recorded for YouTube by Dieter Hennings Yeomans https://www.youtube.com/watch?v=q2oFPB5FzL0
   • Work commissioned by Trevor Babb, Jeremy Andrew Bass, Dieter Hennings, Eladio Schárron, Eric Singh, Iván Trinidadt, and Sánchez Flores

Trio Trad (Ensemble)

Bouli Bacha (2001)

Duration: 0'59", 926 kB. (128kbs, 44100Hz) Three eight bar Folia-variations (var. 2, 3 and 4) © Trio Trad 2001, used with permission

1. Trio Trad (Luc Pilartz fiddle and bagpipes, Aurélie Dorzée fiddle and Didier Laloy diatonic accordion) 'Musique d'Europe'
   The tune opens up with some semi-tone slides on the violin in a gipsy tone scale which takes more and more the form of a classical Roumanian gipsy tune (usually speeding up the tempo and imitating bird sounds on the violin). The Folia theme takes off at 2'51" and there seems musically no connection with the first part of the tune. Only the first 8 (instead of the 16) bars of the Folia are repeated ending in the dominant sept-accord (V) much the same way as Alessandro Scarlatti treated the theme.
   The variation is played 7 times giving both room for the violin and the accordion to feature the melody line, before ending in a modulated coda.
   • Title: Bouli Bacha
   • Released 2001 by Wild Boar Music compact disc 21026
   • Duration 5'39"
   • Recording date: unknown
   • The website of Trio Trad is located at http://www.triotrad.be/

Trovesi, Gianluigi & Tommaso, Bruno

C'era una strega c'era una fata (there was a witch, there was a fairy)

1. Gianluigi Trovesi Nonet 'Round about a midsummer's dream'
   From the slipcase:

   Act II, scene 2. Titania and her court. This is a new arrangement of an old composition by Trovesi based on the chord changes of 'Folia', a dance which was very popular in Europe in the seventeenth century. The opening and closing violin cadenzas are by Stefano Montanari. The variations for violin in the middle section were composed by Bruno Tommaso.

   • Released 2000 by Enja Records compact disc 2438605, A co-production with the SWR-Jazz-Redaktion, Baden-Baden
   • Duration: 8'27"
   • Recording date: Recorded live at SWR Jazz Session at Tollhaus, Karlsruhe (Germany) and at UKO Studio 1, Baden-Baden (Germany) on July 5-8, 1999
2. Trovesi, Gianluigi and Orchestra da Camera di Nembro Enea Salmeggia 'Around small fairy tales'
   Marcello Piras wrote for the slipcase:

   And then, one comes across the Follia refrain, which, like jazz, was a black music that swept Europe and made it dance to its rhythm, many centuries ago. So many centuries that its African descent is no longer perceived.

   • Title: C'era una strega, c'era una fata
   • Released 1998 by Soul Note compact disc 121341-2
   • arranged en directed by Bruno Tommaso
   • Duration: 4'52"
   • recording date: January 1998 in Papa Giovanni XXIII Auditorium, Nembro (Bergamo), Italy
3. Pluhar, Christina (Gianluigi Trovesi clarinette piccolo, Marcello Vitale Baroque guitar, Eduardo Eguez Baroque guitar, Charles Edouard Fantin Baroque guitar, Elisabeth Seitz psaltérion, Richard Myron bass) 'All' Improvviso L'Arpeggiata'
   
   • Title: Folia
   • Duration: 1'47"
   • Released 2004 by Alpha compact disc Alpha 512
   • Recording date: November 2003 and January 2004 at Paris, France

Trovesi, Gianluigi & Coscia, Gianni

C'era una strega c'era una fata (for clarinet and accordion)

Gianluigi Trovesi and Gianni Coscia live in Nijmegen Duration: 6'32" direct link to YouTube © Gianluigi Trovesi and Gianni Coscia

1. Gianluigi Trovesi (clarinet) and Gianni Coscia (accordion) 'Radici'
   • Title: C'era una strega, c'era una fata
   • Released 1995 by Egea-Perugia compact disc SCA 050
   • Duration 6'45"
   • recording date: not indicated but in collaboration with Contrappunto Jazz Club Perugia, Italy

Trussell, Robert G. (1983- )

Andante 'Folia' from Concerto for bassoon nr 1 (2002)

Duration: 5'30", 39 kB. The theme of Andante and all variations © Robert G. Trussell, used with permission

1. Trussell, Robert G.
   • Concerto for bassoon nr. 1 in three parts 1 Allegro, 2 Andante 'Folia' 3 Molto Allegro
   • Instrumentation: Bassoon, violin 1 and 2, viola and basso continuo (cello and harpsichord)
   • Duration 5'30"
   • Recorded June 2002 in the US
   • More about the oeuvre of Robert G. Trussell at http://scoot0boy.tripod.com/id42.htm

Tubin, Eduard (1905-1982)

The Parson of Reigi (Reigi õpetaja), opera (1970–1971) in six scenes. ETW 113

Estonian National Opera „Estonia“, conductor Paul Mägi Duration: 1'46" direct link to YouTube © 1992 by Ondine Records

Text on the Folía melody

(translations La Folia song text by Eino Tubin)

Wait, I'll fetch my instrument!
I'll sing the newest song from Stockholm
(fetches his zither from the next room and sings)

Kôik kreatuur, väike ja suur,
All creatures, great and small
teab ju mis on armutortuur.
they know the torture of love.
Tilluke jumal, Amor Amour
Amor Amour, the tiny god,
neitsite juurdegi poeb ja kui uur
creeps to the maidens,
tiksuma pôu neil lööb, olgu kui suur valve neil ümber ja lukkus puur!
even if guarded and caged, and makes their hearts tick!
Armu eest pääsmist leida ei vôi!
From love there's no escape!
Meestele, naistele piina ta tôi.
Pain he brings to men and women.
Taavet, kes küll Koljatit lôi,
David slew Goliath
armu käes sulas ise kui vôi!
but melted like butter in the arms of love
Arm väe tal sôi, arm jôu tal jôi!
Love sapped his might, sapped his strength,
Tallegi arm nii kaotuse tôi!
brought his defeat!

Daniël De La Cuesta wrote in an e-mail June 15, 2014:

I recently discovered the opera The Parson of Reigi by Eduard Tubin. He uses the Folia theme in the second scene

Kerri Kotta, the managing director of the Eduard Tubin Society wrote about the Folia theme and Tubin in an e-mail July 14, 2014:

I tried to bring clarity to the issue of the use of La Folia theme in Tubin’s opera “The Parson of Reigi” but it seems that I cannot provide you with definite information about the matter. However, as it appears from a Tubin’s letter to Arne Mikk on 19 January 1970, the composer was pretty sure that the Swedish song he used in the second scene was from Bellmann (Eduard Tubin. Letters, Vol.2, p. 382). This is commented by Vardo Rumessen, the editor of the volume of Tubin’s letters, as follows: C. M. Bellmann [...] was a Swedish poet and composer whose songs were extremely popular in Sweden in the 18th century. Obviously, [Tubin] meant the Spanish-Portuguese tune La Folia which has been used by many composers. Probably the tune was also used by C. M Bellmann whose verses were used by A. Kallas in her short story “The Parson of Reigi” (Tartu, 1928, p. 57). In Tubin’s opera, this song is translated into Estonian

Thus, Rumessen guesses that the tune of the song came to the opera together with the words. However, another Estonian musicologist Mart Humal thinks that Tubin used only words of the song (probably the translation by Jaan Kross) which were then used as a basis for music. Thus, it is also possible that the composer used La Folia in its original form, i.e. the tune was not taken from the song of Bellmann.

Sonja Lehtonen-Ayikar who studied this opera by Eduard Tubin for her Master thesis (2012) added to the information by Kerri Kotta about the Folia theme and Tubin in an e-mail July 28, 2014:

The plot of the opera, based on a short story by the Finnish-born author Aino Kallas (1878-1956), is basically a triangle drama between the three main characters, parson Paavali Lempelius, his wife Catharina Vycken, and his employee, deacon Jonas Kempe, who performs the La Folía song while seeking contact with Catharina. The original version of the opera, including the La Folía fragment, is in Estonian; however, the libretto has also been translated to and performed in Swedish. The song sung to the La Folía tune can be found in Estonian and English in the slipcase of the recording of the opera (Ondine ODE-783-2D, pages 28-29) and, with the kind permission of Gehrmans Musikförlag, also in the appendix of my Master's thesis (written in Finnish; see https://helda.helsinki.fi/handle/10138/36897, the 'liite2.pdf' link at the bottom of the page, Kempe's second repartee on page 220, from 'Kõik kreatuur, väike ja suur' / 'All creatures, great and small..' onwards). 

The letter from Eduard Tubin to Arne Mikk on 19th of January 1970, previously mentioned by Mr. Kerri Kotta, suggests that the composer intended to utilize a poem found in the above-mentioned Aino Kallas' short story for the corresponding performance in the opera, namely, the song sung to the La Folía tune. The poem quoted in the story was actually originally by the Swedish poet Lars Wivallius (1605-1669), even though Tubin was under the impression that it was by the more famous Bellman. The text of the song found in the original Estonian-language version of the opera corresponds quite well to two verses of the Wivallius' poem in the original short story text (the contents are practically identical); therefore, it would seem likely that the text of the La Folía fragment in the opera is a free translation of the Wivallius poem from Swedish to Estonian. It is uncertain whether or not the poet Wivallius had originally meant the poem to be sung to the La Folia tune; the short story by Aino Kallas also does not mention anything about the tune the poem was sung to. Therefore, as Mr. Kerri Kotta and  Mr. Eino Tubin have noted, it is possible that using the La Folía tune was the composer Eduard Tubin’s own idea.

The Swedish poet Carl Michael Bellman (1740-1795) also has indeed used the La Folia tune to one of his songs (“Välment sorgesyn”, no. 5b from “Songs of Fredman”); the lyrics, however, are completely different from the song included in The Parson of Reigi.

Eino Tubin, the son of Eduard Tubin, wrote about the Folia theme and his fathers composition (Eduard Tubin) in an e-mail August 4, 2014:

When my father wrote the opera, he followed the original libretto by Aino Kallas, which was completed and revised by Jaan Kross. Mr. Kotta and Mrs. Lehtonen know of course if the Folia was explicitly mentioned in this libretto. In case it was not, then my father simply picked the most well-known tune from this period. He had an extensive knowledge of music history, acquired during 14 years as conductor at the Vanemuine opera house and some 25 years as "archive worker" at the Drottningholm court theatre, restoring stage works from the 17th and 18th century. There are also other contrasting songs and themes in this opera, for instance a chorale about the deeds of the devil sung by the parson when getting drunk and the "Moritat" and the march of the sinners in the last act.      .

1. Estonian National Opera „Estonia“, conductor Paul Mägi
   • Released 1992 by Ondine compact disc ODE 783
   • Duration 2'03"
   • Recording date 1991 in Tallinn, Estonia
   • More about the oeuvre of Eduard Tubin at http://www.tubinsociety.com/

Turrisi, Francesco (1977- )

Variazioni sopra la Follia
Francesco Turrisi wrote in an e-mail 15 November 2014 about his composition:

It was actually my first attempt to write something early music inspired and the piece is quite old (I was still a student at conservatory). Unlike most of my other early music variations, I started from the melody (usually i take the bass). I also try to incorporate the idea of variation by re-harmonizing the melody for each section and by imagining contrasting moods and ideas. Each section is conceived as a solo for one of the instruments of the band. A few years later I have rearranged the piece for a larger ensemble called yurodny the piece is included in this album: http://shop.diatribe.ie/album/evenset you can actually hear the whole track there. Later we had a even bigger ensemble playing it (with a couple of new sections): https://www.youtube.com/watch?v=FIJH_xJ8TwE

1. Francesco Turrisi (piano), Brendan Doyle (clarinet), Richard Sweeney (theorbo), Dan Bodwell (bass), Sean Carpio (drums) 'Si Dolce è Il Tormento'
   • Title: Variazioni Sulla la Follia
   • Released 2009 by Diatribe compact disc
   • Duration 13'22"
   • recording date: November 2007 - March 2008 location not known
   
2. Yurodny: Oleg Ponomarev (violin), Adrian Hart (violin, electronics), Cora Venus Lunny (violin, viola), Kate Ellis (cello), Nick Roth (soprano, alto and tenor saxophones), Colm O'Hara (trombone), Francesco Turrisi (piano), Dave Redmond (double bass), Phil Macmullan (drums) 'Evenset'

   A live performance of la Follia by Yurodny Evenset Ensemble Duration: 10'22" direct link to YouTube © Yurodny Evenset Ensemble

   • Title: La Follia
   • Released 2010 by Diatribe compact disc
   • Duration 8'44"
   • recording date: 2009 at Windmill Lane studios, Dublin, Ireland

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