Manuscript LBII II. nr. 40 (Library of Leuven?)(Folie des Spanie)A small introduction of the carillon as an instrument might be handy because it is not that familiar to a larger audience. The instrument is built around a number of bells in a church-tower and with an ingenious system of levers and wires the player is able to let the differently tuned bells ring using his fist to depress the clavier's wooden keys and his feet to control the pedals. Dynamics is possible because the amount of force applied, controls the loudness.
Jeff Davis, the university carillonist of Berkeley, enlightened me about the developments of the instrument:
Originally from Belgium and The Netherlands, the carillon is found throughout the world and is experiencing a real golden age at this point in history. There are close to 200 instruments in North America alone, and the performers are frequently superb virtuosi on the instrument. A modern carillon is capable of extraordinary sensitivity to touch and has, in the latter part of the 20th century, become a true concert instrument. There are national schools in The Netherlands (Amersfoort), Belgium (Mechelen), and France (Douai). In North America, while there is no national school, there are two large centers of carillon study: the University of Michigan at Ann Arbor, and at Berkeley. The difficulty in playing comes not from the delay between striking the note and the sound of the bell (that is minimal in a modern instrument), rather the real difficulty comes in controlling such a large collection of very heavy weights and still taking care with voicing and other musical matters
For further reading about this instrument http://www.ls.berkeley.edu/dept/music/carillon.html, http://www.msu.edu/~carillon/batmbook/index.htm Chapter 7. and http://carillon-museum.nl/
John Gouwens has published a nice introductionary method about playing the carillon at http://faculty.culver.org/gouwenj/Methodbook.asp
It was known that the melody of the Folies d'Espagne as a popular tune was used in the mechanical carillon music at least in Belgium. In the slipcase of the cd by Luc Rombouts (see below) three of those sources are mentioned (De Gruytters V.- fel. 23 (13/6/1745) Wyckaert, nr. 36 (12/8/1692) (La Folie d'Espagne) and Van Belle. without a number (La Folie D'espagne) The melody was played in some of the clockworks of churches too by the beiaardiers in Belgium and the Netherlands. Some sources mention ocasionally that the La Folia-theme was part of the program to get the appointment of beiaardier.
The Leuven manuscript is not just a simple transcription (although some passages are transcribed literally) of the melody because several variation are written specifically to meet the demands and features of this peculiar instrument.
- Assche, Koen van (carillon-beiaard) 'Matthias Vanden Gheyn: Preludia'
- Title: Les Folies d'Espagne
- Released 1997 by SABAM compact disc GH1
- Duration: 13'46"
- Recording date: November 20, 1997
- Carillon of the town of Veere (Netherlands)
- Assche, Koen van (carillon-beiaard) 'Musica Reservata, endangered sounds II'
- Title: les folies d'Espagne (1755)
- Released after 1998 (not indicated but some tracks are recorded in 1998) by the Alamire Foundation compact disc without order number
- Duration: 2'28" (this should be an excerpt of the original manuscript)
- Recording date: not mentioned in the slipcase
- Compact disc is a compilation. As a source is mentioned the compact disc 'Preludia, Matthias Vanden Gheyn' SABAM TM HG 1, 1998 (all the spellings and year of release are as written in the slipcase!)
- Rombouts, Luc and Huybens, G. (editors)
- Released in 'Het liedeken van de Lovenaers. Een 18de-eeuws Leuvens beiaardhanschrift' (translation: the songs of the Lovenaers. A manuscript for Carillon dated back to the 18th century, found in the Belgium city of Leuven)
- Published in facsimile 1990 in Belgium
- total: XLV and 115 p. (size and number of pages Folies d'Espagne unknown)
- ISBN 90 6186 398 8 Hardcover
- Rombouts, Luc (carillon-beiaard) 'Beiaardmuziek van vroeger en nu'
Duration: 0'47", 754 kB. (128kB/s, 44100Hz)
Two variation of the Folia theme in triplets
© 1994 Luc Rombouts, used with permission- Title: Les Folies d'Espagne
- Released 1994 by GRE compact disc GRE 1594 (together with the book 'Beiaarden en torens van Belgie')
- Duration: 5'53" (not all variations are played, only variations 1, 4, 5, 7, 10 and 12)
- Recording date: unknown
- Carillon of the church St. Gertrude of Leuven, Belgium
- Realisation sponsored by KU Leuven, Stad Leuven, Gemeentekrediet, Jeugd en Muziek Leuven amongst others
- Sint-Pieterskerk (Sergeys-beiaard), Leuven (carillon-beiaard)
Duration: 0'17", 254 kB. (128kB/s, 22050Hz)
Sint-Pieterskerk (Sergeys-beiaard), Leuven. Heard every hour from Eastern 2003 till Eastern 2004
Thanks to Pierre Chantrenne for making this field recording at Leuven
Folies d'Espagne (2003)
Sint-Pieterskerk, Leuven, BelgiumPublished by the magazine "Campanae Lovanienses"
June 2003, page 29, used with permission
© sheet music by Nieuwsbrief Campanae Lovanienses The sheet music of the automatic-play drum. The drum's rotation, similar to a music box,
activates the hammers located on the outside the carillon's bells. The vertical lines indicate the musical bars
while the dotted lines (at the same spots in this particular case) have the size of
the play drums in mind. The numbers are ment to indicate the division of the play drum.
- Title: Folies d'Espagne
- Created Eastern 2003 as an automatic mechanism
- Duration: From Eastern 2003 till Eastern 2004 for every half an hour (so not on the hours itself where another melody is to be heard)
- Recording date: September 2003
- Carillon: Sergeys-beiaard of the Sint-Pieterskerk, Leuven, Belgium
- Bos, Chris 'Historische Beiaardopnamen 1941-1983'
Direct link to YouTube https://www.youtube.com/watch?v=JjUU6yCRfI0Anonymous Folies d'Espagne played by Chris Bos
Duration: 3'29" direct link to YouTube
© 1999 by Nederlandsche Klokkenspel Vereeniging- Released 1999 by Nederlandse Klokkenspel-Vereniging (http://www.carillon.org) Sonante compact disc CD 1499862 (no longer available)
- Made available by the NAA (Nederlands Instituut voor Beeld en Geluid) and in corporation with the NPS (Nederlandse Programma Stichting) and AVRO (a dutch broadcasting company)
- Duration: 3'23"
- Released as a tribute to the carillon-players who contributed to the revival of the dutch carillon art in the 20th century
- Recording date: May 31, 1957 in de Domtoren, Utrecht, The Netherlands
- 6 microfiches part of "Diverses pièces pour clarinette seule"
- Dated between 1814 and 1822
- Published by Janet et Cotelle, Paris, France
- Part of the collection of the Royal Library, Den Hague, The Netherlands
Manuel Machado was a composer who lived from c.1590 till 1646, so where the 'later' Folia tune is coming from (introduced in 1672) is a mystery (probably a later arrangement in the manuscipt or the personal influence of Stephen Stubbs who performs on both recordings).
Nonetheless it is a pleasure to listen to this excellent 'collage' of music, especially because 'later' vocal Folias are hardly recorded at all (although there are plenty of vocal Folias especially in the Swedish tradition). Such a collage with a vocal part (although no vocal Folia in itself) is a phenomenon in the repertoire of Folias only used in a track recorded by Maddy Prior called Rejoice ye shining worlds and The York Waits with Deborah Catterall in Le triste etat de cette pauvre etable.
Obviously the problem for the Machado-piece was to get some body for the short vocal line of Machado. The chosen formula was to clasp it together with the Folia-progression. To give the tune a nice balance, an intro of an expectant progression is introduced, followed by three later Folia-variations. The vocal Machado piece starts at the 16th bar of the last Folia-variation and ends at the first bar of another three later Folia-variations to conclude the piece once more with the Machado-fragment again with the same bridge between the Folia-variation and 'Dos estrellas le siguen' by Machado.
As the source of the Machado-piece is mentioned Cancionero Sablonara, Bayerische Staatsbibliothek, Mus. ms E 200 / BNM M. 1263. Manuscrito en forma de libro de coro, copiado en Madrid en la corte por Claudio Sablonara c. 1625. Contiene 75 canciones a cuatro, a tres y a dos, cuyos autores son Blas, Romero, Machado, Pujol, Ríos, Torres, published in an edition of 1996 by Judith Etzion, The Cancionero de Sablonara, a Critical Edition (London: Tamesis Books, Ltd.)
The text of the Machado-piece:
Dos estrellas le siguen, morena,
y dan luz al sol :
va de apuesta, señora morena,
que esos ojos son.
- A Corte Musical directed by Rogério Gonçalves (Mercedes Hernandez,
Natacha Ducret (sopranos)
Annemieke Cantor (alto),
Felix Rienth (tenor),
Stéphanie Erös, Birgit Goris (violins),
Agathe Gautschi (cornet à bouquin),
Gilles Vanssons (chalemie),
Ilze Grudule (cello),
Rogério Gonçalves (bassoon & percussions),
Vincent Flückiger (baroque guitar baroque & archlute)
Norihisa Sugawara (baroque guitar & viola da gamba),
Marie Bournisien (double harp),
Corien de Jong (organ)
(organ after instrument Aragonais, beginning 18th century, Église Saint Laurent in Lausanne 1991) 'Flores de Lisboa'
- Dos estrellas Folias
- Released 2007 by K617 compact disc K617195
- Duration: 6'56"
- Recording date: April 24-27, 2007 in Temple de Sainte Croix, Switserland
- Ensemble Anthonello (Yoshimichi Hamada (cornetto and recorder), Kaori Ishikawa (viola da gamba), Marie Nishiyama (harpsichord and harp) and Rafael Bonavita (lute and vihuela), António Carrilho (recorder) and Paulo Gaio Lima (cello)
- Title: A. Falconiero / Manuel: Machado Folias e Dos estrellas le siguen G.
- Broadcasted by Portuguese Radio April 29, 2009
- Duration: 8'01"
- Recording date: July 2008 during the 'Festival de Música de Caldas da Rainha', Centro Cultural e de Congressos de Caldas da Rainha, Portugal
- LeBlanc, Suzie (soprano) and Les Voix Humaines: Susie Napper (viola da gamba), Margaret Little (viola da gamba)
together with Maxine Eilander (Spanish harp) and Stephen Stubbs (Baroque guitar) 'Ay que sí, ay que no'
Duration: 1'58", 1760 kB. (128kB/s, 44100Hz)
Fragment of two variations of the Folia theme followed by the Machado piece and back again to the Folia-theme
© 2002 ATMA Classique, used with permission
Jacques-André Houle wrote for the slipcase:
Nearly the equal of Hidalgo and Marín by the quality if not the quantity of his output (two other composers featured at the compact disc, editor), Manuel Machado (c.1590-1646) was a composer and instrumentalist of Portuguese extraction who pursued his career in Spain. He seems to have been much appreciated at court as a chamber musician and he mastered a number of instruments. Only twenty works of his are extant, all secular songs in Spanish, and all of exceeding beauty. A case in point is the finesse of his 'Dos estrellas le siguen', comprising a single stanza. This gem of a song, which opens this recording, is encased in a series of variations elaborated by our musicians on the famous 'Folía', a ground bass that was popular throughout Europe.
- Title: Dos estrellas le siguen
- Released May 2002 by ATMA Classique ACD 2 2244
- Duration: 4'35"
- Recording date: March 12, 13, 15 17, 2001 in Eglise Saint-Augustin, Saint-Augustin de Mirabel (Québec), Canada
- More about the oeuvre at the website of Les Voix Humaines (including some fine acoustical examples).
- Lesne, Gérard and Ensemble 'Circa 1500': Nancy Hadden
(flute and director), Erin Headley (basse viola da gamba), Andrew Lawrence-King
(harp), Paula Chateauneuf (guitar), Stephen Stubbs (lute). 'O Lusitano
Portuguese vilancetes, cantigas and romances'
La Folia and from Manuel Machado: Dos estrellas le siguen
Duration: 4'33" direct link to YouTube
© 1990 by Virgin Veritas- Released 1990 by Virgin Veritas compact disc 59071
- Duration: 2'14" (La Folia) and 2'12" (Dos estrellas le siguen)
- Recording date: November 1989
- Lesne, Gérard and Ensemble 'Circa 1500', Nancy Hadden (flute and director), Erin Headley
(bass viola da gamba), Andrew Lawrence-King (harp), Paula Chateauneuf
(guitar), Stephen Stubbs (lute). 'O Lusitano Portuguese vilancetes, cantigas
and romances'
- Re-released June 5, 2001 by Virgin Veritas compact disc 759071
- Duration: 2'15"
- Recording date: November 1989 in St Paul's, New Southgate, London
The famous Follia is a dance of Portuguese origin of the XV century. Exported to Spain, France and Italy becomes a society and court dance. On the contrary, Lei foulié espagnolo, also known as Danse du Turc, was performed in Provence as a representation of two young Saracens’ story. .
- Dujardin, François (fifre with one hand and drums with the other hand) Rodi, Silvano (organ) "Les tambourins provençaux"
- Released 2010 by Elegia, Organ and Classical Recordings compact disc B3253255BB
- Duration: 6'04"
- Recording date: recorded live 2009 in Bussoleno, parish church of Santa Maria Assunta (organ: Gioacchino Concone)
- More information about this recording you can find at http://www.elegiarecords.it/en/catalogue/details/1/1/catalogo-cd/les-tam
Manuscript di Venezia, Music in the Biblioteca Palatina di Parma.
- Conti, Annaberta edited the basso continuo and made some revisions
- Published by Societa Italiana del Flauto Dolce © 1982, Rome as part of series: Armonia strumentale (9)
- Score 24 p. and 2 parts 10 p. each, 31 cm
- Publisher No. E SIFD 18 Societa Italiana del Flauto Dolce
- Franco, Horatio (flutes) 'Mestizajes Novohispanos'
With Santiago Alvares harpsichord and Asaf Rolerstein cello:
- Title: Variaciones sobre La Follia anónimo italiano siglo XVIII
- Released 2011 by Quindecim compact disc ASIN B004P9FBI8
- Duration: 9'52"
- Recording date: February 2010 at the Centro Académico Cultural Juriquilla, Mexico
- Musica Antiqua Provence conducted by Christian Mendoze 'Folies d'Espagne'
- Title: Follia di Spagna (25 variations) pour flûte à bec, basse continue et castagnettes (Anonyme, XVIIe siècle. Manuscrit di Parma)
- Released 2009 by Integral Classic compact disc INT 221.169
- Duration: 9'39"
- Recording date: July 2008 in the Basilic of the Château de Valère in Sion (Schwitzerland)
- Rubato Appassionato 'Le Temple Du Goût : 18th Century Music From Italy And France'
- Title: Partite di Follia. Flauto, Anonymous
- Released 2008 by MA Recordings compact disc M075A (JP)
- Duration: 13'56"
- Recording date: October 2006 in Capella de la Mare de Déu de l'Esperança, Barcelona, Spain
- More about Rubato Appassionato at their website http://www.rubatoappassionato.com/
- Tarsetti, Valeria
- Title: Follia di Spagna. 25 Variazioni (Anonimo sec. XVIII) dal ms. CF-V-23 della Biblioteca Palatina di Parma per Flauto Dolce Contralto (Flauto Traverso, Oboe) e Basso Continuo
- Published 1998 series Hors, musica varia, by UT Orpheus Edizioni, Bologna, Italy
- Score 26 p. and 7 p. for cello and 9 p. for the recorder
- Publisher No. ISMN M-2153-0383-6
Adélaïde de Place wrote for the slipcase:
Known as Folia in Italy, FollÃa in Spain or Folie in France, Folia is a melody that probably origintaed in Portugal and then passed through Spain before acutally gaining popularity in almost all European countries towards the end of the 15th century. French guitarist and lutenist Robert de Visée, musician for the Chamber of Louis XIV and guitar teacher for the young Louis XV, said that "in court so many couplets from which all concerts ring out, that I can only hear the folias of others".
The well-known theme from the Folia - characterised by its sarabande rhythm and its moderate movement - would give rise to several variations.
We have lost count of the number of musicians who haqvew developed or modified
it. Some names that spring to mind include Corelli, Lully, Couperin, Vivaldi, Carl Philipp Emanuel Bach, Marais, d'Anglebert, Telemann, without counting Paganini, Liszt or Rachmaninov much later. In France, it is often called Folies d'Espagne and, in the United Kingdom, Farinel's Ground after Michel Farinel (Farinelli), who was born in 1649 and worked in Grenoble at tyhe turn of the 17th and 18th centuries.
Manuscript: Livro de Guitarra do Conde de Redondo (Count of Redondo's guitar book)
Original source: LVSITANA MUSICA, 1/ opera mvsica selecta - 2 Uma tablatura
para guitarra barroca - O livro do Conde de Redondo, edição
fac-simile, Lisboa, 1987. Edited by the Musicology Departement of IPPC - PortugalPaulo Galvão wrote about this source:
Although the manuscript is not dated, it must have been
produced after 1700. In this manuscript there is a Giga from Corelli's Op.
5 (that was published on 1700). Monica Hall thinks that around 1730 is more
likely because it sounds similar to S.Murcia's book published on 1732. I
can agree with this.
In the Iberian tradition, the book is notated in numerical (as opposed to
alphabetical) tablature; though the notes are there, however, as is the
case with the two other Portuguese baroque guitar sources, rhythmic indications
are lacking (with a small number of exceptions), the interpretation in this
respect being left to the performer (I reconstructed the rhythmic structure
by myself).
| Theme of Folias de Espanha (c.1700) | Transcribed by P. Galvão, used with permission |
|---|---|
 |
|
- Galvão, Paulo 'O Livro de Guitarra do Conde de Redondo'
Ivan Moody wrote for the booklet notes: Duration: 2'10", 1781 kB. (112kB/s, 44100Hz)
Two variation of the Folia theme in triplets
© 2000 Paulo Galvão, used with permission - Released 2000 by Musicália compact disc M.01.03.003
- Duration: 2'11"
- Recording date: May 2000 at Lagos
- Instrument: a copy of Voboan's model by Oliver Wadworth built in 1993
The variations on the Folias are also highly idiomatic, and a brilliant rhythmic and melodic exploration of this famous basso ostinato theme.
Theme and 8 variations for 5-double string baroque guitar
Herman Vandecauter who detected this folia manuscript wrote about this source 6 January 2014:
Considering the date of the manuscript (1829/1830) the presentation of the sheet music is a bit curious and not in line with that period. It might well be that the year was added later to the entire manuscript or that the manuscript was a collection of pieces gathered over the years.
The 5-string guitar disappeared around 1790, while the first builder of the 6-string guitar we know was the Italian builder specialized in mandolins, Gaetano Vinaccia in 1779 located in Napels. The popularity of this new guitar becomes clear when we look at the first printed method in 1792 "Principios para tocar la guitarra de seis ordones" by Federico Moretti.
With this influencial method by Moretti the tabulature as a form of notation was replaced by the modern sheet music notation.
I guess that around 1820 all double string guitars were replaced. It might be that this innovation was not implemented everywhere at once on a regional level. This Norwegian region is not on the crossroad of spreading innovations and can be considered as a northern outpost of Europe where influences spread at a later date.
Whatever the reason might be, I guess the manuscript is written with an eye to the high Baroque despite the dates 1820/1830 mentioned as the source.
The guitar music in the Hertzberg manuscript is believed to date mid 1700s. The person, Johanne Hertzberg, who wrote the guitar music in the book lived from 1708 to 1801. The book was passed down generations, and the date of 1829 was added when a later decendent wrote poems on the blank pages. The guitar music is certainly not of the 19th century and is very typical of baroque guitar music of c: 1700. See http://folk.uio.no/henninho/Gitar.html
| Opening of Folie de Espagne: dated 1829/1830 but origins probably mid 18th Century |
Hertzberg manuscript page 81 |
|---|---|
 |
|
- Den Hertzbergske notebok
- Published in Den Hertzbergske notebok 1829/1830
- Page: 81 (theme), 82-89 (8 variations)
- Published as an open source at the internet by the Nasjonalbiblioteket (National Library of Norway) Mus.ms.a 5038 (Den Hertzbergske notebok)
- Source at the internet http://www.nb.no/nbsok/nb/1c1e904cef8b1d14852fe645b2386ed5?index=7#0
These three variations for harp solo might be identical to the variations mentioned at the next item, although different sources are mentioned.
Music in manuscript 34802 at the Conservatorio Luigi Cherubini, Florence.
- Griffiths, Ann revised the modern edition
- Published as Telwn Dewi in Tregaron, Wales in 1980
- O'Farrell, Anne-Marie (Irish harp) 'Number Twenty Nine presents Harping Bach to Carolan'
- Title: Folia
- Source: Telwn Dewi, ed. Ann Griffiths
- Released 1993 by Number Twenty Nine and Anne-Marie O'Farrell. For information and ordering you can mail to amofharp@iol.ie
- Duration: 2'34"
- Recording date: between 14th and 17th April 1993, Park House Recording Studios, Dunshaughlin, Co. Meath
- Irish harp made in Ireland by Jan Muyllaert
These three variations for harp solo might be identical to the variations mentioned at the previous item, although different sources are mentioned.
Music in manuscript Biblioteca Nacional de España, Madrid Ms 816.
 |
Duration: 1'26", 03 kB. |
| Theme of Diferencias de las Folías (c.1700) | Hudson, Richard Vol I, p. 122 |
|---|---|
 |
|
- Armoniosi Concerti 'Zarambeques, Música Española de los
Siglos XVII y XVIII en torno a la Guitarra'
In the slipcase is stated: - Title: Folías
- Instrumentation: guitarrilla (J.C. Rivera), barock guitar (Juan Miguel Nieto), theorbo (Consuelo Navas) and viola da gamba (Sara Ruiz).
- Released 2002 by Harmonia Mundi compact disc HMI 987030
- Duration: 2'00"
- Recording date: May 29 and 30, June 1 and 2, 2002 in Sala de Cámara del Conservatorio Superior de Música de Sevilla, Spain
- More about the oeuvre of Juan Carlos Rivera at http://www.juancarlosrivera.com
- Eilander, Maxine (Spanish and Italian harps, Stephen Stubbs: baroque guitar) 'Teatro Lirico'
Folia Variations for harp solo (2004)
These Folia-variations are an enumeration of two pieces: an anonymous Spanish manuscript for harp and the manuscript by Lucas Ruiz de Ribayaz with a nice intro.- Title: Folia Variations (for harp and baroque guitar, 2004)
- Released February 2006 by ECM New Series 1893 4763101
- Duration: 3'32"
- Recording date; February 2004 in Propstei St. Gerold
- See also the page Recommended Folia-recordings
- Zabaleta, Nicanor 'Spanische Harfenmusik des 16, und 17. Jahrhunderts'
- Title: Folias
- Released 1968(?) by Archiv Produktion LP SAPM 198 458
- Series: Archive production, 4th research period Forschungsbereich Westeuropa zwichen Barock und Rokoko (1650-1800), Serie: Spanischen Meister
- Missing in the collection of the Rotterdam Discotheek in The Netherlands, October 12, 1999 (cat.number CF00023)
The Folia is a danza of Portuguese origin with an extensive history in Spain - there being references to it as far back as the fifteenth century. During the course of the seventeenth century the harmonic pattern known as the folías de España became widely used (the three that we include here follow that pattern).[...] The Diferencias de Folías taken from an anonymous book of harp tablature coming from Avila (and preserved today in the Biblioteca Nacional de España in Madrid) are of particular interest as they contain three original variations in plucked style (clearly those in the strummed style are additions here) which correspond to the two most common forms of folías known in the Spanish Baroque; folías a la Italiana (variations I and III) and folías a la española (variation II). The latter are distinguished by their melodies with upbeats and a clear preference for the dominant key. The use of the campanela (a frequently employed guitar resource in the seventeenth and eighteenth centuries) which consists of plucking the melodies with the fingers on several strings whilst allowing them to resonate, in this way perfectly imitating the sound of the harp.
Rather doubtful if this version is for harp solo, In the documentation of the discs no sources (manuscripts) are mentioned at all.
- Lawrence-King, Andrew 'Erasmus van Rotterdam'
- Title: Folias (imperfectas) - Anonymous
- Released 2012 by Alia Vox 6 cd-set (cd nr. 1), AVSA 9895 A/F
- Duration: 1'42"
- Recording date: 2009-2011Col legiata de Cardona (Catalogne)
- Morand, Martial (editor of the facsimilé)
- Title: Les Folies d'Espagne for harpsichord solo by anonymous
- Published in Manuscrit de Mademoiselle de Bloren, ca 1700 (MS 108, Médiathèque municipale de Roanne, FR, Loire), édition. Lemoine, Paris, 2006
The collection, of which the Folies d'Espagne is a part, was collected by Marc Roger Normand Couperin (1663-1734), organist at the Court of Sardina and the first cousin of François Couperin le Grand. Because of this last fact he gave himself the name of 'Couperin of Turin' (Turino, Italy) when staying there and he got the nickname 'Coperino da Torino'.
Although the 27 couplets on La Folia are anonymous, there are clearly links with the Folies d'Espagne by d'Anglebert. Moroney speculates that Coperino may have had lessons with d'Anglebert, and composed them himself.
- Published 1998 by Minkoff as a facsimile edition
- Preface by Davitt Moroney
- Moroney, Davitt (harpsichord) 'Livre de tablature de clavescin'
Davitt Moroney wrote for the slipcase: - Released 1999 by Hyperion compact dic CDA 67164
- Duration: 11'51"
- Recording date: July 29, 30, 31 and August 1 in la Maison de l'Orchestre National d'Ile de France.
- Harpsichord by John Phillips, built 1997 in Berkeley after Nicolas Dumont 1707.
- Jacobi, Jörg (editor and publisher)
- Title: Folie d'Espagnes in: Autori Diversi (17.Jahrhundert): Il Mondo è dei folli, 12 Versionen der Follia aus dem europäischen Barock, page 47-62
Jörg Jacobi collected and edited 12 versions of FolÃas mostly from anonymous manuscripts - Published by edition baroque, Bremen, eba4061, ISMN 979-0-700391-00-3
- Year of publication: April 2018
- Including an introduction about the theme and the specific pieces
Folies d'Espagnes (f. 6v). By far the longest and most difficult piece in the collection, this work is a series of variations on the well-known theme and bass of La Folia. Couperin's set is noteworthy for more than one reason. First, its unusual length is impressive: containing no fewer than 27 couplets, it is longer even than d'Anglebert's famous set. The set in Couperin's manuscript has clear links with d'Anglebert's work, which was published only after Couperin left for Turin: 4th couplet = d'Anglebert's 4th, 7th couplet = d'Anglebert's 6th, 13th couplet = d'Anglebert's 22nd, 16th couplet = d'Anglebert's 21st, 26th couplet = d'Anglebert's 16th. Some of these correspondences are extremely close, even down to the little ornamental notes, and cannot be the result of coincidence. We may conclude that Couperin had some contact with d'Anglebert. Perhaps he studied harpsichord with him. The work is conceived according to a solid plan, not without its own internal subtlety. After the opening statement of the theme, there follow four groups of six variations (couplet 2-7, 8-13, 14-19, 20-25), followed by a short coda (the last two variations). Each group of six is different as a result of the increasing virtuosity but is nevertheless built in the same way structurally and organised identically: (i) figuration for th e right hand, followed by (ii) the same figuration for the left hand and (iii) a melodic variation starting on D. Then (iv) the two previous figurations of each hand combined together in both hands, followed by (v) a melodic variation starting on F, derived from (iii). Each group of six variations ends with (vi) a bass solo. The most elaborate and rapid figuration is reached in the 23rd couplet, after which the intensity relaxes somewhat.
In this mansucript is also included Folies d'Espagne pour clavecin (14 couplets: 8e couplet de l'invention de Mlle Le Noble)
Pierre Féruselle wrote for the Minkoff-edition about Manuscrit de Mademoiselle la Pierre 'Pieces de clavecin":
This collection of harpsichord pieces is a manuscript whose pedagogical aims are clearly indicated. It was begun on 6 Septembr 1687, the day of the first lesson for a certain Mlle de La Pierre. It then seems to have served another pupil by the name of Mlle Le Noble, for whom the pieces proposed as exercises were copied straight after the first group. It is possible that both these harpsichordists had the same teacher, but in this case one would have to ask why the teachershould re-copy for the second pupil in the same manuscript some twenty pieces which he had already used with the first pupil.
It seems that Mlle Le Noble was more gifted than Mlle de La Pierre, at least as a composer, for she "invented" the eight couplt of the Folies d'Espagne. At all events this represents a music notebook whose physical unity (format, paper, watermarks) is clear. The date 29 January 1730 written on the flyleaf of the Le Noble part seems to be much later yhan the two copyists' hands.
- Anonymous and Mademoiselle Le Noble
- Title: Folies d'Espagne (6 couplets) in: Livre de Mademoiselle La Pierre
- Published c. 1680, re published 1983 by Minkoff Reprint. Genève, Suisse
- Pages:4v-7
- Original manuscript: Manuscrit de Mlle La Pierre, pièces de clavecin: Bibliothèque nationale, Paris, Rés. Vmd. ms. 18
- Jacobi, Jörg (editor and publisher)
- Title: Folie d'Espagne (14 couplets) and Folie d'Espagne (6 couplets) in: Autori Diversi (17.Jahrhundert): Il Mondo è dei folli, 12 Versionen der Follia aus dem europäischen Barock, page 33-39 and p 40-47
Jörg Jacobi collected and edited 12 versions of Folías mostly from anonymous manuscripts - Published by edition baroque, Bremen, eba4061, ISMN 979-0-700391-00-3
- Year of publication: April 2018
- Including an introduction about the theme and the specific pieces
- Brockmeijer, Tom edited the music
- Title: Follia d' Spangne met eenige variaties
- Edition by Brockmeijer not published, 5 pages, 29 x 21 cm
- Original source manuscript Musyc-boek van juffr. Maaghdalena d'Arrest, 1716
- Original source part of the collection of the Koninklijke Bibliotheek, Den Hague, The Netherland
- Original source catalogue number Den Haag, KB : 133 K 26 http://opc4.kb.nl/DB=1/SET=2/TTL=1/CMD?ACT=SRCHA&IKT=1016&SRT=YOP&TRM=Maaghdalena+d%27Arrest
| Opening of Follie de Spagne (c.1689) | |
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- Immerseel, Jos van (virginal) 'Hans Ruckers, The musical legacy'
- Released 2000 by (super-audio-CD) NorthWestClassics compact disc NWC-128390
- Duration: 3'08"
- Recording date: 2000, in Museum Vleeshuis, Antwerpen, Belgium
- Virginal built by J. Couchet 1650 reconditioned by Frank Hubbard and Hubert Bédard
- Production has been possible through the cooperation of Het Ruckers Genootschap vzw and Jos van Immerseel amongst others
Tono I from the books for keyboard San Rafael of Chiquitos, collected by the
originally Swiss Jesuit missionary Martin Schmid (born in Swiss 1694, arrived
in Bolivia in 1729 and left for Lucern, Swiss in 1768, where he vanished in
1772) for the spiritual education of the Indian people of Chiquitos.The source of the Folia is not known. Although the manuscript contained some pieces by Domenico Zipoli (1688-1726, who was familiar with the compositions of both Pasquini and Corelli) and his style is recognizable in many of the pieces, Martin Schmid himself was a minor composer too.
- Broggini, Norberto 'De la musique des conquistadores au livre d'orgue des indiens Chiquitos'
- Released 1998 by Discographique lorrain K.617 compact disc set of 3 discs K617093/3 with the support of the French Ambassy
- Duration: 4'08"
- Recording date: April 18-20, 1998 organ of Santa Clara in Sucre, Bolivia
- Videla, Mario 'Musica Antigua parra Tecla de España y el Nuevo Mundo'
- Title: Folías for keyboard (Misiones de Chiquitos -Bolivia, anonymous)
- Released 2002 by Cosentino Producciones compact disc IRCO 258
- Duration: 3'57"
- Recording date: Unknown
- Recording with the historic harpsichord of the National Museum of Decorative Art of Buenos Aires, Argentina
Played on the famous bamboo organ in the village of Las Pinas just outside the Philippine capital.
- Bovet, Guy (bamboo organ) 'Historical Organs of the Philippines: Las Piñas, Volume 4'
- Title: Music in the Indian Reductions: Folias
- Released 2012 by Gallo compact disc Ordernumber CD 1364
- Duration: 4'13"
- Recording date: unknown at the Bamboo Organ at the Philippine village of Las Pinas, Philippines
- Saciero, Antonio 'Ten Years Bamboo Organ Festival' (1st in 1976 through 9th in 1984)
There is no documentation about the anonymous Folia included at the vinyl release- Title: Folias
- Released 1984 by BOR 2LP-set BOR 4010 and 4011
- Duration: 4'30"
- Recording date: 1983 at the 8th Bamboo Organ festival at the Philippine village of Las Pinas, Philippines
- Jacobi, Jörg (editor and publisher)
- Title: Sarabande in source: Clavierbuch Christian Flor, Lüneburg, Ratsbücherei, Mus ant. pract. 1198: Autori Diversi (17.Jahrhundert): Il Mondo è dei folli, 12 Versionen der Follia aus dem europäischen Barock, page 1
Jörg Jacobi collected and edited 12 versions of folías mostly from anonymous manuscripts - Published by edition baroque, Bremen, eba4061, ISMN 979-0-700391-00-3
- Year of publication: April 2018
- Including an introduction about the theme and the specific pieces
- Title: Sarabande in source: Clavierbuch Christian Flor, Lüneburg, Ratsbücherei, Mus ant. pract. 1198: Autori Diversi (17.Jahrhundert): Il Mondo è dei folli, 12 Versionen der Follia aus dem europäischen Barock, page 1
- Jacobi, Jörg (editor and publisher)
- Title: Folie D'Espagnie in source:
Manuscript Fü9855 des Archivs des Freiherrn von Fürstenberg, Herdringen (Deutsches Musikgeschichtliches Archiv, Kassel). Sammlung von 47 Stücken für Tasteninstrumente, darunter Preludium (-8) toni, Folie d'Espagnie mit 19 Variationen, 19 Menuets und weitere
Tanzsätze; 7 Gesangsstücke in französischer Sprache für
eine Singst, und bezifferten Baß. -Anfang 18. Jh.: Autori Diversi (17.Jahrhundert): Il Mondo è dei folli, 12 Versionen der Follia aus dem europäischen Barock, page 10-19
Jörg Jacobi collected and edited 12 versions of folías mostly from anonymous manuscripts - Published by edition baroque, Bremen, eba4061, ISMN 979-0-700391-00-3
- Year of publication: April 2018
- Including an introduction about the theme and the specific pieces
- Title: Folie D'Espagnie in source:
Manuscript Fü9855 des Archivs des Freiherrn von Fürstenberg, Herdringen (Deutsches Musikgeschichtliches Archiv, Kassel). Sammlung von 47 Stücken für Tasteninstrumente, darunter Preludium (-8) toni, Folie d'Espagnie mit 19 Variationen, 19 Menuets und weitere
Tanzsätze; 7 Gesangsstücke in französischer Sprache für
eine Singst, und bezifferten Baß. -Anfang 18. Jh.: Autori Diversi (17.Jahrhundert): Il Mondo è dei folli, 12 Versionen der Follia aus dem europäischen Barock, page 10-19
- Jacobi, Jörg (editor and publisher)
Jörg Jacobi wrote about this piece in the preview:Die zwölf Variationen der Nr. III finden sich in einem Band, der überwiegend Suiten von Johann Jakob Froberger (1616-1667) enthält, was nahe legt, das auch diese Folie d'Espagne von ihm stammen könnte. Interessant ist das Voranstellen eines kurzen Prelude (das kaum mehr ist, als eine etwas ausgeschmückte Kadenz). Die Variationen steigern sich sehr typisch und planvoll (mit den virtuoseren gegen Ende) und bieten einige schöne Einfälle. Der Halbkreis über den Noten in Variation IV beschreibt eine Verzierung, die ich als Grupetto identifizieren würde.
- Title: Prelude - Folies d'Espagne in source: Schwerin, Landesbibliothek, Mus 617: Autori Diversi (17.Jahrhundert): Il Mondo è dei folli, 12 Versionen der Follia aus dem europäischen Barock, page 2-9
Jörg Jacobi collected and edited 12 versions of folías mostly from anonymous manuscripts - Published by edition baroque, Bremen, eba4061, ISMN 979-0-700391-00-3
- Year of publication: April 2018
- Including an introduction about the theme and the specific pieces
- Title: Prelude - Folies d'Espagne in source: Schwerin, Landesbibliothek, Mus 617: Autori Diversi (17.Jahrhundert): Il Mondo è dei folli, 12 Versionen der Follia aus dem europäischen Barock, page 2-9
Manuscript Res 1186 bis, p. 30-fol.31, Bibliotheque du Conservatoire, National de Musique, Paris France
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Duration: 2'38", 06 kB. |
| Theme of The Spanish Follye | by Hudson Vol I, p. 113 |
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- Laganà, Ruggero (harpsichord) 'Folías italianas'
- Title: The Spanish Follye (1685)
- Released 2010 by Concerto compact disc CD 2058
- Duration: 2'06"
- Recording date: October 2009 Bartok Studio, Bernareggio (Mi), Italy
- See also the page Recommended Folia-recordings
From the slipcase:
the program opens with one of the many sets of variations on the theme of Folia de España by an anonymous composer of the 16th century.
Not much to go on, but the 16th century as indication needs some correction because the later Folia melody and chord progression is involved (introduced in 1672). As the name already indicates i guess some variations of the manuscript collected by Martín Y Coll are involved.- Nosetti, Massimo (organ) 'L'Orgue de Concert, Vol2 Massimo Nosetti à l'orgue historique de la Collégiale Sant'Ambrogio d'Alassio'
- Released 2001 by Syrius, compact disc SYR-141363
- Duration: 5'45"
- Recording date: January 2001, in Alassio, Italy
- historical organ of Collégiale Sant'Ambrogio d'Alassio
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All variations of Follia parte pa |
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5 page in pdf-format, 589 kB |
- Dugoni, Paolo (edited the orginal manuscript for modern reading with bass and treble key)
- Released 2011 by Paolo Dugoni
- Pages: 5 pages
- Published by Paolo Dugoni, Italy
- Jacobi, Jörg (editor and publisher)
Jörg Jacobi wrote for his publication:
Die Notation mit Continuoziffern ist typisch für die italienische Claviermusik des 18. Jahrhunderts. Von dem Ausfürenden wird erwartet, dass er die ansonstenrecht dünne Harmonie selbständig und nach eigenem Gusto ausfüllen kann.
- Title: Follia in: Autori Diversi (17.Jahrhundert): Il Mondo è dei folli, 12 Versionen der Follia aus dem europäischen Barock, page 28-33
Jörg Jacobi collected and edited 12 versions of folías mostly from anonymous manuscripts - Published by edition baroque, Bremen, eba4061, ISMN 979-0-700391-00-3
- Year of publication: April 2018
- Including an introduction about the theme and the specific pieces
- Title: Follia in: Autori Diversi (17.Jahrhundert): Il Mondo è dei folli, 12 Versionen der Follia aus dem europäischen Barock, page 28-33
Description Bayerische Staatsbibliothek: 197 Keyboard pieces, org - BSB Mus.ms. 12607 [title page:] Volgen
Praeambula: Fuga ; Versus: /1 Toccatina: durch die acht Kürchen" dan ande
Transponiert Vnd Vermischte /1 Ton. Maria Catharina Kieningin /1
Von Fridberg gehörig: angefangen anno 1735
1735-1750, Mus.ms. 12607, urn: n bn: de:bvb: 12 -bsb0006163 7-3, RISM 455022240 - BSB-Hss Mus.ms. 12607
Paolo Dugoni wrote in an e-mail 13 July 2016:
I would like to report a version of the Folia for harpsichord called "Viola De Spania" contained in a manuscript of Maria Catharina Kiening preserved in the Bayerische Staatsbibliothek. I attach the source and my transcription of the piece.
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10 page in pdf-format, 1095 kB |
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3 page in pdf-format, 143 kB |
- Dugoni, Paolo (edited the orginal manuscript for modern reading with bass and treble key)
- Released 2016 by Paolo Dugoni
- Pages: 3 pages
- Published by Paolo Dugoni, Italy
- Jacobi, Jörg (editor and publisher)
- Title: Viola De Spaniol in: Autori Diversi (17.Jahrhundert): Il Mondo è dei folli, 12 Versionen der Follia aus dem europäischen Barock, page 1
Jörg Jacobi collected and edited 12 versions of folías mostly from anonymous manuscripts - Published by edition baroque, Bremen, eba4061, ISMN 979-0-700391-00-3
- Year of publication: April 2018
- Including an introduction about the theme and the specific pieces
Unfortunately no documentation about this Folia is included in the slipcase of the recording. As the source an anonymous composer in the 16th century is given which can't be true because the later Folia-theme (introduced in 1672) is clearly exposed in several variations.
- Rouet, Pascale (organ) 'Autour de l'Espagne'
- Title: Diferencias sobre la Folia
- Released by Pavane Records 2003 compact disc ADW 7468
- Duration: 2'31"
- Recording date: July 2-4, 2001 in l'Abbatiale B-D de Mouzon, France
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Duration: 0'29", 01 kB. |
| Manuscript from the archive Bosch van Rosenthal | © Rijksarchief Gelderland, used with permission |
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- Rijksarchief Gelderland in Arnhem (RAGld) (Archives of the Province
(region) of Gelderland in the Netherlands)
Drs. W.T. Resida (associated with the Rijksarchief Gelderland) was so kind to give notice of this manuscript and the context. The booklet with sheet music was part of the archives of the family Bosch van (von) Rosenthal and was intended as a guide to practice for B. Kloeckhoff (1680-1764) and was dated 1695. For this Folia no particular editor was mentioned (while for some other tunes from the booklet the teacher has signed with his name). Notice that a bit of the tune at the backside of the paper seems to shine through due to the agressive chemical reaction of the ink on the paper over the ages. The booklet contains another extensive version of the Folia (13 variations) which is classified under the composer Reinis, Hen(dricus?). - Manuscript 0724 Archives of the family Bosch van (von) Rosenthal and relatives
- The years 1418, 1539, 1584, 1600-1953
- Inventory number 960
- Rijksarchief Gelderland is vested in the city of Arnhem The Netherlands and can be contacted at http://www.geldersarchief.nl
- Jacobi, Jörg (editor and publisher)
- Title: La folÿ de Espagne in: Autori Diversi (17.Jahrhundert): Il Mondo è dei folli, 12 Versionen der Follia aus dem europäischen Barock, page 1
Jörg Jacobi collected and edited 12 versions of folías mostly from anonymous manuscripts - Published by edition baroque, Bremen, eba4061, ISMN 979-0-700391-00-3
- Year of publication: April 2018
- Including an introduction about the theme and the specific pieces
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Duration: 5'08", 17 kB. |
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6 page in pdf-format, 97 kB |
| Manuscript from the archive Bosch van Rosenthal | © Rijksarchief Gelderland, used with permission |
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- Rijksarchief Gelderland in Arnhem (RAGld) (Archives of the Province
(region) of Gelderland in the Netherlands)
Another Folia from a booklet conserved at the Rijksarchief Gelderland. This booklet with sheet music was like the previous item part of the archives of the family Bosch van (von) Rosenthal and was intended as a guide to practice for C.A. Kloeckhoff (1676-1746), dated back to 1695. For this Folia no particular editor was mentioned (while for some other tunes from the booklet the teacher has signed with his name). It is almost identical to the previous item, the standard folia-theme. Notice that a bit of the tune at the backside of the paper seems to shine through due to the agressive chemical reaction of the ink on the paper over the ages.
The booklet contains another extensive version of the Folia (13 variations) which is classified under the composer Reinis, Henrich. Some variations are identical. For instance variation 5 matches variation 9 of the Reinis' Folia and variation 8 is identical to variation 2 of Reinis. Variation 9 matches variation 6 of the Reinis manuscript. - Manuscript 0724 Archives of the family Bosch van (von) Rosenthal and relatives
- The years 1418, 1539, 1584, 1600-1953
- Inventory number 956
- 13 pages
- Rijksarchief Gelderland is vested in the city of Arnhem The Netherlands and can be contacted at http://www.geldersarchief.nl
Original: Manuscript 815, Libro de música de clavicimbalo del Sr. Dn. Francisco de Tejada (1721), fols 72r-73r., Biblioteca Nacional, Madrid. Interesting is that variations 5 and 6, as well as the opening half of 2, contain nine measures.
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Duration: 2'43", 08 kB. |
| Theme of Folías graves | by Hudson Vol I, p. 140 |
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- Atrium Musicae de Madrid / Paniagua, Gregorio
'La Folia de la Spagna'
His 'Parsimonia aristocraciae' (track 5) for harpsichord is actually the Folías graves. Unfortunately the original source for the music is not mentioned in the documentation of the compact disc (but it is in the LP-version!) - Released 1982 by Harmonia Mundi LP HM 1050 & compact disc HMC 901050
- Duration: 3'09" including some noisy weird effects
- Recording date: June 1980
- Jacobi, Jörg (editor and publisher)
- Title: Folías graves in: Autori Diversi (17.Jahrhundert): Il Mondo è dei folli, 12 Versionen der Follia aus dem europäischen Barock, page24-261
Jörg Jacobi collected and edited 12 versions of folías mostly from anonymous manuscripts - Published by edition baroque, Bremen, eba4061, ISMN 979-0-700391-00-3
- Year of publication: April 2018
- Including an introduction about the theme and the specific pieces
- Laganà, Ruggero (harpsichord) 'Folías italianas'
- Title: Folias graves
- Released 2010 by Concerto compact disc CD 2058
- Duration: 2'09"
- Recording date: October 2009 Bartok Studio, Bernareggio (Mi), Italy
- See also the page Recommended Folia-recordings
- Tamminga, Liuwe (organ) 'Islas Canarias, Historical Organs of the Canary Islands'
- Title: Folías graves
- Released 2008 by Accent compact disc ACC 24204
- Duration: 2'01"
- Recording date: October 2007 in La Orotava, San Juan Bautista, Tenerife
- Organ built by Otto Diederich Richborn (1723), restored by Bartelt Immer (1990)
- Jacobi, Jörg (editor and publisher)
- Title: Folia in source: Biblioteca National de Madrid, M 2262: Il Mondo è dei folli, 12 Versionen der Follia aus dem europäischen Barock, page 22-23
Jörg Jacobi collected and edited 12 versions of folías mostly from anonymous manuscripts - Published by edition baroque, Bremen, eba4061, ISMN 979-0-700391-00-3
- Year of publication: April 2018
- Including an introduction about the theme and the specific pieces
- Title: Folia in source: Biblioteca National de Madrid, M 2262: Il Mondo è dei folli, 12 Versionen der Follia aus dem europäischen Barock, page 22-23
- Gonzalo, Jesús (organ) and Chic, Joan (violin barroco) 'Órganos históricos en Aragó Vol. 4 - Despertad, sentidos...! - Música española del siglo XVII, tocada con violín y órgano - Iglesia de Santo Domingo de Daroca'
- Title: Folia
- Released 2024 by Institución Fernando el Católico
- Duration: 6'08"
Music in manuscript Bodleian Library (GB-Ob) Ms. Mus. Sch. F 576, page 7-9 and page 45-47 and page 82-89, dated 1690-1700, lute with 11 strings (A d f a d' f')
Mathias Rösel wrote about the origins of this manuscript:
What is strange about the Oxford manuscript is that the French tuning (aka D minor tuning) required for this piece was not commonly used in Britain. So, the manuscript may be French. If it is French it probably is from before 1700 because new music for the lute was not produced anymore in France after 1700.
- Bailes, Antony edited the music for '32 Easy pieces for baroque Lute'
- Published 19?? by Tree edition, Lubeck, Germany publishers no. unknown
- Pages and size unknown
- Sauvage, Valéry
- Plays the manuscript as edited by Antony Bailes 2007.
- Oxford manuscript F 576
- Baroque lute built by Didier Jarny
- More about Valéry Sauvage at http://perso.orange.fr/luthval/discographie.html
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Duration: 0'32", 01 kB. |
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Valéry Sauvage plays |
Duration: 3'41" direct link to YouTube
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- Satoh, Toyohiko (lute)
- Released 1990 by Klavier Records as compact disc KCD 11026
- Duration: 4'25"
- Recording date: not mentioned in the slipcase
- 14-Note, 26-string Baroque lute made by Nico van der Waals. Its double peg-boxes classify it technically as a theorbo
Music in manuscript Staatsbibliothek Preussischer Kulturbesitz Berlin (west)
| Theme of Folies d'Espagna | from the edition N. Simrock, Berlin 1923 |
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- Bruger, Hans Dagobert (theme and three variations written for the guitar)
1 page in pdf-format, 71 kB
© N. Simrock 1923
thanks to Abel Nagytothy-Toth for making this available
In the preface was written about Folies d'Espagne:
.Folies d'Espagne (Spanische Torheiten), eine Lautenkomposition mit Variationen aus dem handschriftlichen Lautenbuch des Grafen Wolkenstein- Rodenegg (Ms. Berlin), um 1685, deren weite Verbreitung aus ihrer Wiederkehr in zahlreichen zeitgenössischen Lautenbüichern erhellt; ja, damit nicht genug: auch für verwandte lnstrumente aller Art iibertrug man sie - ais Kuriosum sei ihr Auftau chen als "Folie de Spange" in einer Berliner Handschrift (Mus.MsA0267) für das "Hamburger Cithrinchen" (eine Art Cither mit 5 gleichgestimmten Saiten) vermerkt. Dabei ist die Melodie hochst ansprüchslos und einfach, ebenso wie die gewiss harmlosen Variationen über sie, und hat hier hauptsächlich wegen ihrer enormen Popularität als Probe einer volkstümlichen Lautenkunst Aufnahme gefunden*). - Franzosische Tabulatur
- Source: "Aus dem Handschriftl. Lautenbuch des Grafen Wolkenstein-Rodenegg (Berlin) um 1685"
- Published in "Alte Lautenkunst aus drei Jahrhunderten, Heft II, Das XVII.und XVIII. Jahrhundert"
- Published by N. Simrock, G.M.B.H., Berlin, Leipzig, year of publication 1923 (year 1923 handwritten on the cover
- 1 page 21 x 29 cm
- Quadt, Adalbert edited the music for guitar 'Lautenmusik des 17. und 18. Jahrhunderts heft 1' Edited from tablatures and selected with regard to practicability on the guitar by Adalbert Quadt
- Published 1978 by VEB Deutscher Verlag fur Musik, Leipzig (page 53), Lizenznummer 418-515/D119/78, printed in the German Democratic Republic, Druck und Bindearbeit: Offizin Andersen Nexö Leipzig - III/18/38, Bestellnummer 32070
- With a preview by Adalbert Quack, june 1977 Berlin
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Duration: 3'47", 07 kB. |
Farinel's variations were published by John Playford in The Division Violin in 1684 (London) where it is listed in the index as 'A Division on Mr Farinell's Ground' and in the first part of The Division Flute by anonymous published in 1706 by Walsh in London.
- Ciuffa, Romeo (recorder) and Chiaie, Giancarlo delle (harpsichord)
Faronells Ground (from 'The division flute') as played by Romeo Ciuffa and Giancarlo delle Chiaie
Duration: 5'21" direct link to YouTube
© 2008 Romeo Ciuffa (Romeoamkj), used with permission- Broadcasted at YouTube April 3, 2008 by Romeo Ciuffa
- Duration: 5'21"
- Recording date: April 2, 2008 in Palazzo Annibaldeschi in Monte Compatri, Rome, Italy
- More about the concerts organized by Romeo Ciuffa at http://www.amkj.org
- Holman, Peter editor 'The division recorder, a complete collection of
English divisions on a ground bass for alto (treble) recorder (c.1680-1708)'
- Published 1979 by Schattinger-International Music
- Score 2 Vol. 31 cm
- Publisher No. H1020-1021
- Munrow, David (treble recorder) 'The Amorous Flute' with Oliver Brookes bass viol and Christopher Hogwood harpsichord
From the documentation of the Vinyl:
An anonymous set of divisions on the famous Follia ground bass, from The Division Flute issued by Walsh in London, 1704
- Title: Faronells Ground `
- Released 1974 by Argo, London LP ZRG 746
- Duration: 3'40"
- Recording date: not mentioned in the documentation (but indirect sources mention 1973)
- Munrow, D. (recorder) & Brookes, O.(bass viol) & Hogwood, C. (harpsichord) 'The amorous flute'
- Title: Faronells Ground
- Released 1995? by Decca as compact disc 440 079-2DM
- Duration: 3'35"
- Recording date: 1973
- Review in Gramophone 10/95
- Munrow, D. (recorder) & Brookes, O.(bass viol) & Hogwood, C. (harpsichord) 'The artistry of David Munrow, Baroque and Renaisance works for recorder including 'La Folia'
- Title' La Folia' but this is exactly the same tune and recording as mentioned above with the title 'Faronells Ground '
- Released by Decca as tape (cassette) AWC 8240 without indication of year
- Duration: 3'35"
- Recording date: 1973
- Munrow, D. (recorder) & Brookes, O.(bass viol) & Hogwood, C. (harpsichord) 'The artistry of David Munrow, Baroque and Renaisance works for recorder including 'La Folia'
- Title: 'La Folia' but this is exactly the same tune and recording as mentioned above with the title 'Faronells Ground '
- Released 1996 by Big Joke Music compact disc
- Duration: 3'47"
- Recording date: 1973
- Pottier, Laurence (recorder) & Amade, Jacques (organ) 'Méditation, flûte a bec and organ'
- Title: Farounels Ground (1706)
- Released 2002 by Bayard Musique compact disc D9739260
- Duration: 4'28"
- Recording date: July 18-19, 2002 in the church of Saessolsheim
- Temmingh, Stefan and ensemble
- Title: Anon. Follia (Faronells ground)
- Published at YouTube May 3rd, 2011 by Klangmueller
- Duration: 5'46"
- Recording date: 2011 during a live concert (more information is missing)
- Trio Faronell: Alan Davis recorder, Jane Ryan viola da gamba, Andrew Hurst archlute "Preludes, Airs & Divisions"
- Title: (1706)
- Released by self published year unknown compact disc TFCD2
- Duration: 5'44"
- Recording date: 20th & 21st April 2001 in St Paul's Church, Hockley, Birmingham, England
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The Division Flute 24 mb, 35 pages |
Anonymous Follia played by Stefan Temmingh and ensemble live
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- Collegium Musica Rara conducted by Peter Thalheimer (Altblockflöte, Gitarre, Bassgambe, Kastagnetten)
- Title: Follia (1680)
- Released by Fidulafon compact disc Fidula-CD 4469 (year not mentioned in the documentation)
- Duration: 2'49"
- Recording date: 1988, place not mentioned in the documentation
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Duration: 5'50", 11 kB. |
| Theme of Follías de España | by Hudson Vol I, p. 143 |
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- Alcock, Gillian (hammered dulcimer) 'The Pleasures of Hope' Alcock only plays the theme of this piece as an introduction to her own variations for hammered dulcimer
- Title: La Folia in OZ
- Released 1997 by Alcock compact disc GA001
- Duration: 6'29"
- Recording date: 1997 in Canberra, Australia
- Instrument (hammered dulcimer) built by Gillian Alcock
- Atrium Musicae de Madrid/ Paniagua, Gregorio (guitar, percussion, harpsichord, recorders, clarinet) 'La Folia de la Spagna'
- Title: 'Fons vitae',track 1 from 'La Folia de la Spagna'
- Released 1982 by Harmonia Mundi compact disc HMC 901050
- Duration: 6'01"
- Recording date: June 1980
- Jenny, Tobias (hammered dulcimer) 'Chains, roaming minds' music with
links to mountains and memories'
In December 1998 Tobias Jenny wrote about this folia-piece: - Title: Folias de España, Anonymous from a manuscript in Barcelona 1764
- Released 1998 by Striking String Sounds compact disc TB001
- Duration: 7'51"
- Recording date: Spring 1997 in Alberta, Calgary
- More about this recording at http://web.me.com/uphillbakery/StudioCantilena/CD.html
- Olavide, Begoña (salterio), Paniagua,
Carlos (darbugas, psalterion) e.o. 'Salterio'
This is a Folia-medley starts with an anonymous Folia including some variations by Gaspar Sanz, the second Folia is played as an improvisation by the ensemble and the last part is the Barcelona Manuscript for salterio solo dated back to 1764. - Released January 1999 by MA Records compact disc MA 025A
- Duration: 10'31"
- Recording date: March 1994 in the Monasterio de la Santa Espina, Valladolid, Spain
- Schickhaus, Karl-Heinz edited the music for psalter (Hackbrett)
- Title: 10 Solostücke aus der Handschrift Barcelona 1764, Spanische Hackbrettmusik, Heft 2
- Published by Musikverlag Josef Preissler, Munchen
- Publisher No. 6316/II
- Stolzenburg, Birgit (Barockhackbrett/Salterio) 'Il Salterio'
- Title: Folias de Espana
- Released 1996 by NYX compact disc NYX1111 address: Lindenstr. 18, 83607 Holzkirchen, Germany
- Duration: 6'32"
- Recording date: 1996 at the Iceland Studio
- Übellacker, Margit (Dulcimer/Barockhackbrett/Salterio) 'Clarini'
- Title: La Folia for hammered dulcimer
- Recorded by Radio Bremen
- Released 2010 in a coproduction by Radio Bremen and Laika-Records compact disc 3510266.2
- Duration: 9'28"
- Recording date: June 14 and 16, 2010 in the Sendesaal Bremen, Germany
Many composers were inspired to write variations to the
famous dance piece Folias de Espan˜a. For centuries it rated in the top
ten along with Greensleeves. My version is from a manuscript datet 1764
in Barcelona containing a vast collection of Hammered Dulcimer music
(Salterio). It is the piece de resistance in my programs. I love playing
it and put it in the programs, since it allways arrives well even with
folk audiences. So for the last 2 years I played it in various concerts
(Folk and Classical) in Canada and Argentina. I play the Folias 1 tone
lower (in d-minor) because the range of my instrument is not high enough.
I combine pizzicato and hammering in my interpretation. Var 6 both hands
Pizz. (as suggested in the edition by Schickhaus). Var 7 and 10 'melody'
pizz. lower part hammered after var 10 I repeat the theme pizzicato.
I play the variations on a Appenzell stile Hackbrett which I built in
a Hackbrettbuilding course at the Heimatwerkschule in Richterswil, Switzerland
back in 1992 in the tradition of the Alpstein region in eastern Switzerland,
where it is THE regional instrument . All music schools offer lessons
on the Hammered Dulcimer and it is now enjoying a revival at the Conservatory
level in Europe. That is when I started playing the instrument.
This is a very unique and rare performance of the Folies d'Espagne.
The length of the music is no more than 22 seconds but just imagine that you are going back in time to the year 1763 and realize that your ears are able to hear the exact authentic sound of a Folia-tune as it was heard in those days. OK, not a fashionable folia because the sound is determined by the technical limitations and the specific purpose of the instrument, namely to learn birds some popular chirping, but still it is quite fascinating.
Jean-Michel Roudier, the museum conservator of the musée Auguste Grasset de Varzy (http://www.cg58.fr/services-ouverts-au-public/musees-de-la-nievre/musee-auguste-grassetvarzy.html) wrote in August 2002:
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| serinette manufactured by Gavot
1763 |
Bird-organs, in french 'serinettes' derived from the word
'serin' meaning European canary (in Latin serinus serinus) were intended
to learn domestic birds to sing melodies by repeating the tunes over and
over again.
In our museum collection we have such an 18th century bird-organ. This charming
mechanical instrument (table-model) was dated March 28, 1763 and signed
by 'Gavot', a well known instrument manufacturer from the city of Mirecourt
(in the Vosges, east of France). The organ is well-equipped with two stops
(registers) of 10 pipes each,
one in the upper register (treble-notes, in french registre aigu) and one
in the lower register (registre grave). So people could choose to play melodies
in one of the two registers. However it is not possible to make use of both
registers at the same time. The barrel contains 10 tunes and the titles of
the melodies are labeled with handwritten paper on the box of the serinette
(see photo).
Recently the instrument has been restored in its full glory by the restorer
Bernard Pin. Now it can produce the original sound again of all the ten melodies
(small airs and dances) in both registers for which it was originally intended.
Because of the extraordinary pure and authentic sound, I decided to record
all the ten melodies in both registers for a compact disc release, with the
financial help of the 'Association des Amis du Musée Grasset Conseil
général de la Nièvre'. The last melody is 'Les Folies
d'Espagne' a tune which will have your special interest. You might notice
the very high tempo of the Folia-theme, especially in the last eight bars.
The speed is also more up tempo compared to the other tracks which have less
bars than the sixteen of the Folies d'Espagne because of the limited absolute
duration of the pieces to be played. On a serinette, to come full circle of
the barrel, must be achieved by the player (the guy that turns the crank)
in more or less than 20 seconds. Otherwise, the bellows will not blow air
enough, and the notes are not hold.
About the name of the man who did put all these small things of brass (in
french 'picots') on the wood roll : i should say 'anonymous'. There was, in
the 18 th century, a man specialized in this sort of job in every workshop.
Unfortunately, he has no name, and the only signature we know here is 'Gavot
fils' (the son of Gavot). Some specialists in mechanical music told me, after
listening to the record, that the roll was very well 'noted'. Some others
are much more simplified. And the notes of the 10 pipes are unusual, compared
to other serinettes made at the same time. However due to its very specialized
disposition the compact disc is not available in record shops as you might
understand.
- Gavot (manufacturer of the mechanical instrument) 'La Serinette du musée Auguste Grasset de Varzy'
- Title: Les Folies d'Espagne
- Released 2002 (year not indicated) by musée Auguste Grasset de Varzy compact disc without order-number
- Duration: 0'22"(in high register)
- Duration: 0'22"(in low register)
- Recording date: 2002 in the museum Auguste Grasset, Varzy
- Instrument (serinette) manufactured by 'Gavot' and reconditioned by Bernard Pin
- The compact disc with a total duration of 8'24" and with the tunes Contredanse, Pardon ma Mère, Prélude Italien, Gigue et son prélude, Menuet allemand, les Mousquetaires, La Badine en chasse, Menuet, Air en contredanse and Les Folies d'Espagne all played in both registers can be ordered for the price of 6 Euro including shipping by the Musée Auguste Grasset de Varzy: jimbea@wanadoo.fr
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Duration: 0'22", 254 kB. (96kB/s, 44100Hz) |
- Les Musiciens du Palais Royal (theorbo solo - Kléber Besson) 'Les joyaux de la musique Baroque Française'
- Title: Les Folies d'Espagne
- Released April 2004 by MPR compact disc 001 and it can be ordered for 12 euro or $12 (including post handling) at http://perso.wanadoo.fr/lesmusiciensdupalaisroyal/contact.htm
- Duration: 1'55"
- Recording date: February 29, 2004 at Claye Souilly 77410, France
- More about the oeuvre of Les Musicians du Palais Royal at http://perso.wanadoo.fr/lesmusiciensdupalaisroyal/
Kléber Besson wrote about this piece:
This Folia was part of a manuscript in the collection of the duc d'Aiguillon, now preserved in Agen (France), known as Folia in La mineur, F 6,7 Ms. Agen. The piece is written down in two sections: A and B. I recorded the piece as A-B-A to extend the solemn atmosphere of the composition and as you probably will know the theme was often repeated at the end of these kind of Folias.
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Duration: 1'55", 964kB. (64kB/s, 44100Hz) |
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2 pages in pdf-format with fingersetting, 71 kB |
- Inventory of the Royal Library, Den Hague, The Netherlands as part of the collection Frans Vester
- Inventory number NMI42.1
- sheet music pages 54-55, size 33 cm
Richard Hudson (p. 108, Vol 1) stated that variations 2, 3 4 and 11 are almost identical to the variations 3, 2, 4 and 9 of the ground by Farinelli.
- manuscript Res 1186 bis, fols. 33-36, Bibliotheque du Conservatoire
National de Musique, Paris France
This is the only piece in the manuscript that is not clearly for keyboard. It contains some keyboard fingering for the upper part, but the bowing slurs and the texture point to a performance by violin and continuo. (source R. Hudson 'La Folia' p. XXXVII)
See also the intrumental version of Joy to great Caesar for harpsichord published by Bremner.
'Farrinel's Ground' is the label of the Folia-tune in Great Britain derived from the violinist Farinel (with different spellings of the name Farinel). Although D'Urfey was also a composer, he did not compose this tune but only wrote the text with the indication that it should be sung on the Folia-theme which was included in the publication.
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| the music from Several New Songs, 1684 |
| Text: | |
| Joy to great Caesar, long Life, Love, and Pleasure 'tis a Health that Divine is, fill the Bowl high as mine is. Let none fear a Feaver, but take it off thus Boys. let the King live for ever, 'tis no matter for us Boys, Try all the Loyal, defy all. give denial sure none thinks the Glass too big here, nor any Prig here, or sneaking Whig here, of Cripple Tony's Crew, that now looks blew, his Heart akes too, the Tap won't do, his Zeal so true, and Projects new, ill Fate does now pursue Let Tories guard the King, let Whigs in Halters swing. let Pilk- and Sh- be sham'd, let bugg' ring O be damn'd. let cheating Pl-- be nick'd, the turncoat Scribe be kic'd. let Rebel City Dons never beget their Sons. let ev'ry Whiggish Peer that Rapes a Lady fair and leaves his only Dear the Sheets to gnaw and tear, be punish'd out of hand, and forc'd to pawn his Land t'attone the grand Affair |
Great Charles, like Jehovah, spares Foes would unking him, and warms with his Graces the Vipers that sting him. 'till crown'd with just Anger the Rebels he seizes. Thus Heaven can Thunder when ever it pleases Then to the Duke fill, fill up the Glass, the Son of our Martyr, belovev'd of the King. Envy'd and lov'd, yet bless'd from above, secur'd by an Angel safe under his Wing Faction and Folly, and State Melancholy, with Tony in Whigland for ever shall dwell. let Wit, Wine and Beauty, then teach us our Duty, for none e're can love, or be wise and rebel |
- Passamezzo (Emily Atkinson: soprano, Robin Jeffrey: lute, Alison Kinder: bass viol)
Passamezzo The King's Health, All joy to great Caesar, Farrinel's Ground
Duration: 3'05" direct link to YouTube
© 2023 by Passamezzo- Title: The King's Health - All joy to great Caesar - Farrinel's Ground - Follia
- Published at YouTube May 12, 2023 by Passamezzo
- Duration: 3'05"
- A Stadlen Production
- Recording date: 9 January 2023
- Thomas D'Urfey
- Published in 1719 in Wit and Mirtth: or Pills to Purge Melancholy. being A Collection of the best Merry Ballads and Songs, Old and New. Fitted to all Humours, having each the their proper Tune for either Voice, or Instrument: Most of the Songs being new Set. Vol IV.
- Printed 1719 by W. Pearson for J Tonson at Shakespear's Head, over against Catherine Street in the Strand
- Published Pills to Purge Melancholy (1719) in 1991 by Bartholomew Press, Boulder, Colorado, USA
Text: D'Urfey, Thomas (1653-1723), created 1702 (Coronation of Queen Anne was on the 8th of March 1702) published 1719
- Thomas D'Urfey
- Published in 1719 in Wit and Mirtth: or Pills to Purge Melancholy. being A Collection of the best Merry Ballads and Songs, Old and New. Fitted to all Humours, having each the their proper Tune for either Voice, or Instrument: Most of the Songs being new Set. Vol IV.
- Printed 1719 by W. Pearson for J Tonson at Shakespear's Head, over against Catherine Street in the Strand
- Published Pills to Purge Melancholy (1719) in 1991 by Bartholomew Press, Boulder, Colorado, USA
- As far as I know this tune has not been recorded yet
Text: Jean de La Fontaine (1621-1695), created 1687, published after his deathText: |
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| On languit, on meurt près de Sylvie |
Tous les jours entrent à son service |
| C'est ainsi qu'en un bois solitaire |
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- Deletre, Bernard (bass), Desrochers, Isabelle (soprano), Marais Symphony
Orchestra 'Jean de La Fontaine: A Musical Portrait, Lully, Couperin, Charpentier
and others'
In the slipcase is written: - Title: Couplets pour Mme d'Hervart sur l'air des Folies d'Espagne
- Released 1996 by Virgin Veritas, Emi Classics Import compact disc UPC: 724354522925
- Duration: 2'34"
- Recording date: August 25-28, 1995 at l'abbaye de Saint-Michel-en-Thiérache
Madame de la Sablière had provided lodgings for La Fontaine in her house since 1673, but she became increasingly religious and he took to spending more and more time with the Hervart family and their brilliant circle of guests. The Hervarts gave him a room, full of busts of philosophers, in which he kept his harpsichord. Françoise d'Hervart was 'one of the most beautiful women anyone has ever seen'. La Fontaine wrote that it was his 'desire and intention that in future Mme d'Hervart be called Sylvie in all my territory on Parnassus' i.e. in his poetry. That he had given his very name to Madame Fouquet thirty years previously shows how great a compliment he was paying his hostess, for whom he wrote some galant verses to the well-known tune 'Les Folies d'Espagne'.
Text: Voltaire (1694-1778) (born as François Marie Arouet)
qui s’appelait Madeleine. Chanson sur l'air des Folies d’Espagne Votre patronne en son temps savait plaire; |
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7 pages in pdf-format 105 kB |
Manuscript 2151 of the university of Gand is mentioned as containing two pieces on the l'air de Folies d'Espagne: 'reviens pécheur, cést ton Dieu, qui t'appelle' and 'Profondeur, abime impénétrable'
- Smidt, J.R.H. de (collected by)
'Les Noëls et la tradition populaire, 142 notations populaires avec gravures'
- Published 1932 in Amsterdam by H.J. Paris
- Included a list of literature about Folies d'Espagne (La Folia)
The Folia theme is actually not sang at all. In the musical breaks between the verses twice a statement of the second line of the Folia (ending in the tonica) is to be heard while the instrumental intro and coda is an imitation of the melody of the verses.
- Prior, Maddy with The Carnival Band 'Sing lustily & with good courage'
- Title: Rejoice ye shining worlds
- Prior, Maddy (voice) Watts, Andy (recorders), Jub' (bass) and Badley, Bill (lute)
- Released 1990 by Saydisc Records compact disc CD-SDL 383
- Duration: 2'09"
- Recording date: March 1990 at Valley Recordings, England
Preserved in a Spanish manuscript from the early 18th century, Escorial manuscript Bc M. 1452, circa 1731, a modern edition was published by Maurice Esses
Arrangements based upon this manuscript were used by:
- Baxter, Becky (composer letter B)
- Grupo de Música Barroca La Folía (composer letter G)
- The Waverly Consort (composer letter W)
This tune is firmly grounded in the genre of folk songs. The first 8 bars follow the chord progression of the last 8 bars of the Folia-theme. Like the Swedish Sinclair(s)visan the following 8 bars are somewhat like an answer on the Folia-theme. So in fact the Lampaanpolska is more complex than the Folia, while in the Folia theme the first 8 bars are the same as the first 8 except for the ending.
Arrangements based upon this traditional tune were used by:
- JPP (Järvelän Pikkupelimannit) (composer letter J)
- Kuula, Toiva (composer letter K)
- Rinda-Nickola, Samuel (composer letter R)
- Tapiola Choir conducted by Pohjola, Erkki (composer letter T)
- Zetterholm, Finn & Selander, Marie (composer letter Z)
This tune is firmly grounded in the genre of protest and folk songs. There are many sung versions of the tune. The first 8 bars follow the chord progression of the last 8 bars of the Folia-theme. Like the Finnish/Swedish Lampaanpolska the following 8 bars are somewhat like an answer on the Folia-theme. So in fact the Sinclairvisan is more complex than the Folia, while in the Folia theme the first 8 bars are the same as the first 8 except for the ending.
'Visa' in Swedish means roughly the same thing as 'song' in English. 'Sinclair' is derived from Malcolm Sinclair, a Swedish diplomat, who was murdered on his way home from Turkey 1739 on orders of the Russian government. The original 90 verse text was written by Anders Odel (1718-1773) but there are lots of variants on the original text, and many of them are of a political nature. The Swedish poet Carl Michael Bellman (1740-1795) also set words to the La Folia melody, no doubt helping along its spread in Sweden. The complete text in the Swedish language, written by Anders Odel can be found at http://members.tripod.com/minata/sincl.html
Arrangements based upon this traditional tune were used by:
- Adolphson, Olle (Composer letter A) title: Folia but the tune is Sinclairvisan
- Grieg, Edvard (Composer letter G)
- Johansson, Jan (Composer letter J)
- Knutna Nävar (Ensembler letter K)
- Svenblad, Ronnie (Composer letter S)
- Taube, Sven Bertil (Composer letter T)
- Willemark, Lena (Composer letter W)
Handwritten manuscript in tablature for organ (Sign. XIII c3, S 73-90) found at the Kloster Marienberg, Helmstedt Germany by Thomas Synofzik
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Duration: 10'00", 30 kB |
| Theme of Folie d'Espagne by Abel | © Synofzik and Concerto, used with permission |
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- Synofzik, Thomas
- Published in the magazine 'Concerto, das Magazin für Alte Musik', Vol. 145, July/August 1999 p. 24- 29
- Article with introduction, source and full score edited in modern sheet music with footnotes
- Score 3 p. 21 x 29 cm (original manuscript 17 x 10,5 cm example included in article)
- The magazine 'Concerto' can be found at: http://www.concerto-verlag.de
- Accademia del Piacere (Fahmi Alqhai, viola da gamba and direction,
Miguel Ángel Cortés, flamenco guitar, Rami Alqhai, viola da gamba,
Johanna Rose, viola da gamba,
Juan Ramón Lara, violone,
Vicente Parrilla, recorders,
Enrike Solinís, baroque guitar, theorbo and archlute,
Pedro Estevan, percussion,
Agustín Diassera, flamenco percussion,
David "Chupete", castanets
Joaquín Rodero, oud) 'Las idas y las vueltas, Spanish Baroque meets flamenco'
- Title: Folías - Various authors, c. 1700
- Released 2014 by Glossa compact disc ordernumber GCD P33203
- Duration: 5'36"
- Recording date: December 2011 and January 2012 in Estudios Sputnik in Sevilla, Spain
- Academia del Piacere
Folías by Accademia del Piacere live broadcasting
Duration: 4'34" direct link to YouTube
© 2012 by Accademia del Piacere- Title: Folías
- Broadcasted by RTSI (Radio televisione svizzera italiana) 10 July, 2012
- Duration: 4'34"
- Recording date: live concert (program 'Fantasias, diferencias y glosas') 13 April 2012 during the Festival d'Estate, Sala Sopracelerina in Locarno, Swiss
The opera, which had its premiere in May 1849, is loaded with hidden meanings, subtly describing ambiguous relations and misunderstandings between the three characters Don Belflor, his wife Coraline and her lover Tracolin.
Beside the well-known 'Ah vous dirais-je maman' ('twinkle twinkle little star') there are three famous Spanish melodies briefly introduced (the Fandango, the Cachucha and the Folies d'Espagne). These Spanish melodies are a set of conventions between Tracolin and Coraline how seriously Don Belflor has cheated his wife.
The Folia is played twice in act two, when Tracolin and Coraline agree upon which melody Tracolin will play in case Don Belflor cheated his wife badly. And in the finale, while Coraline reveals the reality with a deck of tarot cards, the Folia is played indeed to indicate Don Belflor's misbehaving.
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Duration: 0'32", 773 kB. (128KB/s, 44100 Hz) |
- Orchestre français Albéric Magnard conducted by Jean-Luc Tingaud 'Le Toréador, opéra
comique de Adolphe Adam' with Ghyslaine Raphanel (Coraline), Matthieu Lécroart (Don Belflor) and Franck Cassard (Tracolin).
Artistic director Pierre Jourdan.
Text: (while Coraline shuffles the deck of tarod cards to see, or might we say in this case better 'hear', the truth)
Coraline: Non pas, jusqu'au bout. Je vous dirai tout.
(Elle continue. Trancolin joue les Folies d'Espagne) Dieu! Qu'ai-je vu ! L'infâme vient, á ses pieds, de trahir ses serments !
Don Belflor: Ah ! je suis perdu ! Pardon, ma femme.
Translation into English:
Coraline: Not at all, I'm going to tell you everything, right to the end.
(She continues. Tracolin plays the Folies d'Espagne) Heavens! What's this! The horrid man, at her feet, has just betrayed his vows!
Don Belflor: Ah! I am lost! Forgive me, my wife.
- Title: Folies d'Espagne
- Released 2005 by Mandala compact disc Man 5098 distributed by Harmonia Mundi HMCD 90
- Duration: 2 fragments of quoting the Folia-theme less than 0'20" in 'Air de tracolin' (7'21") and Final (8'52")
- Recording date: Live in front of an audience June 2004 in Théâtre Impérial de Compiègne
- Adolphson, Olle (vocals and guitar) and Gothenburg Chamber Choir conducted by Gunnar Eriksson 'Ge mig en dag'
- Title: Folia (Rim i juli)
- Originally released 1983, re-release 2004 by Prophone compact disc PCD072
- Duration: 2'20"
- Recording date: 1983
This is a very popularized Folia. It was released as the A-side of a single. I don't know if it hits the charts in the seventies. The music is interesting in more than one way. The instrumentation is extraordinary. Besides the violin as the lead-instrument played by Igal Shamir, in the second and third variation a drumkit and an mood synthesizer is introduced, making it into a sort of James Last-tune.. Next to the instrumentation the structure is of interest. The last eight bars of the Folia-theme (ending in the tonic) are played three times but the theme is extended with another nine bars. The first eight bars are a kind of answer to the folia-theme somewhat similar as in the lampaanpolska. The ninth bar is the bridge towards the second line of the Folia-theme. Although I could not find the company to ask for permission to put a fragment of the music at the site it is just too curious not to introduce it.
- Shamir, Igal (violin) and orchestra
Duration: 0'56", 890 kB. (128KB/s, 44100 Hz)
The first variation introducing the drumkit and synthesizer
© Polydor Brussels 1970. I could not reach them to ask for permission but it is just a fragment- Title: La Folia
- Released 1970 by Polydor Brussels as a single 45 vinyl recording 2051 048 and 45 vinyl recording AZ SG 298
- Arranged by Bill Ador
- Duration: 2'50"
- Recording date: not mentioned at the cover or label
Both the name of the composer and the context of the music is not very clear. Sebastián de Aquirre is unlikely the be the composer and the piece was probably no part of a method. In this case it is classified as a piece by Sebastián de Aquirre because Los Otros (Lee Santana) made it famous as an improvisation on the cd "Aguirre". Eloy Cruz the musician who gave the manuscript to Lee Santana shared some background information about the manuscript including "Folias". The importance of this manuscript is definitely the location (Mexico) and the old age of the piece.
Eloy Cruz wrote about this source 16 January 2010 in an e-mail:
I gave Lee Santana (the author of the CD notes of "Aguirre" by Los Otros) all the info that I had about the MS, but it was several years before the making of this CD and I'm sure he had forgotten it, and I think his interests were somewhere else (hence the connection made by Lee between Sebastian de Aguirre -the supposed author of the MS- and Lope de Aguirre -the Spanish conquistador portrayed by Werner Herzog). Anyway, as long as I started this little Aguirre thing, I'd like to share with you some things I've learned of this MS; please don't take this as a criticism to Lee or anybody else, it's just my two-pence contribution for your wonderful page.
The Saldivar Codex 2 is a mexican manuscript for four-course cittern, or "cítara", discovered somewhere in Mexico by Dr Gabriel Saldivar y Silva (the same one who discovered the famous Saldivar Codex 4, the Santiago de Murcia baroque guitar ms), but both mss are not related to each other.
The Saldivar Codex 2 is undated, but was dated by Robert Stevenson as ca. 1650; in my opinion, because of its early repertoire (including Pavanas, Gallardas, Bacas and so on) and the lack of "modern" french pieces and menuets (always present in 18th century mexican mss), I think the Saldivar Codex 2 can be dated in the first half of the 17th century. Stevenson also says that the ms was written in the city of Puebla, in central Mexico, but he gives no reasons for this statement.
There are 2 names in the ms: Anttonio Marttin de Villegas and Sebastian de Aguirre, and I have found not one single piece of information about who these men were. There's no evidence that any of these 2 persons is the compiler or composer of the music, but then, apparently Dr Saldivar considered that the author was Aguirre and labeled the ms "Metodo de citara de Sebastian de Aguirre" and ever since Aguirre has been credited as the composer, and the MS considered a "method", which it is not. In fact, I think Anttonio Marttin de Villegas could be the author or compiler of the MS because his name is at the beginning of the ms. Aguirre's name appears only at the end in an acrostic (a very bad one) praising his nobility and making him some kind of a warrior or soldier, so I think Aguirre was the patron or boss of some guy who could or could not be a musician, called Anttonio Marttin de Villegas, but it's only guesswork.
I don't have the xerox copy of the MS with me, but according to my index,
there are only 2 folias in it, in f. 16v., headed: "folias por 6 y 7 rasgas" and "folias por elami rasgas." rasgas (last 2 letters in superscript) is an abbreviation for "rasgadas", strummed. This would mean
that only the basic folia chords are in the original, and all the rest of the music was composed by Lee Santana. As I tell you,
I don't have the xerox with me, I'll check it.
I use to say that Lee "reconstructed" the music of the MS, but in this case
he probably composed it. This folia was first recorded by Lee on the cittern and myself on baroque
guitar at the CD "Laberinto en la guitarra. El espíritu barroco del son jarocho".
- Ensemble Continuo (Lee Santana cittern, Eloy Cruz baroque guitar) 'Labyrinth in the Guitar'
Eloy Cruz wrote about this Follia:
This is a very simple version, the one in the Los Otros Aguirre CD could be very different (I've never heard this CD), because as Lee says, they all were improvising.
- Title: "Folias"
- Released 2004 by Urtext Digital Classics (Mexico) compact disc UMA 2018
- Duration: 3'23"
- Recording date: unknown
- available in itunes and at http://www.classicsonline.com/catalogue/product.aspx?pid=786752
- Los Otros (Hille Perl: viola da gamba, Lee Santana: Mexican cittern, Steve Player: Xarana) 'Aguirre'
I really don't know in how far Aguirre is involved in this Folia-composition because in the documentation of the cd there is no detailed account for the sources of the manuscript, but I guess it will be catalogued as Aguirre's Folia in the future.
If I understand it correctly it will be a book with exercises how to play the Mexican cittern. It looks very plausible that a Folia is included because it was one of the most popular tunes in the 18th century, but I lost count how many different Folias the members of Los Otros has recorded so far. In the documentation is stated that the manuscript was more the vehicle to put together some improvisations and that is reflected in the music because there is almost no structure whatsoever in this Folia-tune. An acoustic mix of popmusic close to the Eagles and the Hidalgo brothers of Los Lobos (instead of Los Otros?) pops into my mind although the viola da gamba seems a very long way from home here.
Lee Santana wrote for the slipcase:
I locked myself in with a copy of the Manuscript, which is a very chaotic (typical cittern!) collection of chord charts and 'licks' for what must have been some of the hits of that era, a kind of 17th century fake book. There are no rhythmic indications whatsoever, and lots of mistakes all over (cittern!)., so I had a heyday making sense and nonsense out of these fragments. [...] The pieces are sketches; some bits of tunes, bass lines, chords, forms, sometimes germinal ideas for solos.
- Released 2004 by Deutsche Harmonia Mundi, BMG compact disc 82876 60489 2
- Duration: 6'30"
- Recording date: February 24-28, 2004 at Colnrade, Germany
- Tembembe Ensamble: Leopoldo Novoa ( marimbol, guitarra
de son, jarana huasteca, arpa llanera y tiple) ,
Enrique Barona (voz, huapanguera, jaranas, marimbol, leona, pandero y maracas), Eloy Cruz (guitarra barroca jarana barroca y tiorba)
Invitados: Ulises Martínez (violín, cajón de tapeo y voz), Ada Coronel (vihuela y voz), Andrés Flores (jarana y voz), Donají Esparza (baile tradicional) 'Diferencias e invenciones: Nuestro son barroco ' - Title: Folías from Códice Saldívar 2: Método de cítara de Sebastián de Aguirre, México, siglo XVII, reconstrucción: Lee Santana.
- Broadcasted by a Mexican Radiostation during the anual festival 2009 in Guanajuato which is a state very close to Zacatecas in Mexico. It is a mixture of everything, including dance, theatre and plain entertainment. Savall has been there several times.
- Duration: 2'27"
- Recording date: October 22, 2009 in Templo de la Valenciana in Guanajuato, Mexico
In the announcement during the concert was stated:
La pieza que vamos a tocar ahora es de las pocas que estan... mas bien quiero decir que es un par de piezas: es una Folia que procede de un libro mexicano del siglo XVII que le dicen el Metodo de Citara de Sebastian de Aguirre, porque era para un instrumento que ya no se utiliza en absoluto que se llama citara y Leopoldo va a tocar la parte de la citara con este tiple Colombiano
Translation in English by Carlos E. Osuna:The piece that we are going to play now is one a the very few that...I really want to say that it is a pair of pieces: one is a Folia that comes from a 17th-century Mexican book named "Method for the Cittern (Citar) by Sebastian de Aguirre", because it was for an instrument that is now obsolete that was name Cittern, and Leopoldo is going to play the Cittern part on a Colombian tiple.
Eloy Cruz wrote about this concert 16 January 2010:
The version we played at the Festival Cervantino is basically the same as in
the Laberinto CD, but played on a 4-course, triple-strung colombian guitar
called "tiple", and blended with a Colombian piece called "La Guaneña".
This version has been very recently recorded in the CD: "Diferencias e
Invenciones. Nuestro son barroco", Tembembe-M Sonido (Mexico).
This last version is somewhat of a divertimento and I had forgotten all of
the Aguirre-Santana thing; sorry, I'll never again say that this piece comes
from Saldivar Codex 2.
Incidentally, in the Festival, after this folia, we played the Follia by A.
Corelli in a "Huasteco" versiona. Our fiddler, Ulises Martinez, is very well
acquainted with the music of the Huasteca region by the Gulf Coast of Mexico
(always played by one violin and 2 guitars, all tuned at A=415) and he said
that this Follia could very well be a traditional piece from this region in
Mexico.
There is little known about Luigi Agliati. He was very probably from Milan, for it is in this city in Lombardy that he pursued his activity as guitarist and composer for the guitar in the first years of the 1800's. Some of his works were published by Ricordi in the first decades of the century and amongst the highlights of his oeuvre most certainly belong his Folia-variations.
Birgit Schwab wrote about the piece in an e-mail February 11, 2010:
Each of the variations is written in the style of an important mandolin composer: No.1 Gabriele Leone, No.2 Carlo Munier, No.3 Heinrich Konietzny.
- Ahlert, Daniel (mandolin) and Schwab, Birgit (guitar)
Duration: 3'05" direct link to YouTube
Birgit Schwab and Daniel Ahlert playing Variationen über ein Thema von Corelli
© Birgit Schwab and Daniel Ahlert, used with permission- Title: La Folia
- Originally released on YouTube December 8, 2009 of a recording during a live concert
- Duration: 3'00"
- Recording date: July 4, 2007 in Herzogenrath, Germany.
- More about the oeuvre of this duo at their website http://www.ahlert-schwab.de/
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The complete sheet music |
as the first one of the next variation. Gives a very nice drive to the music
(yes, this performance of Ensemble 415 is still my personal favorite of all the Folia performances after all these years, how did you guess?).Albicastro as an historical figure including playing his Folia stood model for a personage in the historical roman Secretum by Menaldi & Sorti.
- Banchini, Chiara (violon) Brugge, Hendrike ter (violoncelle) Murray, Gordon (harpsichord Dominique Laperle d'après Grimaldi) 'Albicastro: Cantate, sonates & concertos'
Jean-Yves Haymoz wrote for the slipcase:Ensemble 415 with Sonate pour violon et basse continue Opus 9, nr. 12
Duration: 11'32" direct link to YouTube. Still my personal favorite Folía and performance of all Folías.
© 1991 by Ensemble 415
His output consists of four opuses of trio sonatas for violin and continuo, one of Concerti grossi and a motet entitled 'Coelestes angelici chori' for tenor or soprano which has remained in manuscript form. The style is Italian and the fact that at the end of Opus V there is, like in Corelli, a 'Folia', is a wink that speaks volumes! Albicastro thus ranks among those southern German composers who drew much of their substance from the Italian style, such as Froberger, Walther or Sebastian Scherer
- Released 1991 by Harmonia Mundi compact disc HMC 905208, re-released 1998, series Musique d'Abord compact disc HMA 1905208
- Duration: 11'32"
- Recording date: January and June 1990 at the Studio Ernest Ansermet, Radio Suisse Romande
- Hortus Musicus 99 (Attila Feltein violin, Aino Oláh harpsichord, Bálint Maróth violoncello)
A Wonderful performance of an extraordinary piece.
Hesperion XXI at You Tube
Duration: 13'47" direct link to YouTube
© 2012 by Hortus Musicaus 99- Title: "Folia, op. 5 nr. 6"
- Released April 2012 by Hortus Musicus 99 at YouTube
- Duration: 13'47"
- Recording date: April 2012
- More about this group at theit website http://www.hm99.hu
- Kraemer, Manfredo (violin), Ruiz, Mercedes (violoncelle), Behringer, Michael (harpsichord) 'Altre Follie'
Like the performance of Ensemble 415 (Banchini) this performance is excellent and includes one more fast variation. I don't know if this variation was included in the original score but I suppose it was included by Kraemer cum sui. Otherwise I don't see any reason why Banchini left out this variation.Hesperion XXI at You Tube
Duration: 11'41" direct link to YouTube
© 2005 by Alia Vox
Rui Vieira Nery wrote for the slipcase:
In 1704 one of the most representative composers of violin music of the German and Dutch school, Henricus Albicastro, an artistic pseudonym of Johann Heinrich von Weissenburg (ca. 1660-ca.1730), published a sonata "La Follia", which displays a clear Corellian influence in its virtuosic writing.
- Title: Sonata "La Follia"
- Released 2005 by Alia Vox compact disc AV 9844
- Duration: 11'41"
- Recording date: February 28-March 3 and June 6-9, 2005 in the Collégiale of the Château de Cardona, Catalogne
- See also the page Recommended Folia-recordings
- Woods, Alexander "Corelli's influence, virtuoso works for baroque violin"
In the slipcase was written:
His Sonata op. 5, no. 6 is a 'Folia', not unlike Corelli's famous Sonata op. 5, no. 12. Albicastro's version is equally, if not more, virtuosic than his Corellian predecessor, and just as expansive and moving. One of its most curious and compelling features is the surprising series of reiterations of the final cadence. Biber-like effects also emerge occasionally in both the no. 6 and no. 4 sonatas. For example, the second movement of no. 4 and the final variation of no. 6 are both saturated with an effect Jaap Schroeder has observed in German music of the 17th century: the "perfidia pattern" or rhythmic ostinato (in both cases, distinctive dotted rhythms)
- Alexander Woods (violin), Ezra Seltzer (cello), Avi Stein (harpsichord)
- Title: Sonata, op 5, no 6, "Folia"
- Released 2015 by Acis compact disc oeder number APL59090
- Duration: 12'47"
- Recording date: August 19-21 2014, at the Dorothy Young Centre for the Arts, Drew University, Madison, New Jersey, USA
- Baroque violin built by Jason Viseltear in New York City, 2012
- Alcántara, Victor (piano)
Victor Alcántara , October 13, 2013
Duration: 6'53" direct link to YouTube
© 2014 Victor Alcántara- Title: La Folia - Follia - Folies d'Espagne, solo piano improvisation
- Released January 2014 at YouTube by Victor Alcántara
- Duration: 6'52"
- Recording date: October 13, 2013 during the Klavierfest Ammersee, Dießen, Germany
- More about the oeuvre of Victor Alcántara at http://victoralcantara.de/
Gillian Alcock wrote in the slipcase about La Folia in OZ:
Many composers over the centuries have written sets of variations, suited to different instruments, based on the popular old Portuguese folk tune, La Folia. As far as I know, this is the first set written for dulcimer as it is tuned and played today.
She verified that she used the theme of the Barcelona Manuscript (1764) for salterio solo as the introduction of 'La Folia in OZ':I actually performed all the Barcelona variations in 1996. It was while practising for that concert that I made up my own variations for dulcimer. The different tuning layout makes a difference in the ease of playing ... the Barcelona set is easier on a salterio, mine are easier on a dulcimer tuned the way modern dulcimers are tuned.
All activities of this composer, builder, teacher and performer can be found at http://www.netspeed.com.au/gillian.alcock- Alcock, Gillian (hammered dulcimer) 'The Pleasures of Hope'
Duration: 1'47", 264 kB. (20kB/s, 16KHz)
Theme and first variation
© Gillian Alcock 1997, used with permission- Released 1997 by Alcock compact disc GA001.
- Duration: 6'29"
- Recording date: 1997 in Canberra, Australia.
- Instrument (hammered dulcimer) built by Gillian Alcock.
- Released 1997 by Alcock compact disc GA001.
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Duration: 4'50", 13 kB. |
The Folia progression takes 4 bars only because the piece is written in 5/4 meter. Don't let yourself distracted by the accent on the 5th count of every bar. Dividing up the 5/4 meter bars into 3/4 and 2/4 meter will help to spot the theme:
| The Folia progression in A minor by Alkan in 5/4 meter | |
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* The f in the g7 chord may be considered as the descending connection from g to e
** The e7 chord (dominant 7th) may be considered as a substitution of the g chord in front of the tonica (am)
- Martin, Laurent (piano) 'Alkan: The railway, preludes, etudes, esquisses and others'
and re- release 'Alkan Piano Music'
- Released 1995 by Naxos compact disc 8 553434, re release 2009 by Marco-Polo compact disc 0730099365727
- Duration: 4'47"
- Recording date: 1989-1992 in Studio Clara Wieck Auditorium, Heidelberg, Germany
Ronald Martin Alonso wrote about Folias Americanas
It was composed in 2012 for one viola da gamba and one harpsichord and this arrangement for three violes was composed in 2019 by the composer himself.
- Ensemble Vedado: Calia Álvarez, viole de gambe Lixsania Fernandez, viole de gambe Aland Lopez, guitare baroque Gabriela Mulen, clavecin Reinaldo Ponce, percusisons Ronald Martin Alonso, viole de gambe et direction
- Title: Folias Americanas sur le thème des Folies d'Espagne|: I Thème 1'01, II Tango congo 0'56, III Bossa nova 1'05, IV Bolero 1'10, V Chacarera 0 '45, VI Mambo 0'46, VII Vidalita 1'14, VIII Vals campero 0'52, IX Rythm and Blues 1'12, X Tango 0'49, XI Conga de Carnaval 0'41, XII Blues 1'43, XIII Son 1'58
- Released March 2024 label Paraty
- Duration: 6'21"
- Recording date: unknown
- More about the oeuvre of Ensemble Vedado at https://www.ensemblevedado.com
Ensemble Vedado, February 5, 2019
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With a reference to Arcangelo Corelli in the title, the composer who wrote the most famous Folía variations, the tune starts with an eastern improvisation before the rather traditional Folía tune sets in.
- Ensemble Oni Wytars 'La Follia, the triumph of Folly'
- Title: Follia d'Arcangelo
- Released 2013 by Deutsche Harmonia Mundi compact disc 88765449782
- Duration: 3'14"
- Recording date: October 1-3, 2011 in Kurtheater, Bad Kissingen, Germany
- See also recommended recordings
Matteo Andri wrote in an e-mail January 5th, 2018
Years of composition: 2013-17 (I'm still working on it, 'cause every time I'm going to play it I change something...the order of the variations, some technical passages and other things).
| Opening of Dodici Variazioni | © Matteo Andri, used with permission |
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- Andri, Matteo
- Title: Dodici Variazioni sul tema de "La Folia"di Spagna
- Published 2017 by Marreo Andri
- Duration: ca. 11'00"
- More about Matteo Andri at his website http://www.matteoandri.webs.com/
As a source of this work is given:
A traditional Spanish/Italian dance that exists in many Latin American sources. Our version, arranged by Julie Andrijeski, uses some Mexican and Spanish sources, as well as some variations based on Corelli and Vivaldi.
- Chatham Baroque 'Sol y Sombra, Baroque music of Latin America'
Andrijeski, Julie (violin), Davidson, Emily (violin), Halverson, Patricia (viola da gamba), Pauley, Scott (theorbo, baroque guitar and archlute)
Scott Pauley wrote for the slipcase:Folias
Duration: 8'27" direct link to YouTube published by EFN84's channel
© 1998 by Chatham BaroqueThe Folias performed by Chatham Baroque attempt to recreate an improvisatory feeling over a repeating ground bass pattern. Using sources from both the Old and New World, Julie Andrijeski has created a unique version of this well-known dance.
- Released 1999 by Dorian Recordings compact disc DOR-90263
- Duration: 8'27"
- Recording date: March & April 1998 at the Troy Savings Bank Music Hall in Troy, NY
Ms. in Deutsche Staatsbibliothek Berlin, Mus Ms. 30 206 p. 40-44
Ms. in Bibliotheca National Madrid, s-89ter nr. 21
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9 pages in pdf with all 22 couplets, 129 kB |
D'Anglebert follows the form of the later (as opposed to the early diverse one) folia
closely, but varies the final cadence by using submediant
or subdominant harmonies. His 22 variations constitute an
early instance of keyboard melodic variations. The form
is defined as having a generally fixed harmonic scheme and
constant formal proportions; the main notes of the melody
are retained but may be embellished in any number of ways by
addition of nonharmonic tones and rhythmic variation. The
melody of d'Anglebert's Variations undergoes continual alteration
in the soprano voice, supported by the harmonic structure and
fluent movement of the lower voices. Since D'Anglebert adheres
to the constraints of the form, the harmonies are simple. Occasionally
the rhythmic interest shifts to a lower voice or voices, or a
distinctive rhythmic pattern may be tossed between the hands,
as in Variation 16. In Variation 21 the melodic notes are trilled
with alternating upper and lower auxiliaries, almost producing the
effect of a continuous trill. The scale and arpeggio pattern in the
bass of the last variation resemble the Italianate violin style.
Although numerous settings of the folia melody occur in French
manuscripts of the period, D'Anglebert's Variations are possibly
the first published keyboard melodic variations on the folia, preceding
those of Pasquini (in manuscript from the 1690s),
Alessandro Scarlatti
(1715) and C.P.E. Bach (1778). D'Anglebert's Variations had great
popularity and longevity, for they are also found in a late eighteenth-century
German manuscript. They reflect characteristics of the Italian school-notably
those of Bernardo Pasquini.
D'Anglebert's Variations also fall into this classification of melodic variations,
with a homophonic texture and fixed harmonies, and they appear to antedate those
of Pasquini. Whatever the case, D'Anglebert was probably influenced by the Italians,
for traits such as violinistic gestures occur. His Variations, however, do not
reflect the virtuoso style, sharp contrasts , and vivid imagination of those by
Marais. One senses that Marais's variations were for the pleasure of a seated
audience, while D'Anglebert's could have accompanied dancers and may have been
included in his edition for their populair appeal. Although simply constructed,
these variations succeed admirably within their strict harmonic and formal
framework.
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Duration: 0'34", 02 kB. |
| First 8 bars of the opening-variation by d'Anglebert | by unknown source |
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- Published 1965 by Broude Brothers, New York
- Titel: Pieces de Clavecin, facsimile of the 1689 Paris edition
- Part of: Monuments of music and music literature in facsimile, First series Music IV
- 11 p. (page 88 till 98), 29 cm
- Farr, Elizabeth (harpsichord solo) 'Jean-Henri d'Anglebert, Suites de clavecin'
Elizabeth Farr wrote for the slipcase:
The Suite in D minor is a large suite that opens with a prelude non mesure twice as long as those of the previous suites, moving forward with excitement and anticipation.
The suite is capped by a set of22 variations on the Folies d'Espagne. The word folia, a popular ground that originated in fifteenth-century Iberia, literally means "insanity" in Portuguese. A wild, churning dance song, it was used as the basis of improvisations and virtuoso compositions. Its influence can be felt throughout this suite, in which the key of0 minor carries affects ofdevotion and grandeur, melancholy and phantoms- Title: Variations sur les folies d'Espagne
- Released 2008 By Naxos 2x compact disc-set 8.570472-73
- Duration: Variations sur les folies d'Espagne: Couplet 1 Couplet 1: 0':54", Couplet 2: 0'28" Couplet 3: 0'30", Couplet 4: 0'30" Couplet 5: 0'30", Couplet 6: 0'20", Couplet 7: 0'30", Couplet 8: 0'30", Couplet 9: 0'28", Couplet 10: 0'29", Couplet 11: 0'31", Couplet 12: 0'31", Couplet 13: 0'29", Couplet 14: 0'52", Couplet 15: 0'29", Couplet 16: 0'29", Couplet 17: 0'28", Couplet 18: 0'29", Couplet 19: 0'29", Couplet 20: 0'33", Couplet 21: 0'29", Couplet 22: 0'37"
- Recording date: August 2007 at Ploger Hall, Manchester, Michigan, USA
- Harpsichord: The lute harpsichord used in this recording is oneKeith Hill made in 2000 using a description found in Adlung's Musica Mechanica Organoedi (I768) of a lautenwerk made for J. S. Bach based on his special requirements. Tuning a' 415 Hz
- Gammie, Ian arranged Les Folies d'Espagne for three bass viols with
optional figured bass continuo for lute, keyboard etc.
- Published 1990 by Corda Music Publications http://www.cordamus.demon.co.uk/
- Part of: French music for Viols
- Score viol parts 4 p. each, basso continuo (partly realized) 8 p., size A4 - 210 x 297 cm
- One of the viols needs a low A-string in French style.
- The number of variations: 21 Couplets after the main theme, the ornamentation is mostly reduced to standard gamba ornament signs.
- Publisher No. CMP 406
- Gammie, Ian arranged Les Folies d'Espagne for three violas with optional
figured bass continuo for lute, keyboard etc.
- Published 1997 by Corda Music Publications
- Score viola parts 4 p. each, basso continuo (partly realized) 8 p., size A4 - 210 x 297 cm
- The number of variations: 21 Couplets after the main theme, the ornamentation is mostly reduced to standard gamba ornament signs.
- Publisher No. CMP 637
- Kim, JungHae (harpsichord solo) ' D'anglebert pieces de Clavecin 1689 Paris'
- Title: Suite No 3 in D Minor - Variations (couplet 1-22) sur les folies d'Espagne
- Released 2010 by Magnatune compact disc
- Duration: 10'25"
- Recording date: unknown
- Nyquist, Kristian (harpsichord solo) 'Jean-Henri d'Anglebert, pièces
de clavecin'
Kristian Nyquist wrote about Les Folies d'Espagne in the slipcase:
The triumph of the Folies d'Espagne started probably around 1656 after the appearance of the guitarist Francecsco Corbetta in Paris. The name is derived from, the Portuguese "folias", meaning lunacy. It originated from a noisy, very fast carnival dance of fertility and slowed down in the course of time. The wonderful melody enhanced its popularity throughout all of Europe. d'Anglebert's variations, maybe the first published version for keyboard, are not so much on the virtuoso order as the ones by Marais, Corelli or Vivaldi, but can be well imagined to have served for real dance occasions. Yet, in this form it survived its creator and even still is found in a German manuscript from the late 18th century.
- Title: Variations sur les folies d'Espagne, edition J.-H. d'Anglebert Pièces de Clavecin, editor Kenneth Gilbert, published by Heugel, Paris 1975
- Released without any indication of the year by Etoile Production Sabam TM compact disc EDPO311
- Duration: 10'53"
- Recording date: October 1998 in Centre paroissial de Boom, Belgium
- Temperament meantone
- Harpsichord made after Italian models by Colin Booth, Wells, 1993
- Rousset, Christophe (harpsichord solo) 'd'Anglebert, complete harpsichord
works (2 cd-set)'
Duration: 9'12" direct link to YouTube
Christophe Rousset plays Folies d'Espagne
© Decca records
- Title: Folies d'Espagne (grouped under pieces in D minor)
- Released 2000 by Decca compact disc 458 589-2 79.04 and 458 590-2 79.35
- Duration: 9'08"
- Recording date: Sept. 27 till Oct. 10, 1996 in Musée d'Unterlinden in Colmar
- Ruckers harpsichord from the Musée d'Unterlinden in Colmar
- Pitch a'= 392, temperament: meantone.
- Stolz, Ernst (viola da gamba) and Smagge, Karel (harpsichord)
This looks more like an arrangement of the Folies d'Espagne by Marin Marais but some variations of 'd'Anglebert are incorporated for the harpsichord.
Duration: 8'33" direct link to YouTube
Ernst Stolz (viola da gamba) and Karel Smagge (harpsichord)
© Ernst Stolz and Karel Smagge, used with permission- Title: Variations sur les Folie d'Espagne after Jean-Henry d'Anglebert
- Released at YouTube April 9, 2010
- Duration: 8'33"
- Recording date: during a live concert April 8, 2010 in Den Hague, The Netherlands
- Tomás, Pilar (harpsichord) 'Obras para clave'
Pilar Tomás wrote about Les Folies d'Espagne in the slipcase:
The suite in d-minor ends with the set of variations on 'La Folia de Espana'. These are the only variations on this popular theme composed for a keyboard instrument in France during the 17th century*. 'Folia' meant 'madness' in Castilian [the standard literary form of Spanish], and it was originally used to refer to a very fast dance, 'out of control' ['alocada' means literally with madness but it really implies 'beyond the standards or beyond the reasonable framework']. Little by little, the dance becomes slower (being assimilated as a courtly dance). D'Anglebert variations are 22 pieces of notable 'richness'. Within their scope we discover different styles: Italian, French... The [contemporary] baroque choreographies (cf. Feuillet) justify the use of changes in tempo and character.
* In 1998 there was another long forgotten manuscript of the Folies d'Espagne for harpsichord published of minor importance and which was originally collected by Marc Roger Normand (1663-1734) in 1695.
- Title: Variations sur les Folies d'Espagne
- Released by RNE compact disc RNE M3/08
- Duration: 9'53"
- Recording date: 4/9 October, 1990 in Estudios Música 1 de la Casa de la Radio (RNE), Madrid
- Tramier, Brigitte (harpsichord) with Philippe Foulon (viola da gamba) and Alain Boucho (percussion) in Folies d'Espagne 'J.B. Lully, J.H. d'Anglebert, Les songes agréables d'Arys '
- Title: Les Folies d'Espagne
- Released 2002 by Parnassie éditions compact disc 3 361 540 151 100
- Duration: 12'24"
- Recording date: April 30-May 2, 1999 in les galaries historiques du XVIIème siêcle au Château de Versailles, France
- Harpsichord: J. Ruckers (1628)
- Willi, Barbara Maria (harpsichord) 'Jean Henri d'Anglebert, Sämtliche Cembalowerke Vol. 2'
Barbara Maria Willi wrote about Les Folies d'Espagne in the slipcase:
From among the pieces in the appendix, which encompasses all those movements not included in Part 1 of my complete recording, I would like to single out one that in terms of size and form is unique among d'Anglebert's original works for harpsichor: the variations on the famous Follia bass. As a mosaic of many dissimilar parts, the twenty-two couplets represent a great challange to the player.
In my opinion, the Follia variations are d'Anglebert's most 'Italian' work. Besides French style cantabile sections dominated by the upper voice, elements of the Italian style can also be found: variations with rhythmici ornamental figures and a clear alternation of regular motion between the bass and the soprano. The long series of small character sketches finally leads into a flashy solo in the left hand, which is accompanied in the right hand by chords enriched with acciaccaturas. The master arranger, the great protagonist of beautiful gaillardes, and creator of weighty sarabandes thus shows himself also to be a master of inventiveness and instrumental diversity. Let us hope that also from this recording he may be recognized as such.- Title: Variations sur les Folies d'Espagne
- Released 1999 by Musicaphon compact disc M 56828
- Duration: 9'18"
- Recording date: August 1998 in Schloss Bystrice pod Hostýmem
- Edition Kenneth Gilbert, Paris Heugel & Cie
David Arditti wrote about his composition (June 2002):
It had not occurred to me that my 'Song Without Words no. 2' was a variation
on 'La Folia' . You are right that it is, in the sense that it has the Folia
chord structure as it's basic idea, though the main difference between it
and all the Folias I see on your site is that it is in 4/4 time.
None of the people who have heard the piece before, including musicians,
have notice the resemblance to La Folia. This piece was described as
'Gypsy-sounding' by one listener, and 'resembling Fauré' by another - quite
a range.
I think the universality of the Folia chord-progression lies in the way it
is rooted in the minor but makes a central aspiration to the relative major
before dying back again. It is a kind of musical equivalent of a cycle of
life in its most simplified form.
I took this chord-progression from the general background of our musical
culture rather than in any deliberate attempt to write a variation on La
Folia, for one number in a set of romantic, short piano pieces that use the
title that Mendelssohn invented, and which re-interpret some techniques of
the cantabile piano style.
- Arditti, David 'Songs With and Without Words'
Duration: 2'05", 12 kB.
Theme and all variations as sequenced by David Arditti
© David Arditti, used with permission- Released 1999 by Menelik Music, 16 Menelik Road, London NW2 3RP, UK, e-mail menelik@darditti.com
- Duration: 2'17"
- Recording date: May 2, 1999 at Stanmore Church, Stanmore, London, England
- Arditti, David '6 Songs Without Words'
- Sheet music published 1998 by Menelik Music, 16 Menelik Road, London NW2 3RP, UK, e-mail menelik@darditti.com
- 3 pages (The whole set of six is 17 pages of A4)
It is rather doubtful if the Folia-theme is involved but since the composer did not react on an inquiry by e-mail I better list it briefly.
- Symphonieorchester des 50. Festivals junger Künstler conducted by Ferenc Gábor
- Title: FOLIE für Orchester
- Published sheet music by Sikorski
- Instrumentation: 3(Picc, AFl),3(EnglHorn),3(BKlar),3(KFag) - 4,2,2,0 - Pk (4), 2 Schl (Glsp, Xyl, Vibr, Holzbl5 Tom-t, Tamb, kl.Tr, gr.Tr, hg.Bk, Glsp, Xyl, Vibr), Harfe, Streicher (12/10/8/8/6[3 Fünfsaiter])
- Duration: 13'00"
- Recording date: Premiere August 27, 2000 in Bayreuth, Germany
- Bacevicius, Vytautas
Bret Werb wrote in an e-mail:The work takes the form of two original variations appended to Bacevicius' solo piano arrangement of Corelli's Op. 5 no 12.
In the introduction to the sheet music 'T.J.G.' wrote:this theme, an ancient Portugese dance melody, has been made famous and was composed by him for violin and piano*. This is the piano solo arrangement of the superb work. The 17th and 18th variations has been added and are in the modern contemporary atonal mode. For the music analyst, these last two variations offer a revealing study in contrast between the old and modern school. No more exquisite variations have been composed in the entire field of music composition - classic or modern'.
*Since the Folia variations of Corelli were published in 1700, when the forte-piano was not invented yet, the piano in the text should be read as the harpsichord.
Duration: 0'47", 4 kB.
Variation 17 in a 'modern contemporary atonal mode' Duration: 0'48", 4 kB.
Variation 18 in a 'modern contemporary atonal mode'- Published 1951 by Paragon Music in the series Paragon Library of Musical Classics Volume 13.
|
The sheet music |
- Ahlgrimm, Isolde (harpsichord) 'Variationen für Cembalo'
Klemens Hippel (translation in English by Bernd Zöllner) wrote for the slipcase:
Carl Philipp Emanuel Bach's keyboard output, which is as extensive as it is important, does not yet find the attention it deserves. His "Folies", Wq 118/9, were composed in 1778, thus constituting a very late example of a "folia".
- Title: Les Folies d'Espagne
- Released 1972 LP, remastered 1996 by Eterna compact disc 0031682BC
- Duration: 8'03"
- Recording date: not mentioned in the documentation
- Ahlgrimm, Isolde (harpsichord) 'Cembalo, harpsichord - greatest works'
In the slipcase is written:
La Folia is a Baroque template which has induced countless composers to write variations. The material first apprears at the end of the fifteenth century and the first set of variations on La Folia is that for chitaronne (guitar) by Johann Hieronymus Kapsberger (1604). Jean Baptiste Lully and Arcangelo Corelli composed important La Folia variations. Vivaldi, Bach, Beethoven, Schubert, Liszt, Reger, Rakhmaninov and many other composers later followed. In1778 Carl Philipp Emanuel Bach wrote twelve variations for harpsichord set in the key of D minor, which is typical of Folia. They are a fine example of the timeless nature of the material which at that time was already three hundred years old.
- Title: Variations sur "Les folies d'Espagne'Wq 118, Nr 9
- Released 1972 LP, remastered August 2009 by Berlin Classics 2 cd-set 1435139
- Duration: 8'03"
- Recording date: not mentioned in the documentation
- Alberto Gómez, Andrés (harpsichord)
Andrés Alberto Gómez
Duration: 8'45" direct link to YouTube
© 2014 by Fundación Juan March- Released July 2014 by Fundación Juan March for YouTube
- Duration: 7'45"
- Recording date November 2013 in Fundación Juan March, Madrid, Spain
- Anderson, Elizabeth (harpsichord) 'Fandango'
Elizabeth Anderson wrote for the slipcase (1988):
A comparison of C.P.E. Bach's Folie d'Espagne variations demonstrates what a difference the empfindsamer-Stil made to Bach's approach. The Folie d'Espagne variations are highly dramatic. Where Rameau's variations charm with their subtle differences, Bach's are radically different in tempo, texture and mood, from the calculated under-statement of the theme in simple arpeggiated chords, to the twelfth variation, marked sehr geschwind, which brings the work flying to a rather sudden close.
- Title: 12 Variations auf die Folie d'Espagne
- Released 1989 by Move compact disc MD 3078
- Duration: 7'51"
- Recording date: not mentioned in the documentation, location in the dining room at Ormond College, University of Melbourne, Australia
- Bärtschi, Werner (piano) 'La Folia'
- Title: 12 Variationen auf die Folie d'Espagne (1778)
- Released 1983 Pan Records LP PAN 130 052
- Duration: 8'18"
- Recording date: February 2nd, 1982 Thun, Switserland
- See also the page Recommended Folia-recordings
- Bonn, James (Dulcken fortepiano) 'Klavier Variations on La Follia'
Folie d'Espagne performed by James Bonn
Duration: 8'48" direct link to YouTube
© 1982 by James Bonn
Maurice Hinson wrote for the Viny recording:
The music of Johann Sebastian Bach's second and most talented son, Carl Philipp Emanuel, is an encyclopedia of fundamental tonal procedures. There is art intrinsic quality in Bach's keyboard music which stands apart from the music of later composers, despite the tendency of commentators to consider it mainly as art ovenure to the schools of Viennese classicism. A study of his work reveals a unique musical consciousness, and a pioneering mind of considerable subtlety.
The set by C.P.E. Bach is entitled 12 Variations auf die Folie d'Espagne W. 118 and is one of his most original works. Unusual modulations and changes of key, unorthodox motives, rhythmic changes, brilliant and expressive keyboard treatment make for heightened interest through-out. The bare set of chords used by Bach could be placed by a more interesting version of the theme and Mr. Bonn treats it in effective triplets. Variation one carefully shares material between the hands while variation two has a brooding atmosphere of repressed power. Special mention should be made of variation three which achieves a magnificent and modern?sounding effect in virtue of "wrong notes" subtly inserted into the arpeggiation. Variation four is mainly imitative while variation five is especially striking as the bass figure is pursued remorselessly to the final cadence. Variation six exploits a "sigh" motif while variation seven partakes of keyboard acrobtics a la Scarlatti. Variation eight is written in a slow French overture style with contrasting dynamics and serves as art introduction to variation nine that is permeated with fleet figurations. Variation ten is imitative between the hands. Variation eleven is a study in syncopation to the final three bars where smooth rhythms take over. The final variation is a perpetual?motion idea with specific fingering indicated by the composer.- Title: 12 Variations auf die Folie d'Espagne (1778)
- Released 1982 Klavier Records LP KS-571
- Duration: 8'48"
- Recording date: not indicated in the documentation
- See also the page Recommended Folia-recordings
- Brauchli, Bernard (clavichord)
- Title: 12 Variations on the "Folies d'Espagne," H. 263 (Wq. 118/9)
- Released by Titanic compact disc Ti 186
- Duration: 19'19"
- Recording date: January 1990
- Brembeck, Christian (clavichord) 'La Danza de los Poetas, harpsichord
dances'
This recording which features three different harpsichords and a clavichord
in dances stretching from Renaissance, Baroque, Classicism to Romanticism
contains three great Folias. It is almost inevitable to pick up some Folias
with such a theme.
As Brembeck himself introduced La Folia in the slipcase (translation by Micheline Wiechert)Incidentally, at this point in our anthology [Sanz] we make our first encounter with the 'Folia', which runs through our programme like a silver thread. The Folia (also Follia) is an eight-bar (in later forms also sixteen-bar) bass, which was first used in Spain in 1494 by Juan del Encina. The 'Follia di Spagna' subsequently developed into one of the most popular bases for variations (the most famous example is probably the sonata 'La Follia' by Arcangelo Corelli).
The oeuvre by Sanz is normally played on the rizzio guitar, but Brembeck knows how to play these jewels on a delicate clavichord. The sustain of the basses sounds exceptionally well and the Folia by Sanz gets a new dimension this way.
High quality performances of the Folia-variations by Alessandro Scarlatti and Carl Philipp Emanuel Bach. The only small omission is that the documentation does not mention which instrument is used for which track. I guess the performer assumes that we are all familiar with early keyboard instruments and that the C.P.E. Bach Folia can only performed on a copy by Hemsch like Picci's Ballet is made for the copy by Ferrini.
It is of no importance considering the mid-price of this disc and the deal that the famous Fandango by Soler and fantastic transcriptions of Milan and Manuel de Falla are included to make it a bargain I enjoy very much.- Title: 12 Variations on the Folie d'Espagne, Wq 118, 9
- Released 2002 by Arte Nova in Co-Production with Bayerischer Rundfunk compact disc 74321 85298 2
- Duration: 8'00"
- Recording date: May 21-23, 2001, Studio 2 Bayerischer Rundfunk, Munich, Germany
- Clavichord after Johann Christoph Fleischer (Hamburg 1729)
- See also the page Recommended Folia-recordings
- Brosse, Jean-Patrice (harpsichord) 'Le clavecin au siecle des lumieres'
Adélaïde de Place wrote for the slipcase:
Along with many of his contemporaries, he (C.P.E. Bach) was inspired by the "folia", a quietly dignified Portugese dance akin to the passacaglia and known at the time as "Les Folies d'Espagne", whose popularity was such that many of the great composers, up to and including Liszt, made use of it. Taking the exceedingly simple "folia" theme as his starting point, Bach employs a variety of technical and rhythmical means to concoct a succession of extremely subtle ornamental pieces. Whether it be swamped by expressive virtuoso passages, hidden whitin compact counterpuntal textures or placed as a freely mobile bass, this theme remains present throughout.
- Title: Les Folies d'Espagne
- Released 1989 by Pierre-Verany compact disc PV 789054
- Duration: 8'33"
- Recording date:February 1988 in Château de Belbeze-en-Commingen
- Harpsichord: Kroll 1774 (école lyonnaise) collection Pierre Lacroix
- Chen, Joyce (harpsichord)
Joyce Chen plays Folie d'Espagne
Duration: 6'55" direct link to YouTube
© 2014 by Joyce Chen- Title: 12 Variations über die Folie d'Espagne
- Released April 2014 at YouTube by Joyce Chen
- Duration: 6'55"
- Recording date: April 1st, 2014 at Staller Center Recital Hall, Stony Brook University, NY, USA
- Cuiller, Joselyne (clavichord) 'O Süsser'
Jocelyne Cuiller wrote for the slipcase (translation by Jeremy Drake):
Next we have the Variations on the 'Folies d'Espagne' Wq 118-9, H 263, published in Vienna in 1803 though composed in 1778 after the death of his son Johann Sebastian II, in Rome.
- Title: 12 Variationen auf die "Folies d'Espagne" Wq 118-9, H 263
- Released by Fuga Libera compact disc Fug508
- Duration: 8'54"
- Recording date: October 2004 in Chateau de la Garenne Lemot, Gétigné
- clavichord built by E´mile Jobin after Christian Gottfried Friederici 1773)
- De Luca, Fernando (arcadian name; Ducande, Valerno) (harpsichord)
Fernando De Luca plays 12 Variations auf die Folie d'Espagne
Duration: 7'38" direct link to YouTube
© 2013 by Fernando De Luca- Title: 12 Variations auf die Folie d'Espagne
- Released Mayr 2013 at YouTube by falernoducande
- Duration: 7'38"
- Recording date: May 2013 in Rome, Italy
- Döling, Waldemar (harpsichord) 'Virtuoso Harpsichord Music: Sons of J.S. Bach'
- Title: Variationen Wq 118 Nr. 1-10 / Slg. v. Klavierstücken mit Veränderungen: Nr. 9 (Folies d'Espagne d-moll)
- Released 2009 by Dabringhaus und Grimm compact disc MDG 605 0100-2, re-release of original vinyl
- Duration: 7'51"
- Recording date: 1983 in Schloss Nordkirchen, Oranienburg, Germany
- Dyson, Ruth (clavichord) 'The Arnold Dolmetsch Years, Programme Six'
From a series of concerts held in St. John's Smith Square to celebrate the life and work of Arnold Dolmetsch - pioneer
of the Early Music renaissance - on the 50th anniversity of his death.
From the slipcase:
La Folia (Les Folies), the name of a musical structure for songs, dances and variations that emerged early in the 16th century in Portugal, had developed by the 18th century into a fixed theme much used for variations. The most famous set is Corelli's (1700): C.P.E. Bach's dates from 1778.
- Title: Variations on 'Les Folies'
- Released 1992 by Allegro Innovative Music Productions Ltd compact disc PCD 1018
- Duration: 9'08"
- Recording date: May 1990, live in St John's Smith Square, Londen, England
- Galvez, Genoveva (harpsichord) 'Espana en la Musica Europa de los Siglos XV al XVIII'
In the documetation was written by Genoveva Galvez:Duration:9'37" direct link to YouTube
12 Variaciones sobre Las Folias de Espanaa as played by Genoveva Glvez
© 1977 Genoveva GalvezLa «Folía» es una danza portuguesa, cuyo origen se remonta a tiempos muy antiguos. Ya Pedro 1, al Justiciero, de Castilla, en el 1350, gustaba de bailarla, A partir de 1500 se leen alusiones frecuentes a esta danza en tratadistas de música como Salinas, en literatos (Gil Vicente, Cervantes .. . ), encontrándose, por otro lado, gra'n cantidad de ejemplós musicales de ella en vihuelistas y cancioneros. A principios del siglo XVII, se pone de moda en toda Europa, con el nombre de «Folía de España» ; casi todos los compositores escribieron sobre este tema, baste decir que, en tiempos más modernos, hasta Liszt y Rachmaninoff han utilizado el tema de la «Folía» en sus composiciones.
Las «Folías de España», de C. Ph. E. Bach (1714- 1788) es una de las más cumpliélas obras escritas con este tema. Sus diferentes variaciones presentan fuertes contrastes. En 1759, C. Ph. E. escribió en su «Vers"llch» o «Tratado sobre el verdadero modo de tañer el clave» : ... - La música ya no busca solo un placer de los oídos, 'sino un desahogo de los más diversos sentimientos del corazón». Dentro de esta nueva corriente estética, de carácter subjetivo y personalista (que en literatura recibe el nombre de «Sturm und Drang») se sitúa su música para tecla; es, por así decir, un anticipo del Romanticismo.- Title: 12 Variaciones sobre Las Folias de Espane
- Recorded 1977 by Hispavox HHS 10-474 (LS)
- Duration: 9'37"
- Recording date: 1977 but not mentioned in the documentation
- See also recommended recordings
- Gentili Verona, Gabriella (harpsichord) 'The Renaissance of the Harpsichord in Italy'
- Title: 12 Variations on La folia d'Espagne Wq 118-9
- Released by Dynamic compact disc IDIS310
- Duration: 8'47"
- Recording date: unknown
- Genzo, Takehita (spinet)
A fantastic live performance of Folies d'Espagne on a spinet
Duration: 8'30" direct link to YouTube
© 2011 by Takehita Genzo- Title:12 Variations auf die Folie d'Espagne Wq.118/9
- Released April 2011 at YouTube by PTNA
- Duration:8'30"
- Recording date: unknown
- Goebels, Franzpeter edited the sheet music
From the preface:Out of the wealth of Follia compositions traceable from the late 15th century up to the turn of the 20th, we are publishing three salient works for the keyboard. Our edition is based on a critical revision of the source material.
- Title of volume: Variationen über die Follia für Klavier. (incl. A. Scarlatti & Pasquini)
- Title: 12 Variations auf die Folie d'Espagne
- Published by Schott, Mainz 1970
- Publisher No. ED5775
- ISMN: M-001-06326-5
- Guerrier, François (harpsichord)
- Title: Variations sur les "Folies d’Espagne"
- 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: 8'24"
- Recording date: July 1st, 2012 at Flagey, Brussels, Belgium
- Hakkila, Tuija (fortepiano)
- Title: Muunnelmia teemasta La Folia; Fantasia klaveerille fis-molli
- Broadcasted November 20, 2014 by the Finiish Broadcasting Areena Radio program Studio M
- Duration: 8'10"
- Recording date: November 20, 2014 in Finland
- Jáuregui, Judith (piano)
Judith Jáuregui, starting at 8'45"
Duration: 7'55" direct link to YouTube
© 2014 by Fundación Juan March- Released July 2014 by Fundación Juan March for YouTube
- Duration: 7'55"
- Recording date November 2013 in Fundación Juan March, Madrid, Spain
- Junghanns, Rolf (tangentenvleugel) 'playing various historic keyboard
instruments from the Fritz Neumeyer collection in Bad Krozingen Castle'
- Released by Teldec LP (part of collection of 12x LP in 4 containers) 6.35576
- Recording date: 1975
- Kalamkarian, Maria (piano) 'Carl Philipp Emanuel Bach, Klavierstücke'
In the documentation was written:
Likewise, his 12 Variations on the familiar theme Folies d'Espagne, which Corelli had already dealt with, permit us to sense the then so heralded virtuoso. His aim was, as he wrote, ' through the medium of instruments to express as much as is possibl, where it would otherwise be much simpler to use the voice and words.' He surprises the listener with unexpected rests or sudden changes from pianissimo to fortissimo, by recitatives, rubati, romantic motifs and rhythmic contours.
- Title: 12 Variations auf die Folie d'Espagne
- Released without indication of year by Columbia LP 80 826 (printed in Germany)
- Duration: 8'03"
- Recording date: not mentioned in the documentation
- Laganà, Ruggero (harpsichord) 'Follie, bizzarrie e stravaganze in musica, dal '500 all '800'
Folie d'Espagne performed by Ruggero Laganà
Duration: 8'04" direct link to YouTube
© 2005 by Amadeus- Title: 12 Variations auf die Folie d'Espagne (Wotq 118/9 H. 263)
- Released 2005 by Amadeus Darp, Milano, Italy double compact disc AMS 092-2 DP together with a magazine special devoted to the Folia Theme (issue April 2005)
- Duration: 8'04"
- Recording date: August 18-19 and November 15-19, 2004 in Chiesa di S. Maria Incoronata, Martinengo (Bg), Italy
- All variations nicely indexed
- See also the page Recommended Folia-recordings
- Lechner, Irmgard (clavichord) 'Tasten in der Stille, Irmgard Lechner spielt Clavichord'
- Title: Les Folies d'Espagne
- Released by Florian Lechner und Julian Benedickt 1997 compact disc without order number
- Duration: 9'41"
- Recording date: July 21-23, 1997 at Musikproduktion Lothar Solle, Hanses-Ketteler-Strasse 19, D-48165 Münster, Germany 1975
- Malcolm, George (harpsichord) 'George Malcolm plays Arne and C.P.E.
Bach'
Stanley Sadie wrote for the cover
The date of composition of the variations on the 'Folies d'Espagne (Wotquenne 118 no 9) is unknown. the piece was first published in Vienna fifteen years after Bach's death. The 'Folies d'Espagne' or 'La Follia' as it was often called wa a melody (or more precisely a melodic pattern with an associated bass pattern) on which composers from Frescobaldi and Corelli to Liszt and Rachmaninov wrote variations. Bach's set consists of twelve variations in varying tempi. Nos 3, 7, 9 and the final one are particularly brilliant.
- Title: Variations on Folies d'Espagne
- Released 1968 by Argo LP ZRG 577
- Duration: 7'30"
- Recording date: not mentioned in the documentation
- Harpsichord built by R. Goble 1968
- Markovina, Ana-Marija (Bösendorfer piano) 'C.P.E. Bach: The Complete Works for Piano Solo, Vol. 12'
- Title: 12 Variationen über "Les Folies d'Espagne" Wq 118,9 H 263 (1778)
- Released 2014 by Hänssler compact disc order number HAEN98003-12
- Duration: 8'29"
- Recording date: May 20-25 2013 in the Aula of the university of Köln, Germany
- Instrument: Bösendorfer Imperial owned by the university of Köln
- Carl Philipp Emanuel Bach: The Complete Works is an editorial and publishing project of The Packard Humanities Institute, in cooperation with the Bach-Archiv Leipzig, the Sächsische Akademie der Wissenschaften zu Leipzig, and Harvard University.
- Mathot, Tini (fortepiano) 'Carl Philipp Emanuel Bach, Fantasia, Tini Mathot forteoiano'
- Title: 12 Variations on Folie d'Espagne (H 263, Wq 118/9)
- Released 2014 by Challenge Classics compact disc order number. CC 72262
- Duration: 8'22"
- Recording date: unknown
- Millman Floyd, Cynthia (fortepiano) 'Fantasies and variations'
Cynthia Millman Floyd twrotein 2007 for the slipcase:The 12 Variations on "la Folia" Wq.118/9, H.263, composed in 1778, was the last but one of the twelve independent variation sets written by Emanuel Bach. Published in 1803, five years after Bach's death, by Traeg in Vienna, it is not clear whether the Variations were intended for harpsichord, clavichord or forte piano in spite of the fact that the title page . of the Traeg edition indicates them as "pour le Forte-Piano." It was common practice for publishers, in the interest of financial profits, to indicate the instrument according to current taste and by 1802 the fortepiano was the preferred instrument in Vienna. Probably the Variations would have been played on whichever k~yboard instrument was at hand. While we know of Bach's preference in general for the clavichord, these brilliant variations work equally well-albeit differently-on all three instruments.
The Variations are based on a well-known theme-a simple circular harmonic pattern or bass line of 8 bars known variously as La Folia !Italian and Portuguese) and Les Folies d'Espagne (French). The harmonic progression was used as a basis for variations by many composers for over 300 years, especially in the seventeenth and eighteenth centuries and even into the nineteenth and twentieth (Liszt and .Rachmaninov). Probably the most famous set is Corelli's Violin Sonata Op. 5/12.
La Folia, literally madness or insanity, originated as a fertility dance in Portugal and was described as wild, noisy and fast (hence the name 'Fo lia'). Adopted by Spaniards, ii was refined into a type of courting dance with characteristics of a sarabande. By 1789, Daniel Gottlob TUrk in his Klavierschule (School of Clavier Playing) describes it as "a 'very simple Spanish dance in 3/4 measure of a serious character."
Bach's Variations, although a late work, are heavily imbued with Baroque style: they are all essential ly two-voice with' the exception of variation 8 which has the character of a French overture; Variations 4 and 10 are canons; the virtuosic variations (3, 5, 7 and 12) use typical Baroque figurations and rhythmic patterns; overall there is a strong sense of dialogue between the left and right hands; all the variations are in d minor without even a change of modality.
These are character variations using different metres and tempi and there is a pronounced feeling of alternation between light and dark or bright and serious moods as we move from variation to variation, My interpretation of these emotions may serve as a guide: Var.1 - flirtatious; Var.2- pompous; Var.3- soothing, almost impressionistic with its "wrong-note" filigree pattern; Var.4- serious; Var.5- high spirited with its pounding left-hand rhythmic figure . covering the full range of the bottom half of the keyboard; Var.6- gentle, consoling; Var.7- a comedy; Var.8- passionate, alternating between gentleness and forcefulness; Var.9- playful; Var.10-a serious conversation; Var.11 - heavy-hearted with its syncopated melody; Var.12- exuberant, with right-hand scales covering most of the range of the keyboard.
In the eighteenth century it was common practice to repeat the origina l theme as a conclusioQ to variations whether or not the composer had written it out. Bach barely sketches an outline of the Folia theme at the beginning of the score and he does not re -write it at the end. I have chosen to repeat the theme and to embellish it both at the beginning and at the end, drawing in references to Corelli's melody from his violin sonata. The final state ment is for me a distillation of the essence of La Folia.
- Title: 12 Variations On The Folie d'Espagne Wq.118/9, H.263 (1778)
- Released 2007 by Cynthia Millman Floyd compact disc without order number
- Duration: 8'27"
- Recording date: December 20-22, 2004 in Freiman Hall, University of Ottawa, Canada
- Fortepiano prepared and tuned to A=430-Young Temperament (1799)
- Recording funded in part by the Faculty of Arts of the University of Ottawa
- Newmark, John (piano) 'Haydn: Adagio in F major,
CPE Bach: 12 Variations on the Folies d'Espagne, Clementi: Arietta con Varizioni, Sonata in D major'
- Title: Variations on the Folies d'Espagne
- Released 1953 by Hallmark in the Hallmark recital series 10" LP RS 4 (mono) Canadian pressing
- Duration: 9'22"
- Recording date: not mentioned in the documentation
- Clementi piano
- Newmark, John (piano) 'John Newmark Plays The Clementi Piano'
Hugh Davidson wrote for the slipcase:
The twelve Folia variations show a different side of Philip's art, the virtuoso pure and simple. They may have been written for the harpsichord, but were more likely intended to demonstrate all the facets of the new forte-piano
- Title: Variations for Harpsichord in D minor, Wq 118 no 9/H 263 'Folie d'Espagne'
- Released 2006 by Analekta compact disc 27901
- Duration: 9'14"
- Recording date: 1962 and 1964 in P.S.R Studio, Montreal, Canada
- Clementi piano (1810)
- Nicholson, Linda (clavichord) 'Tage alter Musik in Herne 1989'
Linda Nicholson wrote for the cover
Man muss nur die '12 Variationen über "Les Folies d'Espagne"' kennen und die besonderen Qualitäten des Clavichords zu schätzen, das vermutlich im mittleren und späten 18.Jahrhundert im deutschsprachigen Raum des bekannteste häusliche Tasteninstrument war. Carl Philipp Emanuel Bachs begründete Liebe zum Clavichord wird hier besonders dokumentiert; denn in diesen Variationen spielt er die ganze Klankfülle der verschiedenen Register des Instruments aus und nutzt die Möglichkeit zur detaillierten Artikulation.
- Title: 12 Variationen über 'Les Folies d'Espagne' Wq 118,9 (1778)
- Released by WDR and Stadt Herne 3x compact disc D 7378-80
- Duration: 7'23"
- Recording date: December 9, 1989, 11.00 a.m. in front of live audience in Kulturzentrum in Herne, Germany
- Padilla, Eunice (harpsichord)
- Title: 12 Variaciones sobre las Folías de España en Re menor
- Broadcasted by Opus, Instituto Mexicano de la Radio
- Duration: 7'45"
- Recording date: June 25, 2007 in el Estudio 'A' del Instituto Mexicano de la Radio
- Praetorius, Lisedore (harpsichord) 'La Folia'
Les Folies d'Espagne by Lisedore Praetorius
Duration: 9'05" direct link to YouTube
© c.1950 by Lisedore Praetorius- Released c. 1950 by Impromptu LP CS 93402
- Duration: 7'51"
- Recording date not mentioned on th backside of the cover
- see also the page Recommended Folia-recordings
- The Purcell Quartet (harpsichord solo Robert Woolley) 'C.P.E. Bach,
La Folia and other works'
Robert Wooley
Duration: 8'03" direct link to YouTube
© 1988 by Robert Woolley- Released 1988 by Hyperion compact disc CDA66239
- Duration: 7'56"
- Recording date October 29/30, 1986 location unknown
- The Purcell Quartet (harpsichord solo Robert Woolley) '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"Robert Woolley plays all variations by C.P.E. Bach
Duration: 7'56" direct link to YouTube
© 1986 by Robert Woolley- Title: 12 Variationen über die Folie d'Espagne Wq118/9H263
- Released 1998 by Hyperion compact disc CDA67035
- Duration: 7'56"
- Recording date October 29/30, 1986 location unknown
- Puyana, Rafael (harpsichord) 'Rafael Puyana plays baroque masterpieces
for the harpsichord'
Rafael Puyana's view about this piece:Les Folies d'Espagne by Rafael Puyana
Duration: 9'25" direct link to YouTube
© c.1964 by Rafael PuyanaThe remarkable Variations on Les Folies d'Espagne by C.Ph.E. Bach though transitional in style, are included here as they extend the influence of the French School, and other charasteristics of the Baroque style through the 'classical' period into Romaticism.
Les Folies d'Espagne is equally suited to the harpsichord, clavichord and fortepiano. Its composer was a master performer on all three instruments although his approach to each is known to have been distinctly different. On the harpsichord, the performer should, in my opinion, follow the original dynamic nuances by means of refined registration, for instance, two-keyboard- playing on eight-foot stops to achieve the desired forte and piano effects in Variation 2. On the whole, the harpsichordist must colour each variation according to its mood and retain, whenever possible, the legato-touch and plaintive rubato typical of clavichord playing (Variation 6 and 11). Levels of sound can be distributed effectively to secure the pianistic, Beethoven-like contrast essential to Variation contrast essential to Variation 8. The overall interpretation of phrasing, embellishments and rhythmic alterations should be oriented towards Baroque traditions, which are a part of C.Ph.E. Bach's musical image. The 'Thema' was not expected to be performed as written but must be ornamented. It can be brought back 'da capo' at the end of the composition, to complete the triptychlike form which composers usually applied to a set of variations. I have chosen to ornament the 'Thema' and its 'da capo' à la francaise, although both realisations differ in spirit altogether.- Title: Variations in D minor on Les folies d'Espagne
W 118-9
- Released without indication of year by Philips LP MONO 838 420AY
- Duration 9'13"
- Title: Variations in D minor on Les folies d'Espagne
W 118-9
- Puyana, Rafael (harpsichord) 'Cembalo Barock: Rafael Puyana'
- Title: Variationen d-moll über 'Les folies d' Espagne'
- Released unknown year by Philips Twen Serie 47.
- Duration: unknown
- Recording Date: unknown
- Puyana, Rafael (harpsichord) 'Baroque masterpieces for the harpsichord'
Folie d'Espagne performed by Rafael Puyana
Duration: 9'13" direct link to YouTube
© by Mercury- Released 1965 by Mercury LP MG 50411, re-released as cd 1999 by Mercury Living Presence 462 959-2
- Duration: 9'26"
- Recording Date: April 1964
- Puyana, Rafael (harpsichord) 'La Pantonine and other Baroque masterpieces for the harpsichord'
- Released by Philips LP SAL 3744
- Duration: 9'26"
- Recording Date: April 1964
- Puyana, Rafael (harpsichord) 'Das Virtuose Cembalo, Rafael Puyana'
- Released 1970 by Philips Universo-serie LP Stereo 6582 005
- Ragossnig, Thomas 'Virtuoso Variations'
Thomas Ragossnig wrote for the slipcase in an interview in 1991:
[...] Does this make Soler's fandago the most unconventional piece of this selection? Thomas Ragossnig: Certainly. However, concerning the liberal treatment of the thematic material, Carl Philipp Emanuel Bach with his folia variations also pursues a unique, yet completely different, path. Again, it is bass variations, though not improvised but experimentally and very densely composed in full. Bach intervenes with the form of the theme crafting respectively individual, contrasting characters therefrom which stand at a distinctive distance from this original form. In his case, the theme undergoes a true metamorphosis in several variations contrary to Mozart's variations on Ah, vous dirai-je Maman, where the theme of the song can be clearly discerned at any time. The selection of themes is in itself characteristic with these composers: C. Ph. E. Bach with the folia resorts to a model known since the 16th century that had gone out of fashion and from which he then developed something of a very contemporary if not future-oriented nature. Mozart, on the other hand, in the same year of 1778 composed a more transparent, less deviated playing form about a song which was popular then.
- Title: Variationen 'Folie d'Espagne' D minor Wq.118,9
- Released 1996 by Bayer-Records compact disc BR 100 225
- Duration: 12'19"
- Recording date: April 1990 in Zinzendorfer-Saal in Basel, Switserland
- Ruf, Hugo edited the music
- Les folies d'espagne; Thema mit Variationen für Pianoforte oder andere Tasteninstrumente (Clavichord, Cembalo) [W. 118]
- Part of the series: Ars musicae et studium; Originalmusik für Haus und Unterricht
- Published 1955 by G. Ricordi, printed by Lorrach, Baden
- Score: 12 p. size 21x30cm
- Sgrizzi, Luciano (forte-piano) 'Les fils de Bach, oeuvres pour le forte-piano'
- Title: Les folies d'Espagne
- Released 196? by Cycnus LP 60 CS 539
- Duration: 7'55"
- Recording date: February 1966 in Lugano on a Neupert fortepiano
- More about the oeuvre and life of this harpsichord player at http://jsebestyen.org/sgrizzi/
- Silva, Preethi de (harpsichord) 'Harmonic Labyrinth'
- Title: Variationes über die Folie d'Espagne (12), for keyboard in D minor, H. 263, Wq. 118/9
- Released 2011 by The Con Gioia Recordings (FHR/First Hand Records) compact disc FHR 11
- Duration: 8'59"
- Recording date: May 17-19, 2010 in Garrison Theater, Scripps College Performing Arts Center, Claremont, California, USA
- Harpsichord built by John Phillips, Berkeley, 2001, after instruments by Johann Heinrich Gräbner, the Younger, Dresden, circa 1740
- Spigt, Jaap (clavichord) 'Klinkende schoonheid uit vroeger eeuwen, Jaap
Spigt bespeelt instrumenten uit het Haags Gemeentemuseum'
- Released without indication of year by Bovema-EMI, Haarlem Holland 5C063-24317
- Staier, Andreas (harpsichord) 'C.P.E. Bach: Sonatas and Fantasien'
Andreas Staier wrote for the slipcase:
The variations on the theme Folie d'Espagne also bear an experimental character: the composer addressed himself to a wholly antiquared theme whose harmony cannot be meaningfully integrated into the the musical language of the later eighteenth century - it was a mannered, almost absurd undertaking, perhaps the first example of a variations cycle with an ironic distance to the theme.
- 12 Variationes auf die Folie d'Espangne d-moll Wq 118.9 aus 'Sammlung verschiedener Clavierstucke mit Veranderungen...', Hamburg 1777.
- Released 1989 by Harmonia Mundi compact disc RD77025, re released by Deutsche Harmonia Mundi (Sony) 2010 compact disc 88697 576.30 2
- Duration: 8'40"
- Recording date: November 18-20, 1987 in Schulzentrum, Lindlar
- Harpsichord built by Bruce Kennedy (Chateau d'Oex, 1987) after Christian Zell (Hamburg 1728)
- Tsai, Chia-Hsuan (harpsichord)
Chia-Hsuan Tsai plays Folie d'Espagne
Duration: 7'35" direct link to YouTube
© 2014 by Chia-Hsuan Tsai- Title: 12 Variationen uber "Folies d' Espagne", Wq.118/9
- Released December 2014 at YouTube by Barock Taipei
- Duration: 7'35"
- Recording date: unknown
- Vollrath, Faythe (harpsichord)
She gave a recital exclusively dedicated to the Folía theme in 2014.
In the program was written:
.Faythe Vollrath - La Folia: a Tumultuous Evening of Music, Cathedral of the Blessed Sacrament, Sacramento, CA
Dr. Faythe Vollrath presents a performance of solo harpsichord music in downtown Sacramento at the Cathedral of the Blessed Sacrament, K and 11th Streets. This concert explores the fascinating and complex world of the "La Folia", one of the world's oldest musical themes. From its early days as a frenzied and tumultuous folk dance to its latter elevated status in the courts of France, this intriguing and versatile theme skips its way through the centuries, taking unexpected twists and turns throughout the concert. The concert focuses on music from the Baroque era, with each selection containing, or referring to, the "La Folia" theme. Through this unifying factor, the audience will experience a wide selection of differing types of music and different composers, providing an entertaining overview into the world of the harpsichord.Faythe Vollrath plays Folie d'Espagne
Duration: 7'44" direct link to YouTube
© 2015 by Faythe Vollrath- Title: Variations auf die Folie d' Espagne", Wq.118/9
- Released 27 April 2015 at YouTube by Faythe Vollrath
- Duration: 7'44"
- Recording date: 7 February 2014 in the Cathedral of the Blessed Sacrament, Sacramento, California, USA
- Wenstedt, Axel (organ)
Duration: 6'38", 6.2 Mb. (128KB/s, 44100 Hz)
The variations (minus var. 5 and 12) arranged for organ and performed by Axel Wenstedt
© Axel Wenstedt 2007 Smitsorgel Sint-Oedenrode, used with permission
Recorded with a Sony Minidisc walkman MZ-R700, microphone Sony Stereo ECM-909A
Axel Wenstedt wrote about the performance for organ:Probably there is no recording of this piece for organ and I never heard it during a concert either. Despite these facts, I think the organ has some features which are very suitable for the way Carl Philipp treated the Folia theme in most variations. I left out variation number five while the keys for the left hand are not available on the organ and a work around has some disadvantages in this particular case.
Axel Wenstedt wrote in an e-mail 15 June 2012:
There are three main reasons to play this piece on the organ and not on the harpsichord or clavichord which is common practice.
First of all the organ of the Sint-Martinus Church (built in 1839 with a late Baroque disposition and intonation and restored in 2001) is very appropriate for the repertoire of C.Ph.E Bach based upon the experience of several organ-players the last couple of years. As a harpsichordist I knew the Folies d'Espagne by C.P.E. Bach but the acoustics of this particular church (resonance) is more suitable for the organ than for the harpsichord. Especially the 'Sturm und Drang' effects, the contrasts in dynamics, rhythms, and voicing (registers) fit in nicely.
The second reason has an historical background. In the 19th Century, local organ-players in this region (Brabant) frequently played music originally written for piano and orchestra. There was relatively less literature for organ to be heard. These roots are still often taken into account during concerts. Besides it was around the era of the Baroque not often clear for which instrument pieces were written in the first place.
The third reason is more of a practical kind. The program already had a concert for flute by C.P.E. Bach included and as I am scheduled as solo organ player in between I looked for common grounds.
Some additional information about the performance: to avoid a blur of voices it is essential to know both the organ (and its stops) and the acoustical features of the space where the organ is located. In the church of Sint-Oedenrode there is serious resonance. So the way to play this piece is a harpsichordistic playing style to produce a transparant articulation.
variation IV: the upper voice is played with the right hand on the upper manual 8' (Holpijp8 & Roerfluit4) (the normal pitch) and the lower voice is played with the left hand on the lower manual 4' (Fluit4 + Gemsh. 2). In this manner the two voices which are normally separated by an octave, now got interwoven like a wreath.
Variation VIII reminds me of effects Beethoven used as I once had read about this variation.
I will perform this piece at several concerts this summer
Zaterdagavond 23 juni 2012 om 20.12 uur in de Maria Magdalenakerk in Brugge http://www.yot.be/
Openingsmanifestatie zomerproject 2012 'ONE' van “Yot” Axel Wenstedt, Schijvenorgel 1875
Zaterdag 30 juni 2012 15.30uur Martinuskerk Sint-Oedenrode: orgel + saxofoon + poezie http://www.sintmartinusparochie.nl/smitsorgel/
Axel Wenstedt, Smitsorgel 1839 mmv Jo Hennen, sopraan- alt- en tenorsaxofoon (Geldrop) en Julius Dreyfsandt zu Schlamm, dichter (Sint-Oedenrode)
Donderdag 2 augustus 2012 15.30 uur dorpskerk in Vorden http://www.muziekdorpskerkvorden.nl/
Axel Wenstedt, Lohmannorgel 1834 Zaterdag 4 augustus 2012 12.30 uur Zutphen Walkburgiskerk
http://www.baderorgel.nl/
Axel Wenstedt, Ahrend- en Baderorgel en Jos Koning, barokviool / viola d’amore
zondag 5 augustus 2012 12.30 uur Deventer, Bergkerk
boekenmarktkoffieconcert http://www.eventindeventer.nl/deventerboekenmarkt/programma.php
Axel Wenstedt, orgel
Jos Koning, barokviool / viola d’amore
Julius Dreyfsandt zu Schlamm, dichter (Sint-Oedenrode) .- Thema en variaties over La Folie d'Espagne WQ 118 (1781)
- Performed during a concert with pieces of J.S. Bach and Bohm.
- Duration: 6'38"
- Date of performance: June 30, 2007 organ of the Sint-Martinuskerk in Sint-Oedenrode (Smitsorgel), The Netherlands
- More about the organ at http://www.sintmartinusparochie.nl/smitsorgel/
- Wolf, Kerstin (organ)
Folie d'Espagne performed on the organ by Kerstin Wolf
Duration: 9'54" direct link to YouTube
© 2013 by Kerstin Wolf- Title: Zwölf Variationen über La Folie d'Espagne
- Released 2013 at YouTube by Kerstin Wolf
- Duration: 9'54"
- Recording date: 2013 at the Carl- Philipp-Emanuel-Bach-Orgel St. Michaelis, Hamburg, Germany
- The website of Kerstin Wolf http://kerstinwolf.de/en/home/
- Zylberajch, Aline (Tangentenflügel)
- Title: 12 Variations sur "Les folies d'Espagne", Wq. 118 No. 9
- Released 2013 by L'Encelade ECL1201
- Tangentenflügel William Jurgenson d'après Späth und Schmahl, Regensburg, ca. 1770 conservé au Landesmuseum -- Württemberg (Stuttgart).
- Duration: 8'33"
- Recording date: unknown
- Also a fragment at YouTube at https://www.youtube.com/watch?v=VLRZdavk2io
The work is written for two B-flat trumpets, horn, trombone and tuba and commissioned by the Stockholm Chamber Brass. The premiere of the work took place at the Lieksa Brass Week in Finland July 25 and 28, 1998 in two sessions (both including the Theme and the Chorale and Fuga) .
Jan Bach wrote about his Foliations:
Foliations (the contraction of Folia and Variations
referring to the origins of the word Folia as empty-headed or madness)
was written in 1995 for the Stockholm Chamber Brass, a brass quintet which
commissioned it to go on a CD album of Renaissance music. I decided to base
my work on the later version of 'La Folia', which nevertheless has enough
ties to the 'earlier' piece that I thought it would fit right in with the
other Renaissance pieces on the album. I wrote the work as a 'sandwich':
the beginning THEME and the concluding CHORALE and FUGA are immovable as
the outside movements of the work, but the remaining eighteen short variations
are to be used as a source from which any number may be played and in any
order. The musicians make their own choice how the work will be performed.
In fact, when I mailed the piece (with the parts for each variation on a
separate piece of paper) each player got the movements in a different alphabetical
order, with Trumpet I receiving the parts with their titles' first letter
alphabetized, Trumpet II getting the second letter alphabetized, and so
on. I have no 'correct' order in which the parts should be performed.
The variations are primarily sectional, ornamental variations, based on
the chord changes of the original along with some chord substitutes. The
titles (working titles, really -- they needn't be listed in the program),
aside from the Theme, Chorale and Fuga, are: American, Arpeggios, Austrian,
Bumptious, Caccia, Cadenzas, Canzona, Germanic (duet), Phlegmatic, Reflectively,
Rococo, Romanie, Russian, Scholarly, Stealthily, Tersely, Trio, and Wistful.
It was intended that, because the work was originally to be recorded as
its premiere, the movements could be continuous; even page turns would be
no problem if the performers played each movement as a single "take", and
then the recording engineer could butt them up against each other. I really
don't know how the performers are going to handle the page turns in a live
performance; they may have to take slight breaks between the variations
because they generally play throughout each variation. La Folia has been
of interest to me since I took violin lessons as a youth and played the
Corelli version; it's got a great harmonic progression.
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| Opening of Foliations for Brass Quintet | reproduced by permission of Meadow Music |
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- Bach, Jan
- Pblished after the premiere (summer 1998) by Meadow Music P.O. Box 403, Wasco IL 60183 815-753-7003
- Score and 5 parts
- Duration: 'open' performance time of 6'00" to 15'00"
- Premiere July 25 and 28, 1998 at the Lieksa Brass Week, Finland
- Stockholm Chamber Brass 'Foliations'
- Urban Agnas: Monette CTrumpet MC6,X· Mouthpiece: Monelte C4; Monelte B flat Trumpet '49Xl· Mouthpiece: Monette B4.
Tora Thorslund: Monette CTrumpet MC6,X· Mouthpiece: STC C-3
Jonas Bylund: Conn B8Cl-2000 Trombone with Redbrass Bell· Mouthpiece: 2Cl
Jens Bj0rn-Larsen: B&S F-Tuba· Mouthpiece: Conn/Helleberg
Markus Maskuniitty: Alexander '03 Horn (Brass) - Mouthpiece: Bruno Tilz
Christian lindberg: Conn 88 Sterling silver bell Cl-2000 Trombone· Mouthpiece: Christian lindberg 4Cl - Released 2009 by BIS compact disc BIS-CD-1438
- Duration: the pieces are chopped up into 4 parts between the other compositions of the disc:
Part 1 Foliations: 7'57" (Theme. Andante 2'19", Austrian. Intensely 0'50", Bumptious. Metronomically precise, con forza 0'48", Arpeggione. Lightly 0'44", Canzona Ultima. Moderato brilliante 1'10", Rococo. Reflective 0'51", Stealthily. Deliberate tempo 1'09")
Part 2 Foliations 3'54" (Tersely. As quickly and c1ranly as possible 0'24", Wistful. Gently moving 0'39", Phlegmatic. Andante 1'46", American. Seventies' teenybopper tempo 1'03")
Part 3 Foliations 6'29"(Canonic. Scholarly 0'56", Cadenza. Heavily, un poco rubato 1'54", La Caccia. As quickly and lightly as possibly 1'01", Germanic. Bomposo 2'00", Romanesque. Very quickly 0'36")
Part 4 Foliations 8'08" (Russian, Lively 1'26", Reflective, Gently 0'57", Chorale, Deliberate and weighty 0'46", Fugue, Allegro vivace 4'58") - Recording date: February 2004 at the Eskilstuna Concert Hall, Sweden
- Urban Agnas: Monette CTrumpet MC6,X· Mouthpiece: Monelte C4; Monelte B flat Trumpet '49Xl· Mouthpiece: Monette B4.
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The sheet music |
Unknown performers
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Duration: 1'53", 06 kB. |
| Intro of Unser trefflicher lieber Kamerherr for violino, viola and continuo |
by Bärenreiter-Verlag Kassel, 1975 |
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In the so-called 'Peasants' cantate, BWV 212, Johann Sebastian Bach paints a picture of the village dances of his time. Each air is repeated with a different dance rhythm, and this tune refers to the Folia where one clearly hears the theme played at the beginning. Unusually for Bach the text, 'our servant is a very pleasant man' has little to do with its musical setting. The short variations follow on from each other in the same way as do the instruments and voice in magnificent harmonic shades.
Has J.S. Bach ever heard the Folia theme himself?Pater Williams wrote in 'Bach, The Goldberg variations'about the early variations BWV 989 with the subtitle alla maniera italianai:
What is Italian about these variations has always been rather a puzzle, but I think it could be have been that they had different tempi and tempo-signs, unfamiliar in Germany but learnt by Bach from Corelli's La Folía, the last of the solo violin sonatas Op.5 (hence maniera italiana)
- Contentus musicus Wien/Harnoncourt, Nikolaus 'Jagtkantate/Bauernkantate'
- Released 1990 by Teldec Classics compact disc 2292-46151-2
- Duration: 1'53"
- Neuman, Werner (herausgabe von)
- Title: Neue Ausgabe Sämtlicher Werke, Serie I: Kantaten, band 39
- Herausgegeben vom Johann-Sebastian-Bach-Institut und vom Bach-Archiv Leipzig, Göttingen
- Published by Bärenreiter-Verlag Kassel, 1975
- Score 2 pages (four lines: violino, viola, soprano and continuo) p. 161 and 162
- Publisher No. BA 5040
- Siepmann, Jeremy (author and narrator) 'Life and Works: Bach, J.S.'
In this biography the Folia-theme is mentioned and as an illustration the aria is to be heard.- Title: Peasant Cantata (excerpts)
- Released by Naxos 4 cd-box compact disc 8.558051-54
- Compact disc 4, track 3
- Duration: 15'42". Fragment Aria 1'50" starting at 7'50"
- Included booklet of 116 pages, ISBN 1-84379-022-X
A very impressionistic and melancholic reflection featuring the viola where the Folía theme is fully exposed and twisted in some inversions. Where the piano sometimes echos the voice of the viola and the theme reappears vaguely just below the surface of the consiousness now and then.
Gary Bachlund wrote about his composition:
The Folïa theme appears in its entirety as well as in truncated pieces, and is also altered into the relative major for additional variety, and my choice of caccia and fughetta were additional contrapuntal ways of extending the theme.
Why did I choose the theme? In large part, because I remain devoted to traditional forms and subjects, and the theme had been mentioned on the website Musical Assumptions by Elaine Fine which led me to yours. In the same way that many composers have favored traditional forms for their work, I too favor them, and this form was new to me in its history – thank you for your site again, therefore – and in its interest to many composers. Looking at it, I was immediately struck at some alternatives in terms of breaking it apart into material for an extended piece. In doing so, it simply became jolly fun to follow along the many possibilities which it suggested. Having used cantus firmus themes in some of my organ work, this became both a cantus firmus of harmonic structures and relationships, and a fertile field for invention.
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- Bachlund, Gary
- The MP3 is purely an emulation. Gary engraved the score using Sibelius 5.2.5 with Garritan voices
- Released 2010 by Greg Bachlund
- Duration: 5'44"
- Recording date: March 2010 in Berlin, Germany
- More about the composor Gary Bachlund and the sheet music can be found at his homepage http://www.bachlund.org/Follies_Flights_and_Fugues.htm
Orchestre de Chambre Nouvelle Europe (Sébastien van Kuijk cello), Nicolas Krauze, conductor
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A former winner of the Prix de Rome, Bacri writes in a fairly
traditional idiom which strives for direct communication and expression.
At turns influenced by Shostakovich and Frank Martin, Bacri's music is characterized
by a fondness for melody and chromatic harmonies that result from clear
voice-leading. There is nothing really new here, of course, but it makes
for enjoyable pieces.
Folia was originally written for orchestra in 1990 and was premiered on
15 April 1993 in Paris by the Orchestre symphonique français and Laurent
Petitgirard. This nine-minute chaconne is scored for a medium-size orchestra:
2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani,
xylophone, snare drum, triangle, and strings. It is based on a two-measure
pattern taken from the 17th-century folia. Over and under this two-measure
pattern, Bacri writes gently flowing chromatic melodies. The first section
of the piece is marked by constantly increasing activity:, with the quarter-note
melody going successively into eighth notes, triplet eighth notes, sixteenth
notes, and thirty-second notes, to finally culminate in a homophonic presentation
of the basic pattern. The second section, marked Dialogo, is a Scherzo in
9/8 time, based on motives derived from the osinato pattern and from the
melody of the first section, with a slow Trio in 3/4 time. The third and
last section of the piece is marked Epilogo and features slow chromatic
counterpoint, which leads gradualy into a statement of the original folia.
The orchestration remains traditional throughout, with only a few technical
challenges for the strings. The arrangement of Folia for solo viola (or
solo cello) and string orchestra has a solo part that is particularly demanding,
while the orchestra part is not difficult.
© 1996 by Sonances and used with permission.
- Bacri, Nicolas
- Published by Durand, Paris & T. Presser Co, USA 1990
- Score 28 p., 27 cm.
- Duration: c.8'00"
- Contents: Prologo -- Dialogo -- Epilogo
- Publisher No. D and F 14 482
- Bacri, Nicolas wrote the arrangement for viola, violoncello, or violin
and string orchestra Opus 30b
- Title: Folia : chaconne symphonique pour alto ou violoncelle ou violon et orchestre a cordes
- Published by Durand, Paris & T. Presser Co, USA 1992
- Score 19 p., 36 cm.
- Duration: c.9'00"
- Publisher No. D and F 14 482
- George Enescu Philharmonic Orchestra/Prin, Yves with Williencourt, D.
de (cello) Verney, L. (viola) Walter, B. (violin)
'Folia Opus 30b' Prologo (Ciaccona), Dialogo (Scherzo) Epilogo (Tema)
Hélène Thiébault wrote about Folia as introduction in the slipcase:Folia, originally conceived as a kind of 'show-piece' for l'Orchestre Symphonique Français and dedicated to its musical director Laurent Petitgirard, is interpreted here in the version for solo viola and chamber orchestra. The process leading from the first to the second version is allied to the theme of the Variations and Theme, the germ of which was originally found in a duet for violin and viola written shortly before and entitled Chaconne. 'While composing the duet I realised that this theme was closely allied to that of Folies d'Espagne; so I decided to transcribe and develop it for orchestra. In its new form the piece has the structure of Variations and Theme'. The transcription of Folia in the version recorded here was inspired by Bacri's fascination with Britten's 'Lachrymae', a work for viola and string orchestra similarly constructed.
- Released Nov 1, 1995 by Etcetera Records compact disc 1149
- Duration: Prologo 4'41", Dialogo 0'59", Epilogo 2'56"
- Recording date: September 1992 at the Athénée Theater, Bucarest Romania in the presence of the composer
- Lecaudey, Jean-Pierre (organ)
- Duration: 10'17"
- Recording date: Premiere May 19, 1993 in the Auditorio Nacional (organ built by Gerard Grenzig), Madrid Spain
Both tablature and and staff notation are used to present the music in this method. The author advocates advocates the use of the right-hand ring finger, not used in methods prior to this. He mentions that that if the students learn to execute the beginning exercises, they will eventually have the ability to play Les Folies d'Espagne.
Actually Bailleux was the publisher of the sheet music (often referred to as the 'Bailleux-method') and not the composer. Only the initials 'B.C.D' are known from the composer itself. For practical reasons I have classified this piece as the 'composition' of Bailleux.
First edition (1773) published in Paris.
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| Theme of Folies d'Espagne in a lay-out derived from the original notation |
reproduced with permission from the Minkoff-edition 1972 p.16 |
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- Bailleux's publication was joined by another instruction book for the
guitar written by Le Moine (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: Méthode de guitarre par musique et tablature
- Published 1972 re-published 1980 by Imbault-Paris/Minkoff
- Re-published by Minkoff
(http://homepages.iprolink.ch/~minkoff/intro/intro.htm)
- Score 4 p. 22 x 30 cm
- Publisher No. ISBN 2-8266-0299-3
| Theme of Les Folies d'Espagnes (1781) | |
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- Baillon, Piere-Jean
- Title: Nouvelle méthode de guitarre selon le sisteme
des meilleurs auteurs, contenant les moyens les plus clairs et les
plus aises pour apprendre a accompagner une voix et parvenir a jouer
tout ce qui est propre a cet instrument (first edition 1781)
Progressive method containing instructions on how to set up the instrument and how to tune it, treating positions, 'passages' (divisions), with many pieces for the guitar solo and with accompaniment. An important aspect of Baillon's method is that in it we find the first reference to the use of single strings on the guitar, although he states that he prefers the sound of double courses. - re-published 1977 by Imbault-Paris/Minkoff, 1 volume 72 pages
- Re-published by Minkoff
(http://homepages.iprolink.ch/~minkoff/intro/intro.htm)
- Score 4 p. Size 22 x 30 cm
- Title: Nouvelle méthode de guitarre selon le sisteme
des meilleurs auteurs, contenant les moyens les plus clairs et les
plus aises pour apprendre a accompagner une voix et parvenir a jouer
tout ce qui est propre a cet instrument (first edition 1781)
Although the music of Daniel Barry is often seen as a bridge between classical music for ensemble and South American ingredients
in an idiom of jazz, in 'La Folia Lando' the association with even more multicultural influences, including Arabic and Balkan
flavors are hard to avoid. Partly directed by the instrumentation for instance the prominent (Balkan) accordion.
Most prominent for me personally is the similar approach of the music as often composed and performed by Rabih Abou Khalil (with somewhat similar instrumentation) with the collective unexpected accents in the phrases. Full control and strenght in the outline setting of the composition with lots of space for the transparant soloists. The result is a restrained and powerful mindsetter.
The Folia theme is introduced four times by the cello and the supporting instruments are dealing with the theme each time in a different way.
Daniel Barry wrote about this composition:
This arrangement was commissioned by Music Works Northwest, Seattle Washington USA for a premiere performance at the Olympic Recital Hall, April 1, 2006. As far as I know this is the only Folia set to an Afro-Peruvian Lando groove.
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Duration: 1'05", 833 kB (96kB/s, 44100Hz) |
Duration: 7'26" direct link to YouTube
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Duration: 5'05" direct link to YouTube
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- Daniel Barry (cornet, melodica, misc. percussion), James DeJoie (bass clarinet, clarinet, flute, bari sax),
Alicia Allen (violin), Ruth Marshall (cello), Steve Rice (accordion), Chris Symer (double bass), Scott Ketron (drums, congas),
Will Dowd (cajon) 'Walk All Ways'
- About the compositions of the compact disc: All compositions and arrangements by Daniel Barry except [...] La Folia Lando composed by A. Coreli (type error not Arcangelo Corelli?)
- Released 2007 by Origin/OA2 compact disc 22039
- Duration: 7'03"
- Recording date: not mentioned in the documentation, location at Triad Studios, Redmond, Washington
- At YouTube you can find a live performance of La Folia Lando part 1 and 2 http://www.youtube.com/danielbarrymusic
- More about the composor and performer Daniel Barry can be found at his homepage http://www.barrymusic.com/
Most probably composed for organ because he was appointed organiste et maître de chapelle de la cathedrále in Nice, but he also composed for piano, small ensembles and he wrote instruction books (MÉTHODE DE MUSIQUE ADOPTÉE PAR L'ÉCOLE DE MARSEILLE) .
- No published music found.
- Published in Fétis, François-Joseph, Biographie universelle des musiciens…, tome 1, 2e édition, Paris, 1866, p. 255
- Thanks to François-Emmanuel de Wasseige for detecting this item in literature
Carmen B. Schmersahl wrote about this tune:
I assume it was written for harpsichord (I play it on both clavichord and harpsichord and think it works better on the latter). The piece consists the statement of the theme and two variations, essentially the ground bass and treble almost entirely in dotted eighth and sixteenth notes. Very 'dancy'.
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Duration: 0'28", 01 kB. |
| Opening of La Folie D'Espagne | Baustetter |
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- Halford, Margery edited the music for both harpsichord and piano
- The harpsichord manual: an introduction to the technic, ornamentation and performance practices (1980)
- Introduction to theme and variations for the piano (1985)
- Published by Alfred Publishing 1980 and 1985
- Score 3 pages both, 31 cm
- Publisher No. unknown
- Baxter, Becky (harp) 'O Lux Beata, Renaissance Harp Music, Becky Baxter,
Harp'
Watch out for this item because there is all the reason to temper the high expectations. The harp only takes the lead in one variation, the rest is played by the violin in the well-known baroque-style a la Farinelli. Renaissance Harp Music? I doubt it.Folia, Anon. from E Bc M. 1452 by Becky Baxter and friends
Duration: 9'05" direct link to YouTube
© 2000 by Becky Baxter
In the booklet Becky Baxter wrote about Folia:The Folia track presents an accompanying instrumentation that became quite popular in Spain: harp and guitar. The various rhythmic patterns and accompaniment patterns used by the harp, guitar, and vihuela on this recording are entirely improvised. We chose to experiment on this recording by presenting the diferencias organized or grouped in pairs instead of a nonstop delivery of the melodic material. Only the melody is given in the manuscript
.- Title: Folia, Anon. from E Bc M. 1452
What does E Bc M. 1452 mean? M. could be the abbreviation of Manuscript but the rest? - Released 2000 by Dorian compact disc DOR-93193
- Duration: 9'05"
- Recorded January 25-29, 1998 at Heights Sound Studio in Houston, Texas
- Paul Shipper, 5-course Baroque violin (copied after Guarnerius del Gesu, 734 'Rode'by David Rubio 1997), Becky Baxter, large Iberian cross-strung harp (made by Tim Hobrough), Paul Shipper, 5-course guitar (after Voboam by Lawrence K. Brown in Ashville, North Carolina)
- Title: Folia, Anon. from E Bc M. 1452
Les folies d'Espagne avec accompag.t de violon ad libitum". - 12 variations sur le thème de la sonate op. 5, no 12 de Corelli
12 New variations for piano and violin in d minor based upon the Folía by Corelli (opus 5 nr, 12).
Tomas Vitek who detected these variations wrote in an e-mail February 27, 2014 :
The title of the piece specifically says "avec douze nouvelles variations," so I assume that the variations are composed by Beauvarlet-Charpentier and are not just plain transcriptions of variations by Corelli.
- Corbaux, Nicolas-Firmin, editor of the sheet music
- Published second edition by Corbaux éditeur et m.d de musique à la Lyre d'or, rue de Thionville no. 28. Paris, France
- 2 parts (11 pages and 3 pages.) ; 34 cm
- Year of publication 1807 and 1814, Paris, France
- BNF catalog entry: BNF catalog entry: http://catalogue.bnf.fr/ark:/12148/cb41156372z/PUBLIC
Published in two manuscripts for lyre or guitar and violin or flute. Abe Nagytothy-Toth edited and revised the original version for two instruments and mentioned that the guitar or lyre parts in both versions are identical. The titlepage of one of the publication, the other publication can be retrievd from the Bayerischen Staatsbibliothek
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The sheet music |
- Bédard, Jean-Baptiste.
- Title: " LA GAVOTTE DE VESTRIS, Variée pour Lyre ou Guitare. Suivie de Seize Nouvelles Variations DES FOLIES D'ESPAGNE, avec Accompagnement de Flute ou Violon (ad libitum) DÉDIÉE à M.lle Prudence Laforge. PAR J. B. BÉDARD, Professeur; OeUVRE 39.me"
- Published in Paris : Jouve, [18--?]
- Score: 9 pages
- Size: 33 cm
- OeUVRE 39.me" Bayerischen Staatsbibliothek for the complete publication
- Mourat, Jean-Baptiste edited the music for his 'La Guitare Classique',
Vol. C
James Phan asked Jean-Baptiste Mourat in May 2001 about the context of this piece composed by Bédard and he was so kind to give a translation into English: Duration: 6'52", 30 kB.
Theme and all variations as sequenced by Patrick Navarro, used with permissionConcerning the Folies d'Espagne by J-B Bedard, I found it at the Bibliothèque Nationale (note: the French national archives for books and manuscripts, it is also the depository for anything that was/is printed, even nowadays, you can imagine the volume !) 25 years ago and I still have a copy. Bedard was a guitar teacher who lived between the middle of the XVIIIth century till the beginning of the XIXth. He wrote very few pieces of interest, as was often the case for the guitar at that time. If it wasn't for my arrangement of his 'Variations sur la Foliá', this piece would have seemed 'rather plain' to my colleagues. Moreover, the tremolo (note: the 10th) variation is mine: this style appeared only starting from the middle of the XIXth, if my sources are correct. I wanted that piece to be technically complete.
Oddly enough I will do it again with the volume that is due to come out in September 2001. This time it will be a Folia from the XVIIth century that had been written for the lute.- Published 1979 by Editions M. Combre, 14 Boulevard Poissonnière, Paris 9e, France ref C 4668
- Score: 7 p.
- Size: 22,5 x 30 cm
- Nagytothy-Toth, Abe revised & edited the music for
guitar and violin or flute
12 pages in pdf, 321 kB
© Abe Nagytothy-Toth 2009, used with permission
Abe Nagytothy-Toth wrote in an e-mail the third of September 2009: Duration: 8'08", 36 kB.
Theme and all variations as sequenced by Abe Nagytothy-Toth
intended as a guide without imitating the original instruments
© Abe Nagytothy-Toth 2009, used with permissionAttached I am sending copies of the originals of this Folias Op.39/2 by Jean-Baptiste Bédard. The Lyre ou Guitare parts are identical in both versions. Actually it comes from the same printing plate nº 27. The duo version is from D:Mbs München, and the solo version from F:Pn Paris.
On your documentation you have already the Bédard Folias stating that it is from F:Pn also, but as I realize, in the tema the interpreter uses a different rhythmical pattern, and so on (note from the redaction: the music with Jean-Baptiste Mourat as the editor).
Just before I sent you a score of this Folias in PDF of the original duo by Bédard, and also the same as a MIDI file. This MIDI file is just a guide, the sound is electronic, and not imitating the original instruments.- Published 2009 title: 'Les Folies d'Espagne Op.39/2 Guitar, Flute (Violin ) ad lib.'
- Score: 12 pages and one part
- Size: 21x 29 cm
I'm familiar with this work since I was a small boy, because my parents loved Beethoven's music. In July 1997, just after starting this homepage I got an e-mail from Mario Martinoli, who read about my interest for the theme of La Folia in the Early Music-newsgroup. He pointed out that the progression of the first 8 bars of the theme is somewhat hidden halfway in the Andante. With mixed feelings of disbelief and curiosity I listened again and .... yes! How could I ever have missed it? So not a genuine variation upon La Folia, but a rather interesting sidestep Beethoven made by using the standard chord progression of the first 8 bars in three-eight time. Coincidence?
Although some recent sources mention that the fragment of the Folia theme in Beethoven's symphony was detected only in the 90's of the last century, Reed J. Hoyt analyzed some Folia-aspects in the oeuvre of Beethoven already in 1982 in his 'Letter to the Editor', in the journal 'College Music Symposium 21', where he draws attention to the existence of complex archetypal patterns and their relationship.
As indicated these two passages (editor: in the previous part a fragment of Mozart's Requiem and Bruckner's Symphony No. 4 were mentioned) are based on the Folia pattern in an analogous way, that is the melodic pattern established by the first few tones extends into a sequence. To my knowledge neither link has been mentioned in older theoretical treatises. So we wonder if composers were aware of possible derivations. Certainly Beethoven's use of the original Folia pattern (without labeling it as such) is curious; see the second movement, measures 167-176 of the Symphony No. 5 in C Minor, the second movement 1-8, of the Sonata No 3, in A Major for Cello and Piano, Opus 69 and slightly altered the second theme of the first movement of the Concerto No. 5 in E-flat for Piano and Orchestra, Opus 73 (measures 38-45). Moreover, Beethoven used the Folia sequence in such works as the Symphony No. 4 in B-flat (first movement, measures 89-92) and the Sonata in E Major Opus 109 (first movement, measures 27-32). But it is difficult to assign an extramusical or affective meaning to these passages with any degree of consistency.
To understand the context better Hoyt gives in 2002 for this website a more detailed description of the Beethoven fragments in relation to the Folia-theme:As noted before, I would say that the example from the Fifth
Symphony is the most pure. The example from the scherzo of the Cello Sonata
repeats the initial tonic chord and the cadence at the end of the phrase.
In A minor I would consider the Folia bass to be A-E-A-G-C-G-A-E (or E-A).
The cello sonata example is A-A-E-A-G-A-G-A-E-A-E-A. (with the first E repeated
twice, one E per beat in the third measure). Perhaps it would be more clear
to diagram this using vertical lines to represent barlines:
A | A | E E E| A | G | A G| A E A | E A |
The 'Emperor' Concerto example consists of many repetitions of the fourth
leaps, starting with the anacrusis to measure 38 (key of E-flat minor):
Bb | Eb Bb Eb Bb | Eb Bb Eb Bb | Eb Bb Eb Db | Db Gb Db Db| Gb Db Gb Eb|F
Eb F Bb | Eb Bb Eb Bb | Bb....
which elaborates Eb Bb Eb Db Gb Db Eb Bb'.
In his 1997 publication 'The chromatic fourth during four centuries of music' Peter Williams wrote:
The variations of the slow movement of the Fifth Symphony too include a strikingly archaic moment: in the tonic minor at bars 166ff can be discerned a complete statement of 'La Folia'.
In the slipcase of the Hyperion compact disc CDA67035 released in 1998 and dedicated to 6 sets of variations on the folia-theme, there is a rather curious confirmation of this Beethoven-item:
It (la Folia-theme) was used by Beethoven too in his Fifth Symphony where it is quoted in the harmony towards the end of the slow movement - a fact which apparently escaped musicological detection until 1994 when it was recognized by an Open University student, Lucy Hayward-Warburton (to the astonishment of her tutor)'.
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Duration: 0'32", 04 kB. |
| Excerpt of Folia-theme by Beethoven for only flutes, viole and celli |
by Leipzig Verlag von Breitkopf & Härtel |
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- Ludwig van Beethoven's Werke, Vollständige kritisch dürchgesehene
überall berechtigte Ausgabe, Serie 1, Symphonien für grosses
Orchester
- Leipzig Verlag von Breitkopf & Härtel
- Symphonie No. 5 in C moll, Op. 67, Andante con moto: bars 166 - 175
This piece includes the Aria from Johann Sebastian Bach as one variation and some variations similar to the ones by Corelli
- Behrend, Siegfried edited the music
- Instruments: mandolin I and II, mandola, guitar and bass
- Published by Hans Ragotzky, Der Volksmusikverlag, R 441, Berlin
- Duration: approx. 5 minutes
- 178 bars
based upon an idea of Jordi Savall (including selection of texts and music).
The idea of Cervantes novel Don Quixote (Quichotte) has a huge impact on social and cultural life till this very day. There are ballets (Brian Large 1984, Kirov 1988, Nureyev 2002), movies (Grigori Kozintsef 1957, Orson Welles 1992, Peter Yates 2000) and numerous theatre plays dedicated to Don Quixote. It has not slipped the attention of composers either. Perhaps most famous is the opera by Jules Massinet (1842-1912) dated back to 1910, but there are numerous other references in music, especially in comic opera.
'Folies d'Espagne' as one of the many synonyms of the Folia-theme, can be translated literally into 'Spanish madness' and although this is often used in a negative sense, it opens up the association with an optimistic character as the Spanish Don Quixote, living in his own world fighting windmills. For instance Francesco Bartelommeo Conti quoted the Folia-theme in his comic opera Don Chisciotte (1719) and a harpsichord LP by Luciano Sgrizzi with the title 'Musique espagnole choisie par Cervantès' contains a Folia as collected by Martín Y Coll. Savall exploits this opportunity in his Don Quixote-project too. In the recitative '"Llego la noche, y ya en casa hubo sarao de damas" he gives Behringer room to improvise on the Folia-theme in the background. For Savall the Folia-theme is an old friend because recently he recorded 'Altre Follie (2005)' and in 1998 he dedicated another project to this theme 'La Folia, 1490-1701'
- La Capella Reial de Catalunya, Hespèrion XXI conducted by Jordi Savall:
Jesus Fuente (vocals), Michel Behringer (improvisation Folias on the harpsichord)
'Miguel de Cervantes Don Quijote de la Mancha, Romances y Músicas'
- Title: Recitado: 'Llego la noche, y ya en casa hubo sarao de damas' Jesus Fuente, Michel Behringer (improvisación clavicémbalo: Folias)
- Released September 2005 by Alia Vox double compact disc-set AVSA 9843 A+B
- Duration: 1'22"
- Recording date: March-May 2005 in Colegiata del Castillo de Cardona (Cataluña)
Richard Bellak wrote about this tune:
The sixth prelude is based on the 'later' Folia-theme, though altered in rhythm and meter. As for the choice of la Folia, i believed it would serve very well as the basis for a jazz prelude and it did. Similarly, I employed a theme based on the letters B.A.C.H. for the 12th fugue. I worked on the pieces in this set over a number of years, so the publication and recording date of 1992 means they were composed prior to that date, but I don't have a composition date for each individual prelude and fugue in the set.
- Bellak, Richard 'Fugal dreams, twelve jazz preludes and fugues for piano'
- Published 1992 by RCB Sound Publications P.O. box 1082, Tallahassee, Florida 32302
- Score 3p (as part of Vol 1. which contains preludes and fugues 1-6), 27,5 cm x 20 cm
- Publisher No. SC-001a
- Bellak, Richard 'Fugal dreams, twelve jazz preludes and fugues for piano'
- Released 1992 by RCB Sound Publications compact disc CD-001
- Duration: folia prelude 1'35", in total 3'27"
- Recording date: 1992 at Mainstreet Music Studios, Tallahassee, Florida USA
- Both sheet music and cd can be ordered from http://www.vashti.net/Bellak
- Chen, Yu Chien (piano)
A live performance by Yu Chien Chen
Duration: 1'54" in total 4'10" direct link to YouTube
© 2009 by Yu Chien Chen and Richard Bellak- Published on YouTube by rbellak December 8, 2009
- Duration: folia prelude 1'54", in total 4'10"
- Recording date: November 2009
First edition (1720) in the Civico Museo Bibliografico Musicale di Bologna.
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The sheet music |
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Duration: 6'55", 45 kB. |
| Theme of 'Follia', part of the Sonata in d minor | arrangement David Lasocki |
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- Ensemble Musica Antiqua: Mendoze, Christian (conductor) 'Bellinzani-Scarlatti-Purcell-Telemann'
Adélaïde de Place wrote for the slipcase:
The famous theme of La Folia (originally a type of wild Portuguese dance) was used by many composers of the baroque era. It is found as the Adagio movement of the third of Bellinzani's twelve Sonate a flauto solo con cembalo o violoncello, Opus 3, published in Venice in 1720. Preceded by a joyful intermezzo for solo harpsichord, designed 'per respiro de flauto' (i.e. to enable the flautist to get his breath), the theme is exploited in seventeen variations, during which it undergoes all sorts of rhythmic and melodic transformations.
- Released 1996 by Pierre Verany compact disc PV730074
- Duration: 8'17"
- Recording date: 1994/1995 at Studio Pierre Verany, France
- Franco, Horatio (flutes) 'Mestizajes Novohispanos'
With Santiago Alvares harpsichord and Asaf Rolerstein cello:
- Title: Variaciones sobre la Follia
- Released 2011 by Quindecim compact disc ASIN B004P9FBI8
- Duration: 7'32"
- Recording date: February 2010 at the Centro Académico Cultural Juriquilla, Mexico
- I Fiori Musicali: Maria Giovanna Fiorentino (recorder and art director),
Paolo Tognon (bassoon), Pietro Bosna (cello), Pietro Prosser (archlute),
Roberto Loreggian (harpsichord) 'Paolo Benedetto Bellinzani, 10 sonatas
for flute and continuo, Op. 3'
- Released September 2002 by Tactus compact disc TC.682702
- Duration: 8'30"
- Recording date: unknown
- Lasocki, David editor
David Lasocki wrote in the introduction:The twelfth, the present piece, has an unusual form. After two movements of what seems to be a sonata, there follows a movement for solo harpsichord headed, literally 'harpsichord solo give the recorder a rest', and finally comes a long set of variations for recorder and basso continuo on La Follia. The desire to end the collection with these variations is presumably a nod in the direction of the composer's hero, Corelli. although the unprecedented (?) tacking on of three such other movements owes nothing to the master
- Published by Nova © 1979, London
- Score 20 p. and 2 parts, 30 cm
- Figured bass realized for harpsichord by John Madden; includes part for violoncello, viola da gamba or bassoon.
- Musica Antiqua Toulon: Mendoze, Christian (recorder & conductor)
'Bellinzani, sonates pour flute a bec et basse continue'
Adélaïde de Place wrote as introduction to 'La Follia' in the
slipcase:
The adagio of Sonata no. 12 in D minor takes up the famous theme 'La Follia', which was used by numerous composers in the 17th and 18th centuries (including Frescobaldi, Corelli, François Couperin, Carl Philipp Emanuel Bach, to name but a few). It is preceded by a joyful intermezzo for solo harpsichord, written specially by Bellinzani per respiro del flauto, i.e. to allow the flautist to get his breath back ready for the following variations. Already known in the 16th century, the melody from 'La Follia' which was originally a wild Portuguese dance, came to be used in instrumental music as the subject of variations, close to the chaconne or the passacaglia, on a basso ostinato.
Bellinzani exploits this theme in seventeen variations, which severely test the soloist's technique: theme and variation on the bass (var.1), series of semiquavers on the recorder (var.2), perpetual motion (var.4), imitation in dialogue between the soloist and the bass (var.5), theme to the rhythm of a gigue (var.6 and 7), repeated bounding notes (var.8), an expressive syncopated largo (var.9), series of swift arpeggios passing from the recorder to the bass or progressing in contrary motion (var.10 to 14), use of syncopation (var.15). After a fast gigue (var.16), Bellinzani brings his series of sonatas to an end with a final variation, providing a truly pyrotechnic display of virtuosity.- Released 1994 by Pierre Verany compact disc PV794112
- Duration: Largo 2'14", Allegro 2'07", Follia: adagio and variations 8'17"
- Recording date: April 22/24, 1994, location of recording not indicated.
- Petrenz, Siegfried edited the basso continuo
- Published by Martin Heidecker © 1991, Wien as part of series: Universal recorder edition
- Score 20 p. and 2 parts, 31 cm
- Publisher No. UE 18744 Universal Edition
- ISMN M-008-00793-4
Balázs Bencze (in daily life a literature teacher, lute- and guitarplayer
and leader of 'Tabulature - early music ensemble') wrote as an introduction
to his composition:
My composition is a salutation to the wig-headed ancestors,
by a modern musician, anno Domini 2002. That is why I have chosen the format
midi. To listen to the midi the Soundblaster (SB) Live! is recommended -
the piece is optimized and balanced on it. (On this card choose the 'Concert
Hall'-environment setting for the really authentic feeling). The software
was a 'Midisoft Session', without midi-keyboard, only with manual scoring
from bar-to-bar. The instruments are: a violin, a flute and - of course
- the lute (or guitar, in the original sound bank).
'The Folia' starts of course with the main-theme, and goes forward by a
builded theme-sequence (first a third-scale, and after a normal variation),
from the simple to the virtuous one. As lutenist, I fit a soloistic lute
variation-part into it, with an inverse section, without lute, which two
parts appear also together at the end. At the top of its musical expressions
I placed a three-part fugato - not a 'real' fugue, perhaps a more serious
canon with the diminued scores of the main theme - at the 'exposition' it
ends with a 'coda' - and it finishes with a choral-style, and a 'pseudo
poliphonic', rather virtuous 'running', before the last some bars, including
a melodic coda-variation.
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Duration: 5'58", 28 kB. |
- Bencze, Balázs
- Recorded with the Soundblaster Live soundcard with Midisoft Session for sequencing
- Not yet published
- Duration: 5'58"
- Recording date: 2002 in Budapest
- Benvenuti, Arrigo
- Published by Bèrben, Ancona, Italy catalogue number 9925
- Source: Berben catalogue 2013, page 104 http://www.berben.it/Data/Catalogo_Generale_2013.pdf#zoom=55
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Duration: 6'07", 14 kB. |
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6 pages in pdf, 67 kB |
The idea of composing some variations of the Folía came from listening for the first time to the famous variations of J.B.Lully. The theme was simple and catcthing too so I searched at the internet and found this site (www.folias.nl). I began listening to some samples and other variations by various composers that definitely inspired my work. Every variation I made is based on a peculiar element (time changes, chromatism..), a sort of etude but there isn't a guideline: I simply wrote the variations as they came in my mind.
- Beretta, Daniele
- Title: "Tarda" Follia e variazioni
- Published by Daniele Beretta in 2011
- 6 pages 21 x 29 cm
- Duration 6'07"
- Recording date: March 2011. Italy as a midi file
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Duration: 1'38", 6 kB. |
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2 pages in pdf, 67 kB |
The origin of this variations (as well as the theme) is curious, because they are inspired by the piece "Partita Sopra folia" by G.Frescobaldi, and I also believe they can be used as an introduction. My real intention was to play the song (I didn't have the score), but in the track I listened to the harpsichord, it wasn't tuned using equal temperament so I was misled. I failed to reproduce the song nevertheless I created a new piece.
- Beretta, Daniele
- Title: Variazioni sul tema della "Nuova Follia"
- Published by Daniele Beretta in 2011
- 2 pages 21 x 29 cm
- Duration 1'38"
- Recording date: March 2011, Italy as a midi file
- Amoric, Michel edited the sheet music
Hector Berlioz studied guitar with a man named Dorant from 1819-1821 in the town La Côte Saint André (Amoric, 1985). A manuscript containing 36 pieces of guitar music by Berlioz was found there and includes 'La Folia' the theme and 12 variations. This music has been recently published (Amoric, Michel, ed. 1985. Hector Berlioz 36 Pièces Originales pour Guitare. Editions Musicales Transatlantiques, Paris). The Folia theme is stated very simply. The twelve variations to follow are pretty much divorced from melody and are in essence a series of simple arpeggio studies (ranging from 8th note triplets to 32nd notes) that appear to me to have been devised by Berlioz simply as exercises for his right hand.- Published 1985 by Amoric Editions Musicales Transatlantiques
- Score 6 p. size 22,5 x 30,5 cm
The Taizé community performance
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Taizé is an Ecumenical, international community founded in 1940, in Taizé, in the middle of France.
The tune was used in several religious tunes by Berthier as can be found at the page http://qmmc.free.fr (with acoustical examples in mp3-format).
Berthiers most famous tune is Laudate Dominum but the Folia progression and melody is also used in his "Qui mange ma chair et boit mon sang" (i.e. He that eateth my flesh, and drinketh my blood, dwelleth in me, and I in him).
Presses de Taizé wrote in May 2004 about this tune:
The song "Laudate Dominum" sets words from Psalm
117 to the Folia theme; it was composed in about 1980 by Jacques Berthier
(1923-1994) for the Taizé community, and it has become one of the
best-known of the songs of Taizé. The song is published by the Ateliers
and Presses de Taizé in numerous songbooks, which include solo verses
in different languages and instrumental accompaniments.
It appears in the following recordings, all made at Taizé in France,
in versions that include solo verses in different languages. In each case,
the performers are young people visiting Taizé to take part in the
intercontinental meetings at Taizé: T 554 Jubilate (1991), T 559
Liederen uit Taizé (1997), T 560 Chants de la prière à
Taizé (1998), T 561 Canti della preghiera a Taizé (1998),
T 562 Joy on earth (1999), T 563 Auf dich Vertrau'ich (2000)
- Young people visiting Taizé
- The sheet music and several voices in midi of the music at http://www.taize.fr/music/laudom.htm
- Released 1991-2000 in several languages, distributed in Europe by Naïve, France, and their partners. Details are on the Taizé website on the pages according to each language.
- Recording location: Taizé, France
- Solisti dell'Orchestra da Camera del Cantiere
- Charged by Hans Werner Henze for the 3rd Cantiere Internationale d'Arte.
- Premiere August 3 1978 in Teatro Poliziano in Montepulciano (Italia)
The music is based upon the Corelli-variations for wind instruments. However the music serves the animation completely in movement and timing. Moods are changing in almost every variation from hope to dispair. An obsession in the literal meaning of the word 'Follia' with lots of humor for instance when the monk gets a bucket on his head the sound of a churchbell rings. A piece of high multimedia art with limited sources.
Animation 'The monk and the fish'
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- Serge Besset, Nora Cismondi, Maeva Bouachring, Frank Leeuwenberg, Henri Paul Beaujard
- Title: d'Apres 'La Follia de Corelli'
- Released 1994 by Folimage, France for the moving picture 'the Monk and the Fish' by Michael Dudok de Wit
- Duration: 6'22"
- Recording date: 1994 Valence, France
Manuscript the Bibliotheque Nationale in Paris. (Paris BN) Original possesion dated back to 1690 of Maguerite Monin, a student of Béthune.
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Duration: 0'31", 02 kB. |
- Quadt, Adalbert edited the music for guitar 'Gitarrenmusik des 16.-18.
Jahrhunderts, nach Tabulaturen, vol. 2' with regard to practicability
on the guitar
- Published 1982 by unknown, Kassel, Germany
First edition (c.1807) in the Fondo Noseda at the Conservatory of Milan.
Andrew Stroud and Adam Larison (guitars) play thew entire composition
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| Theme of Variations pour deux guitar | Used with permission ('Just Guitar') |
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- Bazzotti, Marco edited the music
- Published by Just Guitar 1997
- Available from M. Bazzotti webside 'Just (classical)
Guitar' http://www.planet.it/jcg/reader/ndx2.htm
At this page of Just Guitar you can also view the sheetmusic: theme and variations 1 till 6 minus the coda.
Sometimes it is said that for modern Folias it would be only an 'exercise' when the theme can be heard throughout the
music. But that does not count for this extraordinary Folia-variations. The contrasts in moods and influences is
incredible. There are frightening eastern (Russian or Hungarian) invasions next to cosy string ensemble moods to give a humorous
twist to the piece which is overall dark and sinister.
And as Folia variations are usually considered to be a loose chain of
variations not interconnected with each other, we can hear the difference in this composition.
The tension increases towards the end and relaxation finds its way in the coda which can be considered as
mourning after the musical style figures filled with agitated emotions.
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Duration: 16'44", 15.5 Mb. (128kB/s, 44100Hz) |
- String quartet: Michael Bezverkhni (1st violin), Jurgen Devinck (2nd violin), Renato Kamhi (viola) Aan Van Hecke (cello)
- Title: Fantasia on a theme by A. Corelli 'La Folia' for string quartet
- Not officially recorded yet
- Performed March 21, 2007 in De Verenigde Cultuurfabrieken, Gent, Belgium
- Duration: 16'44"
- Bilstin, Yuri (Joury)
Joseba Berrocal wrote about the music:This Follia for cello is not very known by the instrumentalists. You can access to it at IMSLP -submitted by the user "Generoso" the 5 IV 2010- or on the originally scanned source, the Music Library at the University of South Carolina. As a secondary fact, this work is one of the most difficult study-pieces ever written for the instrument up to its date of composition. Unfortunately, the quality of the scanner is not very good.
- The complete score can be found at http://sheetmusic.library.sc.edu/MusicBook.asp?mid=402
- Published circa 1910 published by Eugène Ressaire, Paris, France
- Duration: unknown
- Composed in Pétrograd, Russia
The manuscript is part of the collection Menuetter och Polska Dantzar written down by the oboeist Blidström. He had a massive output of 300 pieces, written down during captivity in Tobolsk 1715-1716.
- Ensemble Laude Novella and Ensemble Insula Magica (Ute Goedecke: soprano, recorder, barock violin, gothic harp, Per Mattsson: barock violin, lira and vocals, Elena Kondratova: soprano, Alla Vorontsova: alt, recorder, percussion Alexander Pariman: tenor
Vitaly Polonsky: bass, Sergey Tenitilov: bass, Ekaterina Kouzminykh: viola da gamba, Anna Nedospassova: harpsichord percussion, Arkadi Bourkhanov: archlute, barock guitar, viola da gamba, recorder, percussion
'Ekon fran Poltava (Musik i krig och fred)'
Ensemble Laude Novella and Ensemble Insula Magica
Duration: 4'56" direct link to YouTube
© 2003 by Ensemble Laude Novella and Ensemble Insula Magica- Title: Foli D.Espagne (from Gustaf Blidström's notbok)
- Released 2003 by compact disc ELN-0304
- Duration: 4'56"
- Recording date: May 2003 in Studio 'PoliPhony Records', Novosibirsk
- The website of Ensemble Laude Novella http://www.laudenovella.com/english/index-english.htm
- The website of Ensemble Insula Magica http://www.philharmonia-nsk.ru/en/collectives/55/
- Macklin, Kersti (nyckelharpa) and the Midgardensemblen (recorder, baroque
violin, viola and cello, bass guitar) 'L'agreable'
Paul Geffen wrote about the compact disc L'agreable:
All the music on this recording is from the Baroque period. Some of it is by more-or-less well-known composers, the rest is from collections of unattributed music recorded on paper during the same period. It is not surprising that "La Folia" - the greatest hit of the eighteenth century - makes more than one appearance. You are probably wondering about the nyckelharpa. This is a Swedish instrument similar to a viola but played with keys along the broad neck. In addition to three or four bowed strings, the instrument has up to thirteen metal sympathetic strings, like a sitar. It is played on the lap. The nyckelharpa has a sharp, tangy, insistent sound which blends well with the baroque instruments. There is also a certain amount of clicking from the keyboard, especially in the faster passages, which in no way detracts from the charm of the instrument.
Macklin and the backup band keep lively time and exhibit a good understanding of Baroque ornamentation. This may be a unique opportunity to hear music of the Baroque court played on this peasant instrument, as there is apparently no evidence that the nyckelharpa was used in this setting.
The Swedish folk music in this recording includes a set of variations on Foli d'Espagne, taken from the collection made by Gustav Blidström in 1715. This collection documents the music current among the Swedish peasantry at the time. There is no great difference between this folk music and its contemporary through-composed music, as the Allegro of Mascitti's Sonata begins with the same melodic line as La Folia.- Source for this recording: Published by Samuel Landtmanson in Svenska landsmal in 1912
- Released 1996 by Tongang compact disc AWCD-10, distribution by CDA, Box 4225, 102 65 Stockholm
- Duration: 5'27"
- Recording date: April/June, 1996 in Falun Sweden
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Duration: 4'19", 10 kB. |
The Folia appears as a trio to the Minuet (second movement) and is very extensive, alluding to Corelli but with highly elaborate pre-Romantic textures. Since he lived in Spain and had a dance background (his brother was a famous dancer-choreographer), this is easily the most effective late 18th century folia setting, and in a sense the last of the main line, since later treatments are usually 'historical' in style or used as local color. Unfortunately, neither the music itself or recordings are easy to find. The Quintetto Boccherini recorded it in the 50's or 60's, but it has not made it to CD. There is no modern edition of the music, but a facsimile is available from the King's Music in the UK.
- Azpiazu, José de (editor of the transcription for guitar)
- Title: Minueto-Bolero de 'La Folía de España', no. 35, libro II
- Published by Union Musical Española Madrid, 1966
- Score 5 pages with finger settings 29cm x 21 cm
- Publisher No. 21034
- Duration: c. 4'10"
Appointed harpist to Napoleon in 1813, he gave lessons to the Empress Josephine and later to Marie Louise, with the result that harp-playing became a craze among Parisian ladies. Marital alliance with the nobility enabled him to retain his position on the restoration of the Bourbons, and he was appointed harpist to both Louis XVIII and the duc de Berri.
Detected in forgeries in 1817, he fled to England. In his absence he was convicted and sentenced to a fine of 4000 francs and twelve years imprisonment. In London he was fêted as a celebrity and flooded with requests for harp lessons, his pupils including the Duchess of Wellington and the daughters of the Duke of Clarence.
- No published music of the Fantaisie sur les Folies d\ Espagne for harp found.
- Published in Pazdírek, Franz, The Universal Handbook of Musical Literature, III, Wien, 1904-1910, p. 817
- Thanks to François-Emmanuel de Wasseige for detecting this item in literature
- Bondeman, Anders (organ)
- Title: Improvisation over La Folia
- Released 2010 by Nosag 2x cd-set ordernumber 2098
- Duration: 17'18"
- Recording date:unknown in S;t Jacob's Church in Stockholm, Sweden
- Sanvoisin, Michel edited the music
- Published by G. Billaudot © 1984
- Score 2 parts, 31 cm
- Publisher No. G.3756(1) B
- Duration: c. 16'00"
- Title on cover: 'Supein Bukyoku'
La Folía in D minor
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- Jose Bravo-Tejeda
Jose wrote about his composition in an e-mail April 26, 2004:
My name is Jose Bravo, a violinist by nature, a composer by necessity. I heard of Vivaldi's version of La Folia (Opus 1, No 12) and just fell in love with it. Ever since, the theme has enchanted me with it's simplistic, yet incredibly rigourous variations. Several years, I began on my Folia and for a hiatus of about 2 years, I never completed it. Certain inspiration pushed me to reinvigorate my desire to finish this piece and just finished writing it recently. As you can suspect, Vivaldi's version of La Folia has influenced me greatly when writing this piece. I wish (if possible) for this piece to be added to the "La Folia" site for the benefit of others.
- Equipment Used: Noteworthy Composer
- See for the sheet music the YouTube film or contact the owner of the channel.
- Duration: 12'45"
Theme and 10 variations as part of a learning book for students.
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4 pages in pdf, 743 kB |
- Bremner, Robert (publisher)
- Title: 'The Harpsichord or Spinnet Miscellany', being a Gradation of Proper Lessons from the Beginner to the tollerable Performer. Chiefly intended to save Masters the trouble of writing for their Pupils. For which are prefixed some Rules for Time.
- Published by Robert Bremner, Londen 'printed and sold at his music shop at the Harp and Hautboy opposite Sommerset house, in the Strand where may behad Pasquali's 'Art of fingering the Harpsichord'
- scanned from facsimile reprint of copy belonging to Colonial Williamsburg, published Williamsburg, Va: Colonial Williamsburg Foundation, 'copyright' 1972, second printing 1975. Modern preliminaries and preface by J.S. Darling
- Size 29 x 21 cm
- Score 26 pages in total, Joy to great Ceasar 4 pages
- Jacobi, Jörg (editor and publisher)
Jörg Jacobi wrote as an introduction for the sheet music:Der Verleger Bremner veröffentichte eine ganze Reihe von Bänden mit Claviermusik über populäre Themen. Ob er auch selbst der Urheber der Variationenist, bleibt unklar. Jedem Variationszyklus ist ein kurzes Prelude vorangestellt, das aber nie mehr als eine einfache Kadenzformel ist.
- Title: Joy to great Caesar in: Autori Diversi (17.Jahrhundert): Il Mondo èdei folli, 12 Versionen der Follia aus dem europäischen Barock, page 62-67
Jörg Jacobi collected and edited 12 versions of Folías mostly from anonymous manuscripts - Published by edition baroque, Bremen, eba4061, ISMN 979-0-700391-00-3
- Year of publication: April 2018
- Including an introduction about the theme and the specific pieces
- Title: Joy to great Caesar in: Autori Diversi (17.Jahrhundert): Il Mondo èdei folli, 12 Versionen der Follia aus dem europäischen Barock, page 62-67
- Lindorff, Joyce 'Joyce Lindorff plays music from the harpsichord miscellany'
Joyce Lindorff wrote for the slipcase:
The folia ("Farinelli's Ground") was set to satirical anti-Whig lyrics as "Joy to Great Caesar" by Tom D'Urfey, court jester to Charles II.
- Title: Joy to Great Caesar
- Released 2013 by BCM+D Records order number 8 88174 03660 1
- Duration: 5'34"
- Recording date: January 18-20 2013 at Colonial Williamsburg
- Instrument: Colonial Williamsburg's 1758 double-manual harpsichord by Jacob Kirckman.
Definitely the remix of the Folía by Gaspar Sanz and Bryan Johanson for three guitars
Elizabeth Brown wrote about her Folia y Milonga:
Composed for the 2011 PLU Guitar Festival Orchestra
- Elizabeth CD Brown, Greg Burgess and Gary Burgess
- Title: Folia y Milonga
- Composed for the PLU Guitar Festival, uploaded to YouTube 8 February 2011
- Duration: 5'42"
- Link to YouTube: http://youtu.be/mq17fdkBKBg
Peter Bruun wrote about his Refolia:
Initially it may seem hard to understand what it is about that tiny tune, La Folia, that has caught the attention of so many musicians through the history of music. But perhaps it is just the fact, that it is merely a template. It is like a mould that you can fill with almost anything. I made the simple cadenza-like chord structure in La Folia even more simple in my variations. Instead the variations unfold in rhytmical, metric and melodic ornamentations.
- Borbye, Anders 'Refolia, contemporary works for guitar'
Duration: 1'00", 941 kB. (128kB/s, 44100Hz)
Fragment of Refolia, performance by Anders Borbye
© 2008 Anders Borbye, used with permission- Title: Refolia
- Released October 2008 by Gateway ordernumber AB001
- Duration: 6'15"
- Recording date: August-September 2008 in the Frederikskirken, Aarhus, Denmark
- World première October 13, 2008 in Aarhus Denmark during the Guitar Festival (http://www.aarhusguitarfestival.dk/)
- See also the page Recommended recordings
- More about Anders Borbye at http://www.andersborbye.dk
Bartlomiej Budzynski wrote about his composition in August 2002:
The first public performance by polish guitarist Marek Walawender
had place in Warszawa (Warsaw) in December 1997. We've tried to record it
in Autmn 1998, but the recording has never been published or used in the
other way.
Why I used the 'la Folia'-theme in a composition is not that difficult to
understand. I often use some musical themes from the past in my compositions.
I try to combine the 'classical' ideas with the modern musical language.
Look at the list of my compositions
http://www.budzynski.waw.pl (a Polish and English version) - you will
find there also such pieces as 'Passacaglia', 'Sonata', 'Concerto', 'Partita
concertante' etc.
- Budzynski, Bartlomiej
- Published 1998 by Edition Modran
- Publisher No. Edition Modran EM 016
- Score 12 pages, size 22,5 x 30,5 cm
- Duration: c. 7'50"
Busoni arranged the Spanish Rapsody by Franz Liszt as a concert piece for piano and orchestra.
- Bachauer, Gina (piano) & New London Orchestra conductor Alec Sherman 'The first HMV recordings 1949-1951'
In the slipcase Bryan Crimp has written (2004):Three sessions in May 1951 found Bachauer, Sherman and the orchestra he founded in 1941 assembled for the recording of two contrasting works, both pivotal to Gina Bachauer’s repertoire- Mozart’s ‘Coronation’ Concerto and Busoni’s transcription of Liszt’s Rapsodie espagnole. (If the New London Orchestra was predominantly a chamber ensemble, augmented it cut more than persuasive dash in Busoni’s multicoulored orchetstration of Liszt).
- Title: Rapsodie Espagnol
- Released 2005 by Appian Publications & Recordings compact disc mono recording APR 5643 transferred from shellac discs
- Duration: 13'25" (both the Folies d'Espagne and Jota aragonesa)
- Recording date: May 29 and 30, 1951 in Studio 1, Abbey Road - Steinway 141
- Blumental, Felicja (piano) & Prague Symphony Orchestra, Vienna Wind
Ensemble, conductor Helmut Froschauer 'Dinu Lipati, concerti in classical
style, Rumanian dances, Liszt-Busoni, rhapsodie Espagnole'
- Released by Dureco 1994 compact disc Ars Classicum 1159312
- Duration: 16'09" (both the Folies d'Espagne and Jota aragonesa)
- Recording date: not mentioned (Felicja died in 1991)
- Blumental, Felicja (piano) & Prague Symphony Orchestra
conductor Helmut Froschauer 'Grieg: Piano Concerto in A minor, Faura: Fantasie, Liszt/Busoni: Rhapsodie espagnole'
- Title: Rhapsodie espagnole, S254/R90, Folies d'Espagne et jota aragonesa
- Released by Brana Records compact disc BR0015
- Duration: I. Folies d'Espagne 5'55", II. Juta aragonesa 2'37", III. (Un poco meno allegro) 7'39"
- Recording date: not mentioned (Felicja died in 1991)
- Busoni, Ferruccio. This arrangement for two pianos
- Published by G. Schirmer © 1894, in series Schirmer's library of musical classics 1252
- 2 Scores 51 p. each, 31 cm
- Publisher No. 1252
- Marsh, Ozan (piano) & London Philharmonic Orchestra/Paul Freeman
This version was first performed in 1904 with Bela Bartok as soloist, and later recorded on 78's by Egon Petri with another Busoni student, Dmitri Mitropoulos, conducting- Released 1988 by Turnabout compact disc PVT 7191
- Duration: 15'37" (both the Folies d'Espagne and Jota aragonesa)
- Recording date: 5 - 6 August 1985 at All Saints Church, Tooting, London
- Nicolosi, Francesco (piano) & Iceland Symphony Orchestra/Ricco Saccani
- Broadcasted from a live concert by NPS Netherlands in the program Euro Notturno
- Broadcasted September 10, 2001
- Duration: 15'18" (both the Folies d'Espagne and Jota aragonesa)
- Recording date: November 30, 2000 in Reykjavik, Iceland
- Petri, Egon (piano) & The Minneapolis Symphony Orchestra/Dimitri Mitropoulos
- Title: Folies d'Espagne and Jota Aragonesa
- Released c 1940's by Columbia Master Works 78RPM 2 disks X-163
- Duration: unknown
- Recording date: unknown
'Chaconne' as part of 'Dancing' (édition Henry Lemoine), a suite in four parts (1 Rag-tango, 2 Chaconne, 3 Fly Dance in the night, 4 Chicken rock)
The chaconne follows rather accurately the Folia chord progression throughout the piece. The repetitive character reminds me of the Folia by Ian Krouse. A piece that instantly pops up in my mind listening to Chaconne is "Continuum" by Gyorgy Ligeti a classical in the contemporary repertoire for harpsichord, another instrument with plucked strings. Although plucked strings cannot create a continuous motion of legato, the very fast repetition of tones, resulting in three wavelike movements, suggests that such an impression can be created in Chaconne.
- Trio Polycordes: Isabelle Daups (harp), Jean-Marc Zvellenreuther (guitar),
Florentino Calvo (mandolin) 'Volume 2'
Trio Polycordes wrote for the slipcase (in a translation by E. Doucet): Duration: 3'13", 2938 kB. (128kB/s, 22050 Hz)
Chaconne, the entire piece as part of 'Dancing'
© 2002 Régis Campo/La Follia Madrigal, used with permission
Carrying out an adventure, sowing long-lasting seeds is what the Trio Polycordes intends to do with this second record, focusing on the creative processes at a given time in a sort of inventory of today's musical praxis. The first recording recounted the genesis of an ensemble and a repertoire. Now time has come to develop both a story and an identity, to lay solid foundations. This second record aims at clearing a musical "terra incognita", giving each instrument the opportunity to reveal itself, making sure this shared land will be flourishing. Régis Campo's filiation can be traced back to the Baroque age . He pays a tribute to this musical tradition and at the same time perpetuates and renews it. Dancing is closely related to the "Suites de danse" made famous by composers such as Couperin or Rameau but Campo adds his own touch of night club atmosphere. The work is built round a glorious and luxuriant Chaconne. The theme of La Follia, clearly brought out at the outset, is gradually blurred by rich arabesques but can still be heard distant and faint as in a dream. Main panel of a contemporary altar-piece, this brilliant part is enhanced by the extremely minimalist movements that surround it. The first of them - Rag-Tango - is a double humorous reference. Regis Campo follows both Rag Time's spasmodic rhythm and the glissandos of the double-bass typical of a tango band. This unlikely mixing results in a strange ballet of sounds, a poetical evocation in which the dancers' steps on the stage may be heard through muffled notes. The last two movements belong to the tradition of animal paintings or that of the bestiary. Fly Dance in the Dark pursues the trill of the Chaconne and turns it into a key element in that behavioural study of flies' life. The buzzing insects induce a progressive fall into drowsiness in the listener. It's a lazy summer day's rest. But hey! What sheer pandemonium at the beginning of the fourth movement! Clucking, squawking, cackling, flapping of wings wake us up in an infuriated henhouse. Chicken Rock is a true, boisterous, gallinaceous Woodstock.
- Title: Dancing, (éditiopn Henry Lemoine)parts: 1 Rag-tango 2 Chaconne, 3 Fly Dance in the night, 4 Chicken rock. Chaconne is derived from the later Folia theme
- Released 2002 by La Follia Madrigal compact disc LFM11101, barcode 3 760023 510081 French distributor : EPI
- Duration: 3'13"
- Recording date: November 2001 at La Cave Dîmière, Argenteuil, France
- Revel, Jean-Christophe 'La Musique aujourd'hui: Régis Campo'
Régis Campo wrote in March 1999 for the slipcase: Duration: 2'50", 2604 kB. (128kB/s, 44100 Hz)
Sonate la Follia, the entire piece
© 1999 Régis Campo/Jean-Christophe Revel, used with permissionThe Livre de Sonatas ('Book of Sonatas') for organ groups several commissions from the Spanish Ensems 97 festival, the city of Auch and Radio France. Composcd between 1997 and 1999, this is the fruit of a wonderful. lasting oollaboration with the young Frcnch organist Jean-Christophe Reve1. Each sonata is conceived in a single movement developing a single idea, in the manner of Domenico Scarlatti's sonatas or, better yet, Rameau's harpsichord pieces. L'extravagant is a sort of mechanical fantasy mingled with obsession ansd false naïvete. Le Don and La Nuit are the two most nocturnal sonatas of the cycle, the second, of course, being dedicated to the great master Vivaldi, whereas La Follia makes use of the famous 15th century dance. [...]
.- Title: Sonate la Follia (1998) from Livre de Sonates for organ
- Released October 1999 by Mandala compact disc MAN 4948 (distribution Harmonia Mundi)
- Duration: 2'50"
- Recording date: January 1999 in church of Saint Ferdinand des Ternes, Paris, France
- Publisher : editions Henry Lemoine, Paris, France
- Rouet, Pascale 'Autour de l'Espagne'
Régis Campo wrote for the slipcase:
The sonata 'La Follia' is taken from my 'Livre de Sonates' composed betwen 1997 and 1999 for the benefit of the young organist Jean-Christophe Revel. This 'Livre' gathers together several orders from Radio France, the Spanish festival Ensems at Valencia, and the Association of the Friends of the Organs at the cathedral of Auch.
Each Sonata, built in a single movement and developed around one theme only, is a reminder of Scarlatti's Sonatas or Rameau's Pieces for the harpsichord. Sonata no. 4 'La Follia' brings back the famous 15th century dance in a somewhat ironical and outmoded way. Pascal Rouet gives us a dynamic and personal version, highly consistent with the forceful spirit of my music.- Title: Sonate no. 4 'La Follia' (Edition Lemoine) for organ
- Released 2003 by Pavane Records compact disc ADW 7468
- Duration: 2'29"
- Recording date: July 2-4, 2001 in l'Abbatiale B-D de Mouzon, France
- Borbye, Anders 'Refolia, contemporary works for guitar'
Régis Campo wrote for the slipcase:
This version for guitar was written with the help of the French guitarist Jean-Marc Zwellenreuter. I was looking for a very playful sound, Baroque in character and with humour and wit. This version is very different from the original version for organ with respect to texture and dynamics. I like the idea of the bottleneck in this piece; it is a good example of my ludic musical style.
- Title: Sonate la Follia (1998)
- Released October 2008 by Gateway compact disc AB001
- Duration: 3'28"
- Recording date: August-September 2008 in the Frederikskirken, Aarhus
- See the page Recommended Folia recordings
- More about Anders Borbye at http://www.andersborbye.dk
- Zvellenreuther, Jean-Marc 'Folias'
Jean-Marc Zvellenreither (translation into english by Atez Eloiv) wrote
for the slipcase:
Régis Campo made a new Folia-version, in the spirit of composers of the 17th century, who didn't hesitate to transcribe their works for different instrumental formations. After the presentation of the theme in a rather baroque style, the composer uses different modes in the aim of disarticulating the phrase and introducing different kinds of interferences. The long development in harmonics was suggested by Régis Campo by a cadence in a concerto for guitar by Villa-Lobos.
- Released 1999 by La Follia Madrigal compact disc LFM099900
- Duration: 2'56"
- Recording date: September 1999 at La Cave Dîmière, Argenteuil France
Little is known about this group who performs popular songs in Italy near the border of Austria. I tried to contact them in English but I guess their English is even worse than my Italian. The Folia-performance consists of 3 times the Folia theme (16 bars) and ending with another 8 bars of the ending of the Folia with some modulation. The instrumentation and way of humming the notes is in a very folky way (a setting of a party with a campfire would be an excellent ambiance I suppose). Although the vocal parts are dominant no words are articulated, pure mouth music accompanied by mandoline, accordeon, some winds and drums in the background.
- Canzoniere del Progno 'Tornarà el tramvai'
- Released 2005 by unknown company with unknown order number.
- Duration: 1'14"
- Recording date: unknown place and date of recording
- More about this ensemble in the Italian language at http://www.canzonieredelprogno.it/
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Folías Españas (Follies of Spain) for piano |
- Carbajo, Víctor
- Released 2017 by Carbajo, Victor for ILSMP
- 17 Variations, 16 pages of A4 format
- Duration: 6'30"
- Publishd at YouTube by Victor Carbajo 19 January 2018 https://www.youtube.com/watch?v=hUaRXklCUQ0
- The sheet music can be found in the ILSMP Library https://imslp.org/wiki/File:PMLP736921-carbajo-follies_of_spain-2016-pf.pdf
- Website of the composer: http://www.carbajo.net/obra/obra-2016-i.html
Patrick Cardy wrote about this composition:
La Folia is a set of variations for chamber orchestra, commissioned by l'Ensemble du Jeu Présent, with the assistance of the Canada Council. La Folia was one of the most popular bass progressions used for sets of variations, songs and dances in the late Renaissance and Baroque eras. Its origins are obscure, although it probably originated in Spain or Portugal some time in the early 16th century, from whence it spread to Italy, France and England. It goes under many names in many countries - la folia , la follia , les folies d'Espagne and Farinel's Ground , among others. And it is often, though not always (and not in this piece), associated with a standard discant melody. Some of the more famous treatments of la folia include a set of keyboard diferencias by Antonio de Cabezön (1510-66), a set of variations for violin by Michel Farinel (1685), the masterly set of 24 variations in d, Op. 5, No. 12, for violin and continuo, by Archangelo Corelli (1700), and the Sonata in d, Op. 1, No. 12, for two violins and continuo, by Antonio Vivaldi (1705). In La Folia a variant of the original bass progression is woven, usually very audibly and clearly, but in many different voices and textures, into the fabric of each variation.
The oeuvre of Patrick Cardy can be found at http://www.carleton.ca/~pcardy/- Cardy, Patrick
- Score of La Folia for string orchestra (for sale or on free library loan) and parts (rental only) are available from: The Canadian Music Centre, 20 St. Joseph Street, Toronto, Ontario, M4Y 1J9, tel.: 416-961-6601, fax: 416-961-7198, e-mail info@musiccentre.ca, webside: www.musiccentre.ca or www.centremusique.ca
- The score is 101 pages (plus title page and instrumentation/performance note page); full size, it is 11"x17", but the Canadian Music Centre can also reproduce it in smaller sizes.
- 14 parts (flute/piccolo,oboe, clarinet in Bb, bassoon, horn in F, trumpet in Bb, trombone, percussion (one player: triangle, high sizzle cymbal, medium cymbal, low cymbal, crotales, glockenspiel, vibraphone, tam-tam, bass drum), piano/celesta, violin I, violin II, viola, violoncello, contrabass), reproduced in booklets on standard 9-1/2"x12" sheets.
- l'Ensemble du Jeu Présent/Bellomia, Paolo conductor
- Premiere November 2, 1997 (place unknown), recorded for broadcast on Musique Actuelle (TBA) May 15, 1998
- Duration: 16'00"
- Recording date: May 15, 1998 in the National Gallery of Canada, Ottawa
- Grupo Koan, conducted by José Ramón Encinar, violin solo
Luis Navidad
- Released by unknown
- Duration: 9'10"
- Recording date: March 4, 1980 in the Casa de la Radio de Radio Nacional de España, Prado del Rey
- Orchestra da Camera del Cantiere, conducted by José Ramón
Encinar
- World premiere
- Recording date: August 9, 1978 in Montepulciano, Italy
Originally published in IIIeme Recueil de menuets, allemandes, et contredances, avec vingt et une variations des Folies d'Espagne, touttes en pincés différents, et d'un genre nouveau, entremêlés d'ariettes avec leurs accompagnements pour le cythre, ou guitthare allemande, qui peuvent néantmoins s'exécuter sur la Mandore et sur la guitthare espagnole..., edition Paris, 1771
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Duration: 3'54", 11 kB. |
- François Castet 'Collection Renaissance , Musique Française pour guitare Vol VI'
- Published 1968 by Georges Delrieu & Cie., Nice
- Order number G.D. 1415
- 4 pages in modern sheet music, created after the original tablature
- Collection Dr. D.F. Scheurleer (inv. 7388 Royal Library, Den Hague, Netherlands)
- Title: IIIeme recueil, de menuets, allemandes et contredances : avec vingt et une variations, des folies d'Espagne, touttes en pincés differents, et d'un genre nouveau, entremelés d'ariettes, avec leurs accompagnements : pour le cythre, ou guitthare allemande, qui peuvent neantmoins s'executer sur la mandore et sur la guitthare espagnole / par Mr Carpentier Chan. de St. L. du Louvre amateur
- Published by Le Marchand, Paris, France
- Size 26 pages, 33 cm
- Le Concert Impromptu (oboe, clarinet, bugle, bassoon and flute) 'Nouvelles
folies d'Espagne'
- Released February 2002 by Aime La Belle Records compact disc without order number
- Duration: c. 20'
- Recording date: February 2002 in Temple St Marcel, Paris, France
Michael L. Carroll wrote about his Variations on Folias for String Quartet:
I just composed a new variant of the Folias. These are "loose" variations in that I allowed myself to modulate to other keys and to insert a parallel major version of the Folias chord progression. The piece starts in D minor and is written in 17th century style counterpoint and gradually evolves into a more modern treatment with modulations to a variety of keys and ending in D major. Although my variations are based on the Folias chord progression, nowhere in the piece do I actually quote the Folias melody The playing time at 100 bpm should be about 6 minutes. I was inspired to write this after seeing the Folias-website. The PDF score and an mp3 file are attached.
- Carroll, Michael L.
All Variations on Folias created with Finale (GPO) by Michael L. Carroll
Duration: 5'58", 2451 kB. (56kB/s, 22050 Hz)
© 2009 Michael L. Carroll, used with permissionVariations on Folias in pdf-format, size 60 Kb
The complete sheet music
© Michael L. Carroll 2009, used with permission.- Published 2009 by Michael L. Carroll
- Soundfile generated from within Finale using the Garritan Personal Orchestra (GPO). Although the samples sounds of the GPO are vastly superior to the ordinary, monotonous synthesized MIDI sounds, there is nonetheless a computer-generated feel to these. They sound much, much better, of course, with real human performers. This file is only intended to give you an idea.
- Duration 5'58"
- Score 12 pages for 4 instruments (violin 1, violin 2, viola and cello)
- More about the oeuvre of Michael L. Carroll you can fin at http://www.musicarroll.com/
Michael Carroll wrote about his Theme and Canonic Variations on Folias of Spain in an e-mail the 13th of March 2015:
I've completed another folias composition, this time a duet for two guitars. It starts off with the traditional folias with variations in d minor and then modulates to a minor where it presents variations on a different chord progress but similar in some ways to the folias; then it modulates back to d minor and the folias chord progression for a short reprise.
You have my permission to post on the Fol website.
- Carroll, Michael L.
All Variations of Theme and Canonic Variations on Folias of SpainFolias created with Finale (GPO) by Michael L. Carroll
Duration: 7'03", 6,45 MB. (128kB/s, 22050 Hz)
© 2015 Michael L. Carroll, used with permissionTheme and Canonic Variations on Folias of Spain in pdf-format, size 70 Kb
The complete sheet music for two guitars
© Michael L. Carroll 2015, used with permission.Theme and Canonic Variations on Folias of Spain in pdf-format, size 60 Kb
The complete sheet music for guitar I
© Michael L. Carroll 2015, used with permission.Theme and Canonic Variations on Folias of Spain in pdf-format, size 60 Kb
The complete sheet music for guitar II
© Michael L. Carroll 2015, used with permission.- Published 2015 by Michael L. Carroll
- Soundfile generated from within Finale using the Garritan Personal Orchestra (GPO). Although the samples sounds of the GPO are vastly superior to the ordinary, monotonous synthesized MIDI sounds, there is nonetheless a computer-generated feel to these. They sound much, much better, of course, with real human performers. This file is only intended to give you an idea.
- Duration 7'03"
- Score 9 pages for 2 guitars and two parts (4 and 5 pages)
- More about the oeuvre of Michael L. Carroll you can fin at http://www.musicarroll.com/
- original manuscript in Biblioteca Musicale Greggiati Ostiglia
- Sebastiani, Adriano 'The Complete Edited Songs for Voice and Guitar'
- Title: Les Folies d'Espagne variées Op. 75 in D minor (for solo guitar)
- Released January 1, 1996 by Dynamic compact disc 124
- Duration: 7'31"
- Recording date: 12-12 September 1994, Florence
- Soloist: Adriano Sebastiani
Salvador Castro de Gistau, originally from Madrid became editor of the "foreign music" magazine 'Journal de Musique Etrangére pour la Guitare ou Lyre' in this Paris
- Castro de Gistau, Salvator
Theme and 9 var. in pdf-format, size 2.44 Mb
The facsimile sheet music for guitar
© The Royal Irish Academy of MusicOpening of Variations de Las Folias d'Espagne from the original publication 
- Title: Première partie: theme and 9 variations
- Published in: Journal de Piéces de Musique pour la Guitarre Tirées de divers Auteurs Espagnols & autres; Publié par S. Castro (de Gistau) No 16
- Published unknown year by Salvador Castrode Gistau (l'Éditeur et l'Auteur) in Paris, France
- 4 pages
- Original source available at the internet by The Royal Irish Academy of Music Call no:H.XXXVIII.10.(37) (Hudleston Digital Library)
- Grohen, Markus (re-published the score)
Duration: 0'39", 02 kB.
The opening as indicated in the sheet music belowOpening of Variations de Las Folias d'Espagne Published in 'Guitarre & Laute', 1995 
- Published by the German Magazine 'Guitarre & Laute', Jahrgang XVII, heft 6, 1995
- Score 14 p., 29 cm
- Vandecauter, Herman (guitar)
As far as I know this is a worldpremiere recording of an old manuscript in a high quality performance.
La Follia by Herman Vandecauter
Duration: 6'41" direct link to YouTube
© 2015 by Herman Vandecauter- Title: La Follia (première partie: theme and 9 variations)
- Published at YouTube May 2015 by Herman Vandecauter
- Duration: 6'41"
- Recorded May 2015 in Belgium
- For the website of Herman Vandecauter see: http://www.earlyguitar.be/
- La Cetra d'Orfeo: Didier Laloy (diatonic accordion), Michel Keustermans (recorder and director), Hervé Douchy (violoncelle), Jacques Willemijns (harpsichord), Jurgen De Bruyn (theorbo and baroque guitar),
Stephan Pougin (percussion), Laura Pok (recorder), Ingrid Bourgeois (violon).
Duration: 1'27", 1.4 Mb. (128kB/s, 44100 Hz)
Fragment of Poule Noir
© 2007 La Cetra d'Orfeo, used with permission
Michel Keustermans wrote for the slipcase (translation by Rachel Stacchini-Betton-Foster):
Finally, it was difficult to resist this last temptation: our Walloon Folklore has an abundance of tunes going back to the beginning of time, and 'Poule Noire' (Black Hen) is nothing if not an authentic Folia which has come down the ages through popular dancing.
- Title: Poule Noire (black hen), unfortunately no sources mentioned for this tune
- Released 2007 by EOLE compact disc EAD002
- Duration: 3'25"
- Recording date: May 2006 at Chapelle du Bois
- See also the page Recommended Folia-recordings
- Chatham Baroque (Julie Andrijeski baroque violin, Patricia Halverson viola da gamba, Scott Pauley theorbo and baroque guitar)
with guest artists Daniel Mallon percussion and Becky Baxter harp
Folias by Chatham Baroque with guests live
Duration: 10'34" direct link to YouTube
© 2011 by Chatham Baroque- Title: Folias
- Broadcasted by unknown radiostation
- Duration: 10'34"
- Recorded live March 11, 2005 in St. Paul's United Methodist Church, Houston, United States as part of the Houston Early Music Series
- See for the program: http://www.houstonearlymusic.org/hemarchive/archive/2004/chatham.htm
Set of twelve variations on the Folia theme for brass quintet (Trumpet in C1, Trumpet in C2, Horn in F, Trombone, Tuba)
A very nice and transparent composition for brass quintet. Somewhat in the idiom of the Folia variations by Jan Bach, which I consider as one of most interesting and enjoyable efforts to translate the Folia theme to modern times. The nice thing of a brass quintet is that the voices are so clear that the listener can distinguish the action and interaction bewteen the voices. Further on the Folia theme has a somewhat fragile setting with that modest melody line but the brass instruments transform the music into a very powerful statement especially with those firm trumpets. Those intriguing features strike me again when listening to the music of Jean Chatillon with his Fantaisie sur La Folia
Jean Chatillon wrote about his Fantaisie sur La Folia:It was after listening to the fine compositions of my two friends of the Delian Society (editor: Thomas Matyas and David W. Solomons) that I became intoxicated by this tema.
- Chatillon, Jean written in Finale2005
Duration: 7'58", 7.56Mb. (128kB/s, 44100 Hz)
The complete set of variations
© 2009 Jean Chatillon, used with permissionFantaisie sur La Folia, 22 pages in pdf-format, size 255 Kb
The complete sheet music
© Jean Chatillon 2009, used with permission.- Title: Fantaisie sur La Folia
- Duration: 7'58"
- Published by Editions de l'Ecureuil Noir, Becancour, Canada
- 22 pages, size 21 x 29 cm (and 5 parts)
- More about the composer and his compositions at: http://www.jeanchatillon.com/
- Ensemble Oni Wytars 'La Follia, the triumph of Folly'
Great performance with the unusual nickelharpa to give the tune a Scandinavian setting.
- Title: Les Folies d'Espagne
- Released 2013 by Deutsche Harmonia Mundi compact disc 88765449782
- Duration: 2'44"
- Recording date: October 1-3, 2011 in Kurtheater, Bad Kissingen, Germany
- See also recommended recordings
- Van Kerckhoven, Pieterjan & Van Troyen, Bart (bagpipes)
Ever heard two bagpipes play the Folia in full harmony?
Pieterjan Van Kerckhoven and Bart Van Troyen
Duration: 7'50" direct link to YouTube
© 2013 by Pieterjan Van Kerckhoven and Bart Van Troyen- Title: Les Variations Amusantes Les Folies d'Espagne
- Released 2013 at YouTube by Bart Van Troyen
- Duration: 7'50"
- Recording date: 2013
- Bagpipes (musette) built by Remy Dubois
In the opening of the ouverture the folia-theme is several times ingeniously quoted, even in a somewhat fugative style.
- Academy of St. Martin in the Field/Mariner, Sir Neville 'Cherubini:
Ouvertures'
Basil Deane wrote in 1992 for the slipcase:Sometimes there is a historical reference - the use of the traditional theme 'La folia'in L'Hotellerie portugaise
.- Released 1992 by EMI CLASSICS compact disc CDC 7544382
- Duration: 9'43"
- Recorded 1991 in Studio Abey Road London, England
- City of Birmingham Orchestra/Foster, Lawrence 'Luigi Cherubini Ouvertures'
From the slipcase:
L'Hôtellerie portugaise, one of three one-act opéras comiques written in 1798 and 1799, is based on the familiar plot of the lovers who have to outwit the old guardian bent on marrying his pretty young ward himself. Set in an inn on the border between Spain and Portugal, the story this time moved Cherubini to make a discreet application of local colour, in the form of allusions to the popular Portuguese tune La Folia, in the slow introduction to the ouverture. The main Allegro section is a skilfully achieved accumulation of eager expectation which reaches its climax just before the end.
- Released 1996 by Claves Records, Switzerland compact disc CD 50-9513
- Duration: 11'58"
- Recording date: 5-6 February and 20 June 1995 in Birmingham, Town Hall
Nowadays this opera has sunk into almost complete oblivion and this may be the main reason that the quite substantial Folia in the Ballet in act 1
is never mentioned in the Folia literature, although the opera itself was the subject of a recent
dissertation. Fortunately a live recording of this opera from 1956 exists, although of an absolute poor quality.
In fact the Folia-theme in Les Abencérages is more prominently stated and worked out in variations throughout the above mentioned
Ballet than in the Ouverture from L'Hôtellerie portugaise. But fate decreed that it was the Ouverture that established Cherubini's fame
in the Folia literature; for instance in the New Grove Dictionary of music and musicians.Paul Korenhof wrote for the slipcase
The premiere of Les Abencérages took place at the Paris Opéra on 6 April 1813 in the presence of Napoleon and his wife and it proved one of the greatest successes of Cherubini's career.
- Orchestra di Theatro Comunale di Firenze conducted by Carlo Maria Giulini 'Gli Abencerragi'
- Released 2002 by Gala compact disc GL 100577 2cd-set
- Duration: 8'50"
- Recorded May 9, 1956 in Maggio Musicale Fiorentino, Florence, Italy
- Orchestra sinfonica di Milano conducted by Peter Maag 'Les Abencérages'
Gian Andrea Lodovici wrote for the slipcase:
The fact that this was one of Cherubini's most successful operas is confirmed not only by the enthusiastic comments of the many personalities present at the first performance, including Napoleon and Marie. Louise, but paradoxically also by the request made by the composer himself after about twenty performances that the dramaturgical part of the opera be cut and reduced into two acts in order to create more space for ballets. A practice reserved in France only for those operas that sought to becomepart of the "repertoire" [...]
To hear again the French version of 'Les Abencerages, however, we had to wait for the radio production of 15th January 1975 which Peter Maag and Radio Italiana chose to perform. This is a production that returned to the original three-act version of the opera, with limited use of ballets, and is proposed without significant cuts compared to the radio performance tradition of the time.- Title: Danses (cd 1: track 13)
- Released 1975 by MRF Records MRF/C-07 (C-071 - C-072) 2 lp-set and remastered 24bit/96kH by Archives January 2006 for a 2-set compact disc 43066-2
- Duration: 3'06"
- Recording date: January 15, 1975 in Milan, Italy
Antonio wrote in the preface of his composition (here indicated in an English translation):
The idea of ??composing variations on the famous theme of Folía (madness) was born from the proposal made to me by the dedicatee of this composition il Maestro Sergio De Blasi. I took the proposal with great pleasure as the theme Follía is a theme that has always fascinated me. The structure of the entire composition is spread over 15 variations of which the last is a 3-part escape and can be performed both on the harpsichord and on the organ. As for the organ it can be safely performed even on an ancient organ, leaving the performer free to eventually fill some parts with the pedals. The indication of the registers indicated in the score is not intended to be binding, but only a small idea of ??how I thought the song phonically, therefore the performer is left full freedom and imagination. The harmonic system of the piece develops on harmonies deriving from the superimposition of fourths and fifths for most of the song. While in the latest variations I preferred to use gradually a return to harmony classical-tonal and it seemed interesting to me, at the end of the song, to make the theme of Follía with the usual classical harmonic relationships, so that the listener can also elaborate a "pleasant musical journey" that with a modern style start leads to a more classic style. In conclusion I tried to be adherent to my style, but at the same time to turn my gaze towards the past, with the hope that these pages will enter the repertoire of organists or harpsichordists.
- Leonardo Antonio Di Chiara (organ or harpsichord)
- Title: Variazioni su tema della Follía per organo o cembalo
- Published June 2020
- 14 Pages, A4-Format, 368 bars.
- More about the composer at his homepage https://www.leonardoantoniodichiara.com/
- You can find the YouTube page of Leonardo Antonio Di Chiara at https://www.youtube.com/channel/UCQXg8Dxd4Nb1Ko8fjYfvFWg
Bernard de Chiacourt seems to be living in the sourtern part of the Dutch Republic.
- Inventory NMI92.0 Royal Library, Den Hague, The Netherlands
- Title: Folies d'Espagne, variés pour la flûte avec accompagnement de violon et basse
- Published 1816 by Plattner (based upon the names Eitner and Mazure), Rotterdam, The Netherlands
- 2 parts, 33 cm
Classical crossover group CJA (pronounced see-jay) consists of Joanne Jolee (vocals and keyboard and her three daughters, Christine (violin), Leiticia (vocals and violin) and Krystle (vocals and cello). CJA's musical style is an alchemic blend of European pop, fused with the likes of J.S. Bach and Scarlatti, Celtic folk songs, traditional Irish fiddling and spiritual and poetic influences, as well as disco, opera and techno-industrial elements.
- CJA (drums: Bill Jaffa, piano and vocals: Joanne Jolee, violin: Christine Adkins, violin and vocals: Leiticia Pestova, cello and vocals: Krystle Delgado) 'Things Have Changed'
- Title: Kissings: lyric - 'Love's Philosophy' by Percy Bysshe Shelley (1792-1822), music - La Folia, 16th Century
- Released 2006 by Pinnacle American Records compact disc LCC 837101274555
- Duration: 4'52"
- Recording date: unknown
- More information about Joanne Jolee and about this recording you can find at http://www.joannejolee.com/joannejolee-Kissings.htm
Collector of music. Was an excellent dancer and violinist so most probably the La Folie d'Espagne was intended for two violins.
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La Folie d'Espagne in 26th Recueil de Contre-danses et Waltzes. page 20 and 21 |
| Opening of La Folie d'Espagne | Published ca. 1810 |
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- Clarchies, :Louis-Julien
- Title: La Folie d'Espagne
- Published in 25th Recueil de Contre-danses et Waltzes, page 20 and 21
- Published by Fr`re, Paris, n.d. [ca.1805-1815]
- Published in ILSMP 2013 by Pierre Chepelov
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Somalia in pdf-format, size 37 Kb |
Somalia by Gintonic |
This is a composition I've made for my jazz-rock band Gintonic. It's based on the Follia (the Intro is the Pasamezzo Antiquo). It's very recent so I don't hace still the audio. I hope i will send you in a couple of months. I play flute and EWI in the jazz-rock band Gintonic.
Although I play mainly jazz - rock by now, my beginnings in music were in the field of early music. I have play many sets of variations upon the Folia (Vivaldi, Marin Marais...) with the recorder. I think the Folia and the Blues (as schema, the 12 measures) are the major cathedrals in music. I've write this music as a reaction to the human disaster in Somalia (the last 3 letters are the same -lia)
Of course, It's possible to publish the sheet music in your website.
Somalia is based on this schema:
Intro: 8 bars (Pasamezzo antiquo)
Theme: Folia (Am7 - E7#9 - Am7 - G9 --- CMaj7 - G9 - Am7 - E7#9 --- Am7 - E7#9 - Am7 - G9 --- CMaj7 - G9 - Am7-E7#9 - Am7) 2 times
Guitar open solo (E7#9)
Intro: 8 bars (P.A.)
Theme: Folia 2 times
Flute solo: second half of Folia many times
All the chords are "jazzified" i.e. (instead of Am-E-Am-G, I've write Am7-E7#9-Am7-G9) but the chord progression of the main theme is the Folia in A minor.
In the future I will send you the link of YouTube with this music.
- Clavell Larrinaga, Mario
- Title: Somalia
- Published 2012 by Mario Clavell Larrinaga for Gintonic (Mario Clavell Larrinaga - flute, Ramón Escobar - guitar, Dabid Martín - fretless bass, Gorka Díez - drums)
- Duration: 3'55"
- Sheet music 1 page (just the framework of the tune for improvisation)
- More about Mario Clavell and Gintonic at http://www.myspace.com/gGintonic4t
- Cardoso, Jorge (guitar) 'Tanidos, Musica Barroca Española'
The complete theme and variations as played by the maestro Jorge Cardoso
Duration: 13'23", 15.6 MB. (160kbs, 44100Hz)
© Jorge Cardoso 1988, used with permission- Title: Folies d'Espagne
- Released 1988 by TecnoSaga vinyl MSD 4004 and re-released 1992 by Several records 2-cdset
- Duration: 13'23"
- Recording date: 1988 at Several records, Madrid, Spain
- Prix du Ministère de la culture Spain in 1991
- More about this piece in the French language at http://www.vlamarlere.com/article-20067786.html
- More about this maestro on the guitar at http://guitarreando.iespana.es/cardoso.htm
- Cicero, Rosario (baroque guitar) 'Danzas de Rasgueado y Punteado'
Rosario Cicero (translated by Andrea Manchée) wrote for the slipcase:
It's in the Folies d'Espagne by Le Cocq that we find a compendium of the language of the baroque guitar, in an aesthetic and idiomatic synthesis of the subdued and rarefied folk influences, the peculiarities of a more elaborate performing technique and the profound expressive idiom of musical culture in the baroque era.
- Released 1999 by Nìccolò Guitart collection, Italy compact disc NIC 1009
- Duration: 8'26"
- Recording date: February 1999 at Jambling Studios - Nola (Na), Italy
- Cicero, Rosario (baroque guitar) 'Danzas de Rasgueado y Punteado'
- Released 2002 by GuitArt (magazine), Italy compact disc GUIT 2028
- Duration: 8'26"
- Recording date: February 1999 at Jambling Studios - Nola (Na), Italy
- Mirarchi, Francesco (baroque guitar)
Live performance by Francesco Mirarchi
Duration: 3'44" direct link to YouTube
© 2013 by Francesco Mirarchi- Released May 2013 by liberiamolabellezza for YouTube
- Duration: 3'44" (abbreviation)
- Recording date: 2013
- Recueil des pieces de guitarre, p. 74-81 (facsimile publication)
- Published by: Thesaurus musicus. Brussells: Edition Culture et Civilisation
- Year: 1979
- Storms, Yves (guitar) 'Variations Folia de España'
Peter Pieters wrote as introduction to Folies d'Espagne on the inside
of the cover:
In Baroque times, no melody or chord schema was more often used in variations than the Folly from Spain. Incontestably, Corelli's «La Folia» is the most famous, but even ].S. Bach used the theme' in his «Peasant Cantata».
Originally, the Folly was a wild dance, in which men in carnival costume often ~eached a state of hysterical trance. The Church did not approve and as a result the Folly was gradually transformed into the slow, solemn melody we know today
The Folly was extremely popular among baroque guitar players, to the point that Robert de Visee - almost alone in not publishing one - felt it necessary to write in his introduction: «Neither will one find here the Spanish Folly. So many of these are now to be
heard, that I could only repeat the follie of others».
There is not the space here to list all the Follies written for the Baroque Guitar, but the three collected on this record are among the most beautiful: that of the Spaniard F. Gereau, the Brussels-born F. Le Cocq and the ltalian A.M.B. whose works have been neglect to this day.
In later times as well, guitar players have shown their partiality for the Spanish Folly and the two greatest guitar composers of the 19th Century, Fernando Sor and M. Giuliani, wrote variations on these themes. In our own times the Mexican Manuel Ponce, who wrote principally for the guitar, also composed some Follies; indeed, his most important work comprises no less than 20 variations followed by a majestic fugue.- Title: Les Folies d'Espagne
- Released 1983 by EMI Belgium 1A 065 1651791
- Duration: 7'30"
- Recording date not mentioned in the documentation
- See also the page Recommended Folia-recordings
- Takeuchi, Taro (5 course guitar) 'Folias!, virtuoso guitar music of
C17th on period instruments'
Monica Hall wrote for the slipcase:
We are indebted to the Flemish clergyman and amateur guitarist, Jean-Baptiste de Castillion (1680-1753), whose activities as a music copyist have preserved the guitar music of François Le Cocq (fl.1685-1729), Nicolas Derosier (c.1645-1702) and many pieces by Corbetta not found in the surviving printed books. In the preface to the manuscript which he copied in 1730 (B:Bc.Ms.S.5615) Castillion says that in 1729 Le Cocq gave him copies of his music, which he re-copied for his own use, adding pieces by several other composers of the previous century. He says that Le Cocq taught the guitar to the wife of the Elector of Bavaria and refers to him playing to the sister of the Archduke Charles of Austria, later emperor Charles VI. This was probably Maria Antonia, a half-sister of Charles, who married the Elector Maximillian II Emanuel in 1685 and died in 1692. In 1729 Le Cocq is described as a retired musician of the Chapel Royal in Brussels. His variations on Folies d'Espagne is a technical tour de force featuring the 'harpegemens', elaborately arpeggiated chords, which were a jealously guarded secret of Le Cocq's. Castillion says that he rarely indicated them in his music so as to conceal how he played them and to preserve them to himself alone.
- Title: Folies d'Espagne
- Released 2002 by Deux-Elles Limited, Reading, UK compact disc DXL 1030
- 5 course guitar by Martyn Hodgson , Leeds 1982 after René Voboam, Paris, 1641. he original is in the Hill Collection, Ashmolean Museum, Oxford
- Duration: 10'01"
- Recording date: April 16 and 17 at St Martin's Church, East Woodhay, England
This piece for one voice is listed as 'Follia' in the Tavola dell'arie at the end of the volume.
- Ensemble for the Seicento 'Forbidden dance, dance and diminutions of
the Italian Baroque'
- Title: Lauda Spirituale/Folias di Spagna (improvisations)
- Released 2001 by Musicians Showcase Recordings compact disc MS 1073
- Duration: 7'40"
- Recording date: January 2000 at St. Paul's Episcopal Church Brooklyn New York and January 1998 at Calvary Church, Parish of Calvary/St. George's, New York City
Oddly enough, the almost identical duet with a partly different text was used more than 70 years later as part of the opera 'La Pastorella Nobile', a production of Pietro Alessandro Guglielmi (1728-1804). The music of the duet was attributed on the title page of the Artaria print to 'Sig(nor). Conti' which might easily lead to Giacomo Conti, the violinist and composer who led the orchestra of the Burgtheater from 1793 but the music is almost identical to the earlier version of Francesco Conti. It is an indication how famous Francesco Conti was in the 18th century (there seems to be only one Sig. Conti, and the musical quality of the duet is indeed extremely high).
John A. Rice wrote in March 2006 about the differences between the duet in 'Don Chisciotte in Sierra Morena' and 'la Pastorella Nobile':
I've just looked at a manuscript full score of 'Don Chisciotte in Sierra Morena' in the Austrian National Library, Signatur Mus. Hs. 17207, published in facsimile by Garland, New York, 1982. The duet on La folia is at the end of act 2; it is entitled "Va pure in buon' ora". It is the same duet as the one inserted much later in Guglielmi's opera, with the following differences:
- In 'Va pure in malora' part of the text is different (but much of the text, including the long string of insults, is the same)
- The duet in 'Don Chisciotte' is in da capo form (A-B-A): the first part of the duet (up to the words 'mai non vi fu') is repeated after the second part (ending with the words 'per me sei tu'). So the duet ends in the same key (D minor) in which it began. In the later version the second A section is omitted, so the duet ends in a key (G minor) different from the key in which it began.
- 'Va pure in malora' ends with a short instrumental passage in G minor that is not in 'Va pure in buon' ora.'
- 'Va pure in buon' ora' begins with a short instrumental passage in D minor that is not in 'Va pure in malora.'
- I Piccoli Holandesi directed by Marc Pantus (with vocals by Anne Grimm, Renate Arends, Ricardo Prada, Marc Pantus)
with some new contemporary songs
Duration: 3'18", 4886 kB. (128kB/s, 44100 Hz)
Renate Arends (soprano), Marc Pantus (bass) and the Northern Consort conducted by Adrian Rodriguez van der Spoel
© 2005 Marc Pantus, recorded by De Concertzender, used with permission- Performance: May 15, 2005 in Muziekgebouw aan 't IJ, The Netherlands
- Duration: 9'09"
- Recorded by De Concertzender, production www.harmonysound.nl
Duration: 0'59", 958 kB. (128kB/s, 22050 Hz)
Anne Grimm, Marc Pantus and the Utrechts Barok Consort conducted by Jos van Veldhoven
© 2005 Marc Pantus, used with permission- Premiere April 27, 2005 in Kampen, The Netherlands
- Duration: unknown
- Recorded by De Concertzender, broadcasted by Dutch Radio 4, Viertakt April 25, 2005
- Akademie für Alte Musik Berlin and Nederlandse Operastichting directed by René Jacobs 'Don Quichotte in Sierra Morena, tragicommedia in five acts, Vienna 1719'
.
- Casting duet: Judith van Wanroij (Maritorne) and Marcos Fink (Sancio Pansa).
- Duet at the end of the second act.
- Recording date: June 26, 2010 during the Holland Festival 2010 in the Stadsschouwburg, Amsterdam, The Netherlands
- Broadcasted by NPS radio 4 June 26, 2010 (live broadcasting of performance)
- Akademie für Alte Musik Berlin and Tiroler Landestheater directed by René Jacobs 'Don Quichotte in Sierra Morena, tragicommedia in five acts, Vienna 1719'
In the program was written:Live performance of Folia parts ending with the famou duet 13 Aug. 2005
Duration: 11'19" direct link to YouTube
© 2011 by Akademie für Alte Musik Berlin
Francesco Conti (1681-1732), now almost forgotten, was a very famous and highly respected composer in his time. The largest part of his life he worked at the imperial court in Vienna. In 1708 he was apointed first theorbo player, in 1713 he became also court composer. After these appointments he became one of the highest paid musicians in Vienna, who was able to perform his own works with the best singers, since he could pay them well. After falling ill in 1726 he returned to Italy, but in 1732 he returned to Vienna to introduce some new works. It is an indication of his reputation that his successor as court composer, Antonio Caldara, had to step aside to make place for Conti. Shortly thereafter Conti died.
The focus of the the 29th Innsbruck Festival of Early Music was the era of the Viennese Court Opera. Directed by René Jacobs, the opera "Don Chisciotte in Sierra Morena" was performed five times at the Tiroler Landestheater. National and international audiences and critics alike were enthusiastic about the young vocal ensemble which was accompanied by the Akademie für Alte Musik Berlin.
This work performed was composed for the Carnival season in 1719. It was extremely successful: it was even translated into German, and was performed 25 times outside Vienna, mainly in Hamburg. Don Chisciotte in Sierra Morena is a tragicommedia, which combines elements of the opera seria and the intermezzo (a form of comedy which was performed in between the acts of the opera seria as a form of compensation for the disappearance of all comic elements from the opera seria). It not only combines these elements, but also ridicules some elements of the opera seria. The way Conti portrays Don Quixote and Sancho Pansa in particular is brilliant. Don Quixote, a puffed so-called knight, who believes that he is a hero, and doesn't want to see the truth, even if it is right under his nose.
In Conti's time, Don Chisciotte lasted about 5 hours.
In Conti's time, Don Chisciotte lasted about 5 hours. Thusly, cuts were made in this performance which consumes just over 3 hours.- Casting duet: Fulvio Bettini (Sancio Pansa) and Gaêle Le Roi (Maritorne).
- Duration: Act 1: 8'40" instrumental and duets (55'53"), Act 2: 0'43" one instrumental variation (60'05") , Act 3: 1'52" three instrumental variations for concluding the act (42'20")
- Recording date: August 13, 2005 during the 29th Innsbruck Festival of Early Music 2005 Tiroler Landestheater, Innsbruck (the performance was also August 16, 22, 24, 26 at the festival)
- Broadcasted by unknown radio-station and posted in the newsgroup alt.binaries.sound.mp3.classical March 2006
- Elbipolis Barockorchester Hamburg 'Don Quichotte in Hamburg'
Jörg Jacobi wrote for the slipcase:
[...] Such conversations bore Don Quixote and especially Sancho Panza. They leaf through the music of Conti's opera, which he had brought with him. "Look, my dear Sancho, just look at this! Indeed, how marvelously our story is told," exclaims Don Quichote, " how wonderfully fresh the music - I like it! And it also has real Spanish character, even a follia!" Grumbling to himself he recalls the evening's opera performance of this miserable piece of work by Mattheson: "Granted, the music is nice, but the story is not at all the right thing for a Spaniard. here, on the other hand: A follia! A chaconne! A Ballo de Pagarellieri, a ballet of the squires, like Mr. Conti has composed it - this is something that is knightly and would certainly also please my Dulcinea!"
- Released 2005 by Raumklang compact disc RK 2502
- Duration: 2'20"
- Recording date: May 8-12, 2005 in 14943 Schönefeld/Marzahna
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Duration: 3'37", 20 kB. |
| Opening of Conti's Folia | Artaria publication for the opera La pastorella nobile |
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John A. Rice wrote about this piece:This is a printed keyboard vocal score of a duet composed by Conti used for the first Viennese production of Guglielmi's comic opera La pastorella nobile. The singers were Adriana Ferrarese (the first Fiordiligi in Mozart's "Cosi fan tutte") and Francesco Benucci (the first Figaro and Don Alfonso). The entire duet is based on La Folia; the text is probably by Lorenzo da Ponte. The first Viennese production of "La pastorella nobile" is discussed in my dissertation "Emperor and impresario: Leopold II and the transformation of Viennese musical theater, 1790-1792"
In the dissertation John A. Rice writes (p. 125):[...] Also added to the Viennese version in place of the recitative in the original was the duet for D. Florida and D. Polibio, "Va pur in malora," attributed in the Artaria print to one "Sig. Conti." (It is not clear that this duet was in fact sung as part of Guglielmi's opera. The text appears in the 1790 libretto, but a note at the end of the libretto informs us that the duet was omitted in performance; yet Artaria issued a keyboard reduction of the duet and described it as "eseguito dall Sigra. Feraresi ed il Sigr. Benucci nell'Opera la Pastorella Nobile.")
- Ms. score in A Wn, K.T. 338 (A-Wn is the RISM siglum for Austria, Wien,
Nationalbibliothek, Musiksammlung. RISM stands for Receuil International
de Sources Musicales; there is a list of RISM sigla at the beginning of
every volume of the New Grove Dictionary of Music.
K.T. 388 is the call number (signature) of the manuscript; K.T. stands for Karntnertortheater, where the manuscript was kept before being transferred to the Nationalbibliothek).
- Published by Artaria in Vienna during the second half of 1790 (Racolti d'Arie No. 77)
- Duration: ca. 4'00"
- size 29 x 21 cm, 14 pages
Méthode de guitare pour apprendre seul à jouer de cet instrument, nouvelle édition, corrigée et augm[entée] de gammes dans tous les tons, des Folies d’Espagne avec leurs variations,….
- No published music found.
- Published in Fétis, François-Joseph, Biographie universelle des musiciens…, tome 2, 2e édition, Paris, 1866, p. 356
- Thanks to François-Emmanuel de Wasseige for detecting this item in literature
Opus V (Sonate a Violino e Violone o cimbalo) was first published in Rome on the 1st. January 1700, closely followed by publication in Bologna, Amsterdam (Estienne Roger) and London (John Walsh).
This work has remained a favorite among violinists because of the variety of technical challenges the variations offer to the player. They were extremely popular when they first appeared, and firmly established the composer's international reputation appearing in over a dozen different editions during Corelli's lifetime. Less than a hundred year after the first publishing, there had been at least 40 printings and more than 20 revised editions. Delphine Alard and Ferdinand David published performing editions in 1863 and 1867 respectively, but the arrangement by the Belgium violinist Hubert Léonard in 1877 firmly established the work as a mainstay in the repertoire of violinists. The arrangement for recorder was published in 1702 by Walsh & Hare of London as part of 'Six solos for a flute and bass'.
Geminiani who was a pupil of Corelli published a concerto grosso based upon Corelli's Op. 5 no. 12 and Veracini made his own arrangement for violin and basso continuo. Both composers introduced the Italian style in England. Vivaldi's Folia Op 1 no. 12 is another tribute to Corelli and the name Rachmaninoff gave to the title of his Folia ('on a theme of Corelli') leaves no doubt about his source for inspiration.
Marc Pincherle wrote about the Corelli-variations:
An effort to minimize inevitable monotony is discernible
in the set of 23 variations, particularly by giving to the accompaniment
as active a role as possible. Several times in the 3rd variation and in
the 16th the same designs are exchanged between melody and bass. Sometimes
this reciprocity operates between groups of two variations; for example,
between the 4th and 5th, 6th and 7th, 20th and 21st. Still more
revealing is the manner in which the ostinato of the bass is now and then
halted. The harmonic framework of the 14th is new, likewise that of the
19th, which is in imitation with supple modulations and that of the 20th,
which cadences in F while the 21st variation traverses the reversed key
sequence. Finally, an elongation by four measures at the close of the last
phase attests, by itself, to Corelli's desire to evade customary routine
and to invest a somewhat naive architecture with a degree of nobility.
But there is no doubt, as is evident from a cursory reading of the follia
that in Corelli's eyes its interest was of a violinistic order before all
else. Everything he knew about the matter of instrumental technique, which
he had scattered throughout Opus V, and the device of variation, enabled
him to concentrate, to classify, and to demonstrate with precision in a
veritable corpus of doctrine. By technique, that of bowing should be understood;
for as regards to the left hand, Corelli's role, (.....),
far from being constructive, was limited to 'pruning'.
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Duration: 5'16", 40 kB. |
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Duration: 7'03", 47 kB. |
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Duration: 8'56", 59 kB. |
| Theme of Violin Sonata in d minor La Follia | arr. for violin and b.c. |
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The complete score of la Folia opus 5 no. 12 |
- Accademia Bizantina directed by Ottavio Dantone 'Arcangelo Corelli, violin sonatas Opus 5'
- Title: Sonata No. 12 In Re Minore, 'Follia'
- Released November 2006 by Label: Blue Libe / The Orchard compact disc
- Duration: 11'02"
- Recording date: unknown
- Accademia Bizantina directed by Ottavio Dantone 'Arcangelo Corelli, sonate per violino e basso continuo Op. V'
- Title: Sonata No. 12 In Re Minore, 'Follia'
- Released 2003 by Amadeus compact disc 169-2 (2 cd-set)
- Duration: 11'05"
- Recording date: unknown
- Accardo, Salvatore (violin) Beltrami, Antonio (piano) 'Corelli, Porpora, Tartini, Vivaldi sonatas'
- Title: Sonata Op. 5 N. 12 in Re minore 'La Follia'
- Released by RCA original early 60's Italian pressing (promo white label) LP ML-80
- Duration: unknown
- Recording date: unknown
- Alard, Delphin and Meyer edited the music for viola and bassso continuo
- Title: Sonate d-Moll, op. 5/12
- Published by Schott
- Score 18 p.
- Publisher No. VAB8
- Ensemble Amarillis: Gaillard, Héloïse (recorder), Cochard,
Violaine (harpsichord), Gaillard, Ophélie (cello) 'Furioso ma non
troppo, Italie 1602-1717'
- Title: La Follia
- Released 1999 by Ambroisie compact disc AMB 9901
- Duration: unknown
- Recording date: August 1998 in la fondation Tibor Varga, Sion
- Angelloz, Guy (flute), Batselaere, Arnold (organ) 'Flute et orgue a
Notre-Dame de Paris'
- Title: Arcangelo Corelli: La Follia
- Released 1985(?) by Pierre Verany compact disc PV 785094
- Duration: 4'55" (booklet indicates 4'49")
- Recording date: April 10 & 11, 1985 in the Notre-Dame of Paris
- Anonymous transcription for large orchestra (c. 1802)
John A. Rice wrote about this transcription in 'Empress Marie Therese and Music at the Viennese Court, 1792-1807' page 67-68:
Marie Therese had at her disposal many wind and brass players, whom she sometimes brought together in orchestras that must have made a brilliant and colorful sound. Her concert on 18 July 1802 ended with what she referred to as "Die Follia di Spagna mit allen Instrumenten von Eybler." Eybler is not known to have composed such a work (footnote 66: No orchestral variations on La Follia by Eybler are listed in Hermann [= Hildegard Hermann, Thematisches Verzeignis der Werke von Joseph Eybler, Munich, 1976]). But she owned, under the title Follia a più strumenti, an anonymous orchestral transcription of the variations on La Follia from Corelli's violin sonatas, Op. 5 (CaM, p. 62; see Fig. 1.3), which the diary allows us to attribute to Eybler. The orchestral parts call for (in addition to strings) pairs of flutes, oboes, clarinets, bassoons, horns, trumpets, and timpani (footnote 67: A-Wgm, XIII 29392).
- Title: Follia a più strumenti (or in the diary of Marie Therese: Die Follia di Spagna mit allen Instrumenten von Eybler
- Source: A-Wgm, XIII 29392 according to Pohl (Austria, Vienna, Gesellschaft der Musikfreunde, call-number (signatur) XIII 29392
- Assassin's Creed Unity (video game)
Assassin's Creed Unity at 20'14" and further
Duration: 36'55" direct link to YouTube
© 2014 by Xari et Jiji
Le Lutin d'Ecouves wrote about the use of the Corelli Folia:
I had detected a little part of Corelli's Follia played with the solo violin in the Bastille in the video game "Assassin's Creed Unity (2014). Theme at 22:09 of this video and a variations at 23:35 to 26:53.
- Performer(s) unknown
- Title: Assassin's Creed Unity (video game)
- Released 2014
- Recording date:unknown
- Arita, Masahiro (flute), Bach-Mozart Ensemble Tokio 'Italian Baroque
flute music'
- Title: La Follia e-moll for traverse flute and basso continuo Op. 5 No. 12 (d klein)
- Released 1996 by Denon compact disc CO 18013
- Duration: 10'41"
- Recording date: January 20-23, 1996 in Akigawa Kiarara Hall, Tokyo, Japan
- L'Astrée ( Francesco D'Orazio violin, Alessandro Tampieri violin and baroque guitar, Alessandro Palmeri cello,
Francesco Romano theorbo, Giorgio Tabacco harpsichord)
- Title: Sonata "La Follia" per violino e basso continuo op.V n.12, Tema, Variazioni I - XXIII
- Broadcasted by RAI radio 3 (Italy) April 3 and October 30, 2005
- Duration: 10'24"
- Recording date: unknown at Cappella Paolina del Palazzo del Quirinale di Roma, Italy
- Autumn, Emilie (baroque violin) 'Laced, unlaced'
- Title: La Folia
- Released 2007 by Trisol Music Group 2 cd-set TRI 294
- Duration: 10'18"
- Recording date: unknown
- Autumn, Emilie (baroque violin) 'Laced, unlaced'
- Title: La Folia Live
- Released 2007 by Trisol Music Group 2 cd-set TRI 294
- Duration: 9'25"
- Recording date: unknown
- Balestracci, G.(viola da gamba), Pandolfo, P. (viola da gamba), Nassilo,
G (cello) Còntini, L. (arch lute) & Raschitti, M. (harpsichord)
'Arcangelo Corelli, Sonata per viola da gamba and basso continuo Opus
V, Vol II'
- Title: Follia
- Released 2002 by Symphonia compact disc 8 012783 011892
- Duration: 12'10"
- Recording date: October 2001 in Pieve di Tre Colli, Pisa, Italy
- Belder, P-J.(recorder), Schiffer, R. (baroque cello) & Stinder,
H. (harpsichord) '17th and 18th Century chambermusic'
- Title: Variationen über La Follia, opus 5, Nr. 12.
- Released 1992 by Erasmus compact disc WVH 058
- Duration: 11'04"
- Recording date: November 1991 in the Lutherse Kerk, Breda the Netherlands
- Belder, Pieter-Jan (recorder), Rainer Zipperling, Rainer (cello/viola da gamba) & Delft, Menno van
(harpsichord) 'The Art of the Recorder, Die Blockflöte - Pieter-Jan Belder'
- Title: 'La Follia' for recorder and basso continuo (opus 5 n.12)
- Released 2004 by Brilliant Classics compact disc 92460
- Duration: 11'01"
- Recording date: unknown
- Benoist, Andree 'Piano Roll: La Folia, accompaniment only'
piano roll, 1921
Click picture for magnification- Title: 'La folia in D minor' by Corelli in an arrangement by Spalding, accompaniment only
- Released 1921 by Duo Art, The Aeolian Company 12998, made in the USA
- Duration: unknown
- Recording date: unknown
- Besset, Serge and ensemble 'd'apres La Follia de Corelli'
See Besset, Serge (composers letter B)
- Bezverkhny, Mikhail (violin) 'Yuri Korchinsky and Mikhail Bezverkhny: Musical Tournament'
- Title: 'La folia'
- Released 1990 by Melodiya LP C90 29537 002
- Duration: unknown
- Recording date: 1988
- Bianchini, Chiara (Baroque violin), Darmstadt, Gerhat (Baroque cello), Gross, Alfred (harpsichord) 'Italian violin music 1600-1750'
- Title: La Folia op. 5/12
- Released 1986 by Edition Open Window Red-White, LP OW 002
- Duration: 10'50"
- Recording date: unknown
- Bobesco, Lola (violin) 'Lola Bobesco violin plays Bach and Mozart'
- Title: Sonata in Re Minor Op. 5 No. 5 (? instead of No. 12) 'La Follia'
- Released in the 1970's by Electrecord ( Romania ) White Label lp ECE 0844
- Duration: unknown
- Recording date: unknown
- Bohren, Sebastian (violin) 'La Folia'
In the slipcase was written by Tully Potter (Übersetzung Anne Schneider):
Und wie könnte man die Stärken der Guadagnini besser demonstrieren mit diesem Album mit barocken Arrangements? Es geschah, als er einen YouTube-Clip von Ida Haendel sah, die Corellis La folia-Variationen (die 12. seiner Sonaten, op. 5) aufführte. „Sie spielte diese erstaunliche virtuose Kadenz. Ich fragte meinen Kollegen Daniel Kurganov, was das sei, und er meinte, die Kadenz stamme von Hubert Léonard.“ So entstand das Konzept eines ganzen Programms, das das Ethos von La folia widerspiegelt, das ohrenkitzelnde Thema, das Komponisten wie Lully, Corelli und Marais, Alessandro Scarlatti, Geminiani, Boccherini und sogar Rachmaninov fasziniert hat.
- Title: Violin Sonata in D minor Op.5 No.12 'La Folia'
- Released 2022 by AVIE 2513
- Duration: 11'28"
- Recording date: 2021
- Bova, Aldo (recorder) and Stolz, Ernst (organ )
Duration: 5'45" direct link to YouTube
The first part as played by Aldo Bova & Ernst Stolz
© 2009 Aldo Bova & Ernst Stolz, used with permissionDuration:6'26" direct link to YouTube
The second part as played by Aldo Bova & Ernst Stolz
© 2009 Aldo Bova & Ernst Stolz, used with permission- Title: La Follia by Arcangelo Corelli
- Published at YouTube August 2009
- A distance collaboration between the two musicians
- More about Ernst Stolz you can read at " http://www.ernststolz.com/ernststolz.htm
- Bratza, Milan (violin) and Vrederic Jacsicas (harpsichord) 'The historic Violin'
- Title: Sonata No 12 'La Follia'
- Released in 1930s Columbia Masterworks Music Appreciation 78 set. It is originally from Columbia's History of Music by Eye and Ear, Volume 3.
- Duration: unknown
- Recording date: 1930s
- Bress, Hyman (violin) 'The Violin: Vol. 1' (accompanied by the piano)
- Title: La Folia
- Released 1962 by Folkways Records LP FW03351, nowadays Smithsonian Center for Folklife and Cultural Heritage
- Duration: 8'13"
- Recording date: not mentioned in the documentation
- Brink, Robert (violin) and Pinkham, Daniel (harpsichord) 'Arcangelo Corelli, sonatas for violin and harpsichord, opus 5 Volume 1'
In the documentation was stated:La Follia has proved the most popular and is the oldest permanent classic of the virtuoso's repertoire. It was a favorite with the 19th Century performers who added luxuriant accompaniments and spectacular cadenzas. In the original form, as recorded here, it consists of twenty-three variations for violin and harpsichord on the theme of an old Portuguese dance. The dance was originally accompanied by tambourines and performed by men dressed in women's clothes who acted so wildly that they appreared to be out of their senses, hence the title 'Follia' meaning 'Madness'
This tune was used in vocal music by Steffani and Milanuzzi. In harpsichord solo variations by d'Anglebert, François Couperin (Les Folies Françoises), Alessandro Scarlatti, and Pasquini. And in an organ setting by Cabanilles. J.S. Bach employed it in the ' Peasant Cantata' (record Allegro alg-82). It is found in works by Gretry (in the Opera 'L'Amant Jaloux') and in 'The Beggar's Opera' to the words ' Joy to Great Ceasar'. Other composers who made use of La Follia include François Farinel, whom Corelli met in Hannover around 1680, Lully, Frescobaldi, Marais, Pergolesi, Vivaldi, Keiser, Cherubini, Liszt, and even Rachmaninoff (in his Variations on a theme by Corelli, Opus 42).- Title: Variations on 'La Follia' (Sonata No. 12)
- Released in 1951 by Allegro LP AL 109
- Duration: 12'28"
- Recording date: January 1951 in Boston, USA
- Brüggen, Frans (recorder), Bylsma, Anner (cello) & Leonhardt,
Gustav (harpsichord) 'Italienische Blockflotensonaten um 1700'
Andrea Lausi wrote about recorder-music in general and in particular the Brüggen-Bylsma-Leonhardt-trio (used with permission, 2005):
I have always considered the anthologies issued by the Brüggen-Bylsma-Leonhard trio for Telefunken (Italian Recorder Sonatas, Blockflötenmusik auf Originalinstrumenten...) among the key recordings of the ‘70s. Veritable chamber music lesson, these recordings shaped the perception of the recorder as a musical instrument for many years to come. What I find central to this is the quality, so-to-say the real magic, of Brüggen’s sound. The recorder is an instrument with a particular limited amount of overtones – it is actually a good approximation to a sonic laser with all the energy concentrated in the fundamental – and Brüggen’s playing puts this quality at the center of his constant focus. A playing where the center of the tone is never missed, the sound being always direct and full. These qualities blend with the play of other two musicians in interpretations of a simple nobility, where the 'abstract' timbre of the recorder – the quality Brüggen once defined as its 'dangerous innocence' – appears perfectly functional in putting in evidence all of the curves and shapes of the compositional architecture.
The Brüggen-Bylsma-Leonhard series included also a very impressive rendition of the Follia and, given such an overwhelming example to confront with, I have been always surprised that in the past years so many recorder players recorded the piece, which after all is definitely not a piece composed originally for the recorder. [...] and I find the Cavasanti-Guerrero-Erdas reading to be perhaps the first to cope with the mastery of BBL example. [...]- Title: Variationen über La Follia, opus 5, Nr. 12.
- Released 1968 by Telefunken LP SAWT 9518-A Series: Das Alte Werk
- Recording date: February 1967, Bennebroek Holland
- Brüggen, Frans (recorder), Bylsma, Anner (cello) & Leonhardt,
Gustav (harpsichord) 'Italian recorder sonatas'
Ulrike Brenning wrote about La Follia as introduction for this recording:
The work differs only in points of detail from the versions for violin and demands a high degree of technical competence on the part of its performance, since Corelli, an accomplished violinist, conceived the work as a virtuoso bravura showpiece. The folia or ostinato bass, after which the piece is named, is a solemn, weighty theme that is subjected to a total of twenty-one variations to produce a veritable fire-work display of ideas.
- Title: Variations on 'La Follia' Opus 5 No. 12 in G minor
for treble recorder and basso continuo from Sonatas by Arcangelo Corelli,
his V Opera London (Walsh) 1702.
- Released 1995 (prod. 1968) by Teldec compact disc 4509-93669-2 Series: Das Alte Werk
- Recording date: February 1967, Bennebroek Holland
- Duration: adagio 1'14" allegro 2'15" adagio 0'39" vivace 0'21" allegro 0'12" andante 0'30" allegro 0'41" adagio 1'25" allegro 2.49"
- Title: Variations on 'La Follia' Opus 5 No. 12 in G minor
for treble recorder and basso continuo from Sonatas by Arcangelo Corelli,
his V Opera London (Walsh) 1702.
- Brüggen, Frans (recorder), Bylsma, Anner (cello) & Leonhardt,
Gustav (harpsichord) 'Frans Brüggen Vol 2', Recorder works by 10 Italian composers
In the lp-box is written about La Follia as introduction for this recording:
Corelli's variations on La Folia, from the beginning of the 18th century the composer's most famous work, were originally written for violin and figured bass and constitute, in this version, the last of the twelve 'Sonate a violino e violone o cimbalo', which first appeared in Rome with the superscription of 1st January 1700, and by 1720 saw no fewer than twenty reprintings, above all in Amsterdam and London.The present version for recorder (in which the only simplifications are of technical peculiarities like the chords or double-stopping of the violin version) had already been published in 1702 by Walsh in London. The imaginative title 'La Folia' (Walsh wrote 'La Follia') denotes nothing more than that the work is constructed on the bass pattern known as a 'folia', which first emerged in Spanish and Italian music in the early 16th century as a bass (i.e. as a harmonic framework) for vocal and instrumental movements, and thence, partly also combined with more or less fixed or varied upper melodic part, set out on its victorious path through Europe. In the instrumental music of Corelli's time, particularly in the sets of variations, this pattern atteined its richest flowering - not only Corelli himself, but also Pasquini, d'Anglebert, Cabanilles, Marais and Alessandro Scarlatti wrote sets of variations on La Folia, in so doing giving free rein to their imagination, particularly from the point of view of technique.
Corelli's 'sonata' is planned as a sequence of a theme and 21 variations. The theme preserves, along with the traditional 3/4 measure, the traditional descant melody and its sarabande character; thereafter movement and melodic figuration are increased from variation to variatio, and rhythm, tempo and compositional technique constantly changed, while the harmonic movement and its symmetric organisation (4 + 4, 4 + 4 bars, both halves repeated) remain firmly fixed. The frequent recurrence of long phrases building up from grave crotchet movement in sarabande rhythm to virtuosic semiquaver figurations in the separate movements gives the work its inner coherence and its accompanying dynamics; the abundance of ingenious melodic and constructional ideas and the extraordinary technical demands lend it that range of colour and that air of fantasy which already fascinated its contemporaries and made the work so uniquely famous.- Title: Variationen über 'La Follia' für Blockflöte in f' und B.c, op. 5, Nr. 12
- Released 1974 by Telefunken, Das alte Werk 3 lp-box 6.35073(-00-501)
- Duration: 10'10"
- Recording date: not mentioned in the documentation of the lp-set
- Alt-recorder in f', copy after P.I. Bressan built by Martin Skrowroneck, Bremen, Germany, 1966
- Brüggen, Frans (recorder), Bylsma, Anner (cello) & Leonhardt,
Gustav (harpsichord) 'Italian Recorder Sonatas'
- Title: Variations on 'La Follia' for recorder in F and continuo Opus 5 No. 12
- Released by Telefunken vinyl SAWT 9518-A EX, re-released 1994 by WEA/Elektra compact disc 4509 93669-2
- Duration: unknown
- Recording date: February 1967
- Brüggen, Frans (recorder), Bylsma, Anner (cello) & Leonhardt,
Gustav (harpsichord) 'Arcangelo Corelli, Sonatas Op. 5 No 7-12 La
Follia'
- Released by RCA SEON Red Seal LP RL 30393
- Duration: 9'30"
- Recording date: September 1979/March 1980 in De Lutherse Kerk, Haarlem
- Brüggen, Frans (recorder), Bylsma, Anner (cello) & Leonhardt,
Gustav (harpsichord) 'Arcangelo Corelli, Sonatas Op. 5 No 7-11 and No 12 La
Follia'
- Released 1990 by RCA SEON Red Seal compact disc
- Duration: 9'30"
- Recording date: September 1979/March 1980 in De Lutherse Kerk, Haarlem
- Brüggen, Frans (recorder), Bylsma, Anner (cello) & Leonhardt,
Gustav (harpsichord) 'Corelli's Sonatas Op. 5 No 7-12 La Follia'
- Released by RCA Victor Red Seal compact disc EURO RD 71055 (not available in North America).
- Duration: 9'30"
- Recording date: September 1979/March 1980 in De Lutherse Kerk, Haarlem
- Brüggen, Frans (recorder), Bylsma, Anner (cello) & Leonhardt,
Gustav (harpsichord) 'The art of the recorder'
- Title: La Follia, allegro
- Released 1995 by Teldec compact disc, Das Alte Werk 4509-99030-2
- Duration: 2'49"
- Brüggen, Frans (recorder), Bylsma, Anner (cello) & Leonhardt,
Gustav (harpsichord) 'Corelli, sonatas Op. 5, Nos 7-11, La Follia, Op.
5, No 12.'
- Title: La Follia (in g minor)
- Released 1981 by Pro Arte lp PAL 1045, originally released
as Philips LP, and re-issued 1986 Pro Arte compact disc cdd 291 and
Sony compact disc.
- Duration: unknown but less than 9'30"
- Recording date: unknown but not after 1978
- Brüggen, Frans (recorder), Harnoncourt, Nikolaus (viola da gamba)
& Leonhardt, Gustav (harpsichord) 'Blockflötenwerke des Barock'
David Lasocki wrote about La Follia as introduction for this recording:
The final work in the collection is a set of 23 variations on La Follia, a sixteen-bar ground bass that had been used as the basis of variations for well over a century and had by then picked up an 'accompanying' melody in chaconne rhythm. This is something of a tour de force, particularly in bowing technique.
- Title: Variationen über La Follia für
Blockflöte (in f) und Basso continuo
1) Adagio 2) Allegro 3) Adagio 4) Vivace 5) Allegro 6) Andante 7) Allegro 8) Adagio-Allegro - Released by Telefunken LP SAWT 9560-M Series: Das Alte Werk
- Title: Variationen über La Follia für
Blockflöte (in f) und Basso continuo
- Brunello, Mario (cello) and Battiston, Ivano (accordeon) 'In croce'
- Title: La Folia (arrangement for cello and accordeon)
- Released 2001 by Velut Luna compact disc order number
- Duration: 9'18",
- Recording date: unknown
- Campoli, Alfredo (violin) and Gritton, Eric (piano) 'Alfredo Campoli plays Mendelssohn'
- Title: La Folia - Variations Serieuses
- Edition Hubert Leonard (with cadenza), revised by Issay Barmas, 3/-
- New release of old recording (78 rpm LP K1670-71), released 2002 by Dutton, compact disc CDBP 9718
- Duration: Part 1-4: theme and variations 3'15", Part 5-10: theme and variations 4'07", Cadenza: 4'15"
- Recording date: May 22, 1947 in Kingsway Hall, London
- Carolina Pro Musica 'Bridges from Europe to Peru'
- Title: La Folia, Opus 5 No. 12
- Released by Carolina Pro Musica
- Duration: unknown
- Recording date:February 11, 2001 at St. Martin's Episcopal Church, Charlotte, NC, a live concert recording
- Cartier, J.B. edited the music for violin and piano
- Published by H. Lemoine c.1911
- Score 13 p. and 1 part, 36 cm
- Series: Maitres italiens du violon au XVIIIe siecle, Edition J. Jongen et Joseph Debroux
- Cavasanti, Lorenzo (alt-flute in f), Guerrero, Jorge Alberto (cello), Erdas, Paola (harpsichord)
'Lo Specchio Ricomposto (the mirror recomposed)'
Gilles Cantagrel wrote for the slipcase: (translation by Christopher Cartwright and Godwin Stewart):Duration: 0'54", 848 kB.( 128kB/s, 44100Hz)
The opening of Opus 5 nr. 12 as played by Cavasanti, Guerrero and Erdas
© Cavasanti, Guerrero and Erdas 2004, used with permission - Title: La Follia Op.5/12
- Released July 2004 by Stradivarius compact disc STR 33684
- Duration: 10'21"
- Recording date: August 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 Tony Chinnery (2002) after Carlo Grimaldi
- See also the page Recommended Folia-recordings
- La Cetra d'Orfeo: Michel Keustermans (recorder and director), Hervé Douchy (violoncelle), Jacques Willemijns (harpsichord), .'Enfer & Paradis'
- Title: La Folia part 1, 2 and 3 (separate tracks on the disc)
- Released 2003 by Arsis compact disc
- Duration: 9'16"
- Recording date: unknown
- CarIo Chiarappa (Violin), Ottavio Dantone (harpsichord and organ), Mauro Valli (cello)
Paolo Poalini (Spanish guitar), Paolo Cherici (theorbo) "Musik und Malerei"
In the slipcase is written:
.Musik und Malerei vermahlen das ist das Anliegen unserer "Museum Collection", in der Musik und Malerei als zwei Ausdrucksformen des Kulturgefühls und Zeitgeistes einer Epoche oder eines kulturellen Zentrums zusammengeführt werden.
Auf Anregung der "Freunde der Herrenhauser Garten e.V." hat BRISA Entertainment GmbH diese CD-Dose in Zusammenarbeit mit der Stiftung PreuBische Schlösser und Garten Berlin-Brandenburg und dem Bomann-Museum, Celle, zusammengestellt. In Ton Text und Bild werden die Musenhöfe der Kurfürstin Sophie von Hannover und der Königin in PreuBen, Sophie Charlotte, als kulturelle Zentren des Barock deutlich gemacht. Die den beiden Höfen verbundene Musik von Agostino Steffani, Arcangelo Corelli und Georg Friedrich Handel vermittelt das Lebensgefühl um 1700 aufs Innigste.- Title: Sonata Nr.12 "Follla", d-moll: Adagio-Allegro-Adagio-Vivace-Allegro-Andante-Allegro-Adagio-Allegro
- Released 2000 by BRISA U.K. Ltd compact disc (in a round can as container) Ordernr. 48110-2
- Duration: 11'03"
- Recording date: not mentioned in the documentation
- Concertino Köln (Andrea Keller, Baroque violin, Helga Löhrer, baroque violoncello, Gerald Hambitzer, harpsichord) 'Price Waterhouse Konzertsommer 1997'
- Title: Sonata d-moll "La Follia" für Violine und b.c Adagio-Allegro-Adagio-Vivace-Allegro-Andante-Allegro-Adagio-Allegro
- Released by K & K Kultur & Kommunikation GmbH 3-cd-set (cd 2: track 16-24)
- Duration: 11'02",
- Recording date: July 9, 1997 in Schloß Charlottenburg-Orangerie, Germany
- Daskalakis, Ariadne (violin), Strümpel, Gabriella (violoncello),
Lerch, Helene (harpsichord) 'Ariadne Daskalakis, Matteis, Biber, Baltzar, Corelli, J.S. Bach, DG Bank Musik-Edition 1999'
- Title: Sonata Op. 5, Nr 12 'La Follia'
- Edition: Lea Pocket Scores (Urtext)
- Released 1999 by Tudor Recording AG Zürich, compact disc 7081 in corporation with the DG Bank (German Bank), the Südwestrundfunk Baden-Baden and Bayerischen Rundfunk München
- Duration: 11'26",
- Recording date: August 27 and 28, 1999 in the Studio of the Südwestrundfunk, Kaiserslautern, Germany
- Daskalakis, Ariadne (violin), Strümpel, Gabriella (violoncello),
Lerch, Helene (harpsichord) 'Violino Arioso, Ariadne Daskalakis'
- Title: Sonata Op. 5, Nr 12 'La Follia'
- Edition: Lea Pocket Scores (Urtext)
- Released 2000 by Tudor Recording AG Zürich, compact disc 7081
- Duration: 11'26",
- Recording date: August 27 and 28, 1999 in the Studio of the Südwestrundfunk, Kaiserslautern, Germany
- David, F. edited and Hermann, F. transcribed the music for viola and
piano
- Title: Sonata la follia for viola and piano
- Published by International Music c.1948
- Score 15 p. and 1 part, 31 cm
- David, F. edited the music for violin and basso continuo
- Title: Folies d'Espagne: variationen fur Violine mit beziffertem Bass
- Published by Henri Petri, Breitkopf & Hartel 191?
- Score 15 p. and 1 part, 35 cm
- David, F. edited the music for violin and piano
- Title: Folies d'Espagne for violin and piano, entirely re-arranged for the concert stage according to an earlier version and provided with an original variation by Auer, Leopold.
- Published by Fischer 1922
- Score 25 p. and 1 part, 32 cm
- Series: Carl Fischer's music library no. 877
- The Early Music Consort of London conducted by Munrow, David 'Renaissance
Suite' for the Joël Santoni film "La Course en tête"
(a film on the Belgium cyclist Eddy Merckx).
James Durant wrote as an introduction at the backside of the cover:
[...] Munrow extended his activities with the Consort to a heavy schedule of concerts, tours, and the making of numerous albums, encompassing the early music of many countries. His popular English television series Pied Piper considered music of all eras. In the eight years of Munrow's all-too-brief career before his death in 1976, he also wrote a book Instruments of the Middle Ages and Renaissance (Oxford University Press. London: 1976) and composed and arranged the scores for four feature films, including Ken Russell's The Devils, the EMI-MGM Henry VIII, John Boorman's Zardoz, and the French documentary La Course en tête, produced by Vincent Malle and directed by Joël Santoni.
It is Munrow's score for La Course en tête that is heard here. Focussing upon the European bicycle races at Grenoble, the film sensitively explores the anxieties and problems, as well as the pleasures and rewards, of the professional bike riders in competition. For his score, Munrow utilized arrangements of music by Hassler, Praetorius, Susato, Macque, Phalèse, and Corelli, and composed original themes in early music styles. [...]
Arcangelo Corelli (b. Fusignano, 1653; d. Rome, 1713) studied counterpoint with Simonelli and violin with Bassani. His travels as violin virtuoso and composer took him to Paris and throughout Germany. In 1685 he settled in Rome in the service of Cardinal Pietro Ottoboni. Corelli made a major contribution to the development of violin technique. As composer, his sonatas da camera and concerti grossi were the predecessors of the sonatas and concertos of Bach and Handel. David Munrow's "End Music" uses Variations on La Folie d'Espagne from Corelli's, Op. 5 No. 2.- Title: End Music - Variations of 'La Folie d'Espagne' from Corelli, Op. 5 No. 12 'Division Flûte' (1706) arranged for Recorder solo, Flute, Lute, Bassoon, Violin, Trumpet, Strings and Continue.
- arrangement from a manuscript Division of flute (1706), editor unknown
- Released 1974 by EMI as LP HQS 1415, in France as Pathe Marconi EMI 2C 064 - 12789, in Northern America as Angel S 37449
- Library of Congress Catalogue Card No. 77-751146
- Duration: 6'36"
- Recording date: unknown (not mentioned on the LP Angel release)
- Ehrhardt, Susanne (recorder) Ogeil, Jacqueline (harpsichord) Waugh,
Margaret (cello) 'La Follia, variations by Corelli, Vitali, Vivaldi, Scarlatti'
From the slipcase:'La Follia' has proven to be one of the most popular and enduring harmonic progressions from the Renaissance and Baroque period. Throughout history 'La Follia' has been used by many great composers including Corelli and Vivaldi, right through to Liszt and Rachmaninoff. This CD contains a wide selection of 'La Follia' variations by Baroque composers, including one of the most well known settings, by Corelli - 'La Follia' from Sonata Op 5, No 12. This work is Corelli at his best, displaying an endless imagination through a succession of variations in ever changing moods and metres. Likewise the setting by Vitali also featured, contains a wealth of variation and invention
- Title: Sonata Op 5 no 12
- Released 1998 by Move Records compact disc MD 3211
- Duration: 10'15"
- Recorded at Move Records studio, Melbourne, Australia without indication of any dates
- Ehrhardt, Susanne (recorder) 'Musik im Umkreis von Sophie Charlotte'
Lance Eccles wrote about the performance:The insert in the CD says the Corelli is for 'Altblockflöte und Basschalumeau', but I don't hear any Basschalumeau. The accompaniment seems to be cembalo (Michael Schönheit) and Cello (Bettina Messerschmidt).
- Year of release not indicated in the slipcase by GEMA without a catalogue number
- Duration: 9'36"
- Recording date: 1998 for the Preussische Schlösser und Gärten Museumsshop
- Enesco, Georges (violin) & unknown pianist 'Georges Enesco, violin'
- Title: Sonate en Ré Mineur pour violon et piano Op. 56 no 12 LA FOLLIA
- arrangement pour violon et piano: David, revision Petrie
- Released 1990 by Music Memoria compact disc MONO AAD 30322
- Duration: 8'53"
- Recording date: Enesco died in 1955, so it had to be recorded earlier
- Enesco, Georges (violin) & unknown pianist 'Historical Recordings - George Enescu' (Enescu instead of Enesco)
- Title: Sonata in Re Minor Op. 5 No. 5 'La Follia'
- Released in the 1980's by Electrecord (Romania) White Label lp ELE 02715
- Duration: unknown
- Recording date: Enesco died in 1955, so it had to be recorded earlier
- Enesco, Georges (violin) & unknown pianist
- Title: Folies d'Espagne, Part 1 & 2
- Released 192? by Columbia 12" 78rpm record, pressed in ENGLAND 192? numbers on deadwax: W98627 and 12240 / W98628 and 12241, ordernumber D41013
- Note that the name of composer is spelled as Correlli
- Duration: unknown
- Recording date: unknown
- Enesco, Georges (violin) & Schlüssel, Sanford (piano), unknown
title of cd
- First released by Columbia 50187/88D (matrices 98617/18 and 98619/20
- Re-released 1992 by Biddulph Recordings compact disc LAB 066
- Duration: 8'37"
- Recording date: 1929
- Ensemble Caprice Stuttgart 'Kammermusik von Corelli und Kuhnau'
- Title: Sonate op. 5 Nr. 12 d-moll/g-moll (La Follia)
- Released December 1997 by Antes (Bella Musica Edition) compact disc
- Recording date: unknown
- Ensemble Fitzwilliam (Jean-Pierre Nicolas recorders, Michèle Dévérité harpsichord and organ, Bruno Cocset violoncello, violoncello piccolo and viola da gamba,
Yasunori Imamura theorbe and barock guitar)
'Corelli, Sonatas Opus V Nos. 7-12'
In the slipcase is written:
Jean-Pierre Nicolas chose the flute in D, pitched a third lower than the standard treble instrument in order to play the exact melodic lines and especially the virtuosic variations of the Follia
- Title: La Follia, 23 variations
- Released November 2005 by ZigZag territoires compact disc 2005.11.21
- Duration: 11'29"
- Recording date: February 28- March 4, 2005 in Chapelle de l'ecole St Geneviève Versailles, France
- Ensemble Fraal: Jaques Lesburqueres (flute), Hans-Michael Eckert (cello), Hans-Wolfgang Brassel (harpsichord) 'Italienische Impressionen'
In the booklet is written:
Just imagine if everyone had composed in the manner of Arcangelo Corelli, whose variations on an old Spanish Sarabande La Follia caused quite a stir, not only with his contemporaries ...
- Title: Variationen über das Thema 'La Folia'
- Released 2007 by Bella Musica Edition compact disc
- Duration: 9'36"
- Recording date: March 10-12, 1995 in Schlossbergsaal des SWF, Landesstudio Freiburg, Germany
- 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
- Ensemble Il Giardino Armonico; Giovanni Antonini (recorder), Paolo Beschi (cello), Luca Pianca (theorbo), Lorenzo Ghielmi (organ and harpsichord)
'Italian Recorder Sonatas'
- Title: Follia
- Released 1992 by Nuova Era compact disc 6789
- Recording date and place: unknown
- L'Ensemble Musica Antiqua de Provence:
Christian Mendoze (recorder), Corinne Betirac (harpsichord), Federico Marincola (baroque guitar)
- Title: Sonate op 5 no 12 La Follia (including an interview)
- Broadcasted by Radio France April 29, 2006
- Duration: 9'51" (excluding an interview of 4'45")
- Recording date and place: April 29, 2006 live in Studio 118, France
- Eolina Quartet 'Eolina Quartet plays Janitsch, Kazandjiev, Guillemain and Corelli'
- Title: Variations 'La Follia'
- Released 19?? by Balkanton ( Bulgaria ) Blue Label LP BKA 10116
- Duration: unknown
- Recording date: unknown
- Fernandez, François (violin) and Wilson, Glen (harpsichord) 'Corelli violin sonatas Op. 5 nos. 7-12'
Glen Wilson wrote for the disc:There is no twelfth sonata. XII is entitled Follia, and is a set of 22 variations on the dance tune of that name which goes back to fifteenth-century Portugal and was a great favourite throughout the baroque era. The 'madness' implied in the title was said to reflect the wild mood of the dancers. Corelli takes us a step further into a state of general derangement. Geminiani, in one of his treatises, names Corelli's variations as the ultimate work of the violin literature, and says 'I have had the pleasure of discoursing with him myself upon this subject, and heard him acknowledge the Satisfaction he took in composing it, and the Value he set upon it.'
- Title: Follia
- Released 2007 by Naxos compact disc Naxos 8.557799
- Duration: 11'55"
- Recording date: Recorded in Kloster Bronnbach, Wertheim, Germany from 20th to 22nd March 2006
- violin built by Andrea Guarneri 1690, harpsichord built by Henk van Schevikhoven, Helsinki after a 1628 Andreas Ruckers
- Ferrarini, Claudio (flute) and Tasini, Francesco (harpsichord) 'Il grande
barocco Italiano - Corelli'
- Title: Sonata No 12 in D minor 'La Follia', transposed to G minor
- Released March 1997 by Mondo Musica compact disc MM 96008
- Recording date: March 15, 1996
- Including birdsounds
- Fiorentino, Maria Giovanna (Flauto dolce), Zanardi, Carlo (violincello),
Polato, Pier Luigi (arciliuto, tiorba), Loreggian, Roberto (clavicembalo)
'Arcangelo Corelli Opera V - Sonate per flauto dolce (Londra, Walsh 1702)'
- Title: Follia, Sonata XII in sol minore
- Released 1999 by Tactus compact disc CDTC650309
- Duration: 10'10"
- Recording date: 1996
- Fontanarosa, Patrice (violin) and Dintrich, Michel (10 string guitar)
'Duos pour violon et guitare (cd)' and 'Duo Fontanarosa and Dintrich, Volume 2 (lp)'
In the slipcase is stated:
Born in Bologna, Italy, Corelli lived in Rome. He has produced the most significant example of a sonata for two or three instruments. He was an innovator in the concerto form which underwent an extraordinary development in the following centuries. "La Folia" certainly one of Corelli's most enchanting works, reveals his real discovery - the instrumental use of the 10 - string guitar and the violin. The resulting resonance lends to Corelli's music all its sensitivity, charm and originality. The balance achieved in the movements of the concerto is a miraculous poetical synthesis.
- Title: La Folia
- Arrangement by Michel Dintrich
- Originally released 1970 by Barclay as LP for Classic 991 025. Re-release 2003 by Accord compact disc 476 092-1 (including Ibert, Granados , de Falla, de Sarassate, Paganini and Vivaldi which are all not included at the LP-version)
- Duration: 12'09"
- Recording date: October 1968 and November 1970 in l'eglise Notre Dame du Liban, Paris, France
- Fontanarosa, Patrice (violin) and Dintrich, Michel (10 string guitar) 'Duo Fontanarosa and Dintrich'
- Title: La Folia
- Arrangement by Michel Dintrich
- Released by Musidisc 2 LP-set silver label made in France 16005 Stereo
- Duration: 12'09"
- Recording date: October 1968 and November 1970 in l'eglise Notre Dame du Liban, Paris, France
- Fontanarosa, Patrice (violin) and Nordmann, Marielle (harp)
- Title: Sonata No 12 in D minor 'Les folies d'Espagne'
- Released 1996 by EMI Classics compact disc 5563592
- Recording date: February 1996
- La Fontegara Amsterdam: Coolen, Saskia & Hotslag, Peter & Tol,
Han (3 recorders) 'Common Grounds: Recorder Consort Music'
Hard to classify because they mixed the variations of Marais and A. Scarlatti and introduce some improvisations in the middle part.
Erik Beijer wrote as introduction in the slipcase:
The 'Follia', too, became a rich stew in the hands of LFA: we get a taste of Corelli and Marais, but also a touch of Scarlatti and Carl Philip Emmanuel Bach. But what does it matter? In the art of arranging, varying and improvising, the question 'which note is whose?' has become absolutely irrelevant.
- Title: La Follia (arrangement La Fontegara Amsterdam) by Corelli, Marais and Domenico(?) Scarlatti (this must be a slip of the pen because Alessandro Scarlatti is musically quoted).
- Released 1995 by Globe compact disc GLO 5112
- Duration: 8'45"
- Recording date: December 1993 in Utrecht, The Netherlands
- Francescatti, Zino edited the music for violin and piano
- Published by International Music Co. c.1976
- Score 16 p. and 1 part 7 p., 31 cm
- Franco, Horatio (flutes) 'Mestizajes Novohispanos'
With Santiago Alvares harpsichord and Asaf Rolerstein cello:
- Title: Variaciones sobre La Follia, OP 5 no. 12
- Released 2011 by Quindecim compact disc ASIN B004P9FBI8
- Duration: 9'31"
- Recording date: February 2010 at the Centro Académico Cultural Juriquilla, Mexico
- Friedrich, Reinhold (trumpet), Lücker, Martin (organ), Friendrich, Hartmut (trombone) 'Top'
Oliver Buslau wrote for the slipcase:
The oldest form of arrangement known in musical history is the variationof already existing themes. Some of these models really became archetypes: They were varied by so many composers that the original spiritual father fell into oblivion. Two of these essential themes are the English folk song 'Greensleeves' and the sarband tune 'La Folia'. The attraction of these themes lies in the comprehensible harmonic sequences, on which they are based and which have encouraged numerous composers to write so-called ostinato variations, that is improvisations over a bass, that is permanently repeated. This type of variation was already mentioned in a novella by the author of Don Quichote, Miguel de Cervantes, who called this piece 'Folia'. Therefore the famous theme from the Corelli concerto bears the name of a whole variation genre being at the same time its most popular representative. Corelli, the baroque master of the violin and 'inventor' of the concerto grosso, develops from the simple model a whole host of modes of expression, from grandiose festiveness to complicated counterpoint, from sweeping cantabile to brilliant virtuosity.
Reinhold Friedrich and Martin Lücker wrote for the slipcase:
Das führte zur 'Follia' von Corelli. Wirklich der helle Wahn diese Musik! (Follia=Wahnsinn, fixe Idee). Aus der originalen Vorlage (Violine und bezifferter Bass) haben wir eine Art organisierter Improvisation gemacht. Zunächst wurde die originale Violinstimme ihrer Länge wegen zwischen Trompete und Orgel aufgeteilt, und dann ging 's kos: Da wird auf der Grundlage der Continuo-Notierung improvisiert, figuriert und konzertiert, kaum etwas haben wir dabei notiert.
- Title: La Follia, Opus 5, nr. 12
- Released 1993 by Capriccio and Hessischer Rundfunk compact disc 10 483
- Duration: 13' 39"
- Recording date: June 25-30, 1993 in the St. Katharinenkirche Frankfurt am Main
- The organ of the St. Katarinenkirche was (re)built by Rieger Orgelbau, Schwarzach
- Gatti, Enrico: violin (Laurentius Storioni, Cremona 1789)
Nasillo, Gaetano: cello (Barak Norman, London c.1710)
Morini, Guido: harpsichord (Antonio Martini, Ravenna 2001) 'Corelli, Sonate a Violino e Violone o Cimbalo Op.5'
Enrico Gatti wrote for the slipcase (translated from the French by John Tyler Tuttle):
The twelfth sonata is "La Follia" by antonomasia, the one that was the basic for the compositions of Marais, Vivaldi, Reali, et al. It was customary to colclude a collection with a series of variations on the same bass (lateron, one will also find examples in Vivaldi, Tessarini, Tartini ...), and Corelli, in truth, deploys a vast range of ideas, metres and phrasings to best illustrate the proud, ancient Iberian theme. Pupil Francesco Geminiani spoke of it in these terms: " I do not pretend to be its inventor: other composers of the very highest level have embarked on the same voyage; and none of them with greater success than the celebrated Corelli, as can be seen in his Opus V, on the Aria de la Follia de Spagnia [sic]. I had the pleasure of discussing this with him and heard him acknowledge the full satisfaction he felt in composing it, and the worth he attributed to it (source).
- Title: Follia, in re minore
- Arrangement by Reinhold Friedrich and Martin Lücker
- Released by Arcana in a coproduction with WDR3 2x compact disc A 423
- Duration: 11'37"
- Recording date: May 25 till June 2003 in the church of Badia Cavan, Langhirano, Parma, Italy
- Gli Accademici di Milano (Renato Biffoli and Giuseppe Magnani violin
soloists, Nereo Gasperini cello and Bruno Canino harpsichord, Dean Eckertsen
conductor and editorial responsibility 'Corelli, concerti grossi, opus
5 (complete)'
Joseph Braunstein wrote for the slipcase of the re-issue 1962:The last number of Opus 5 is not a sonata but a variation cycle which is not only the crown of the set but Corelli's greatest technical achievement. It has a precursor in the Ciacona, the last piece of the chamber sonatas Opus 2. The ciacona (Chaconne in French), the passacaglia (passecaille), as wel as the Portuguese folia, whose Italian spelling is follia are closely related. They are dances in triple time.
The origin of the follia was long a matter of dispute. It was thought to be Spanish, but the Portuguese musicologist Luis de Freitas-Branco has drawn attention to the fact that the noun folia (meaning obsession) and the verb foliar derived from it, are Portuguese and not Spanish words. The follias were known in Portugal as early as the fourteenth century. Yet the tendency to regard the follia as a Spanish dance developed only from the beginning of the seventeenth century and one called them 'Folies d' Espaigne'. At the end of the sixteenth century follias were included in collections of instrumental music. There they invariably appear as variations on an ostinato bass. They can be found in works of Italian, French and German composers and the theme of the follia was heard everywhere.
It seems very strange indeed that through four centuries dozens of composers have used that tune for variations. This phenomenon becomes more puzzling in view of the fact that the range of this tune is only a fourth plus a semitone. Yet it exercised an irresistible magnetic power on a host of composers. Percy Scholes compiled a list of 23 names but remarked "that it is certain that dozens of examples are omitted." His list includes Frescobaldi [red: which is not a folia], Corelli, Vivaldi, Domenico [red: Alessandro the father of Domenico is intended here] Scarlatti (Variazioni sulla Follia di Spagna), Bach (Peasant Cantata, 1742), Carl Philipp Emanuel Bach, Gretry, Cherubini, Liszt (Spanish Rhapsody for Piano, 1863) and Rachmaninoff with his Variations on a Theme by Corelli (!) for Piano. The tune was well known in Italy and Corelli became familiar with the ostinato technique presumably through the works of Girolamo Frescobaldi whose 'Cento Partite sopra Passacagli' (1637) is on account of its melodic, rhythmic and contrapuntal diversity a worthy predecessor of Corelli's 'La follia' and Chaconne and Passacaglia by elaborations has been thrown on the the market that, it is true, bear Corelli's name but go far beyond the violin technique of his time, elaborations which Pincherle defined as "calamitous disarrangements" of La Follia.
The student of this work who happens to be a violinist will quickly become aware of Corelli's basic conception. The composer's overriding interest centered on violinistic problems and the technique of bowing in particular . Thus, Geminiani's task was a very difficult one because he had to adapt the violinistic style to the ensemble.- Title: Follia, Sonata XII in sol minore
- Released 1958 (first time), this re-issue 1962 by Vox Productions LP-3set VBX 38 as part of the series 'Complete music of Arcangelo Corelli Vol. III'
- Duration: 14'15"
- Recording date: not mentioned
- Goldschmidt, Thomas Ulrich (violin) Lorenzen, Wolfram (piano) 'Corelli- Beethoven'
- Title: La Follia
- Released 1988 by FSM Germany LP Stereo 68715
- Duration: unknown
- Recording date: unknown
- Grehling, Ulrich (violin) Wenzinger, August (violoncello) Neumeyer,
Fritz (harpsichord)
- Title: Sonata 'La Follia'
- Released 1955 by Archive Production vinyl 25 cm long play 33 1/3 rpm record mono ARC 3008
- Edition recorded: Edition Schott 438l (Mainz B. Schott's Sohne, 1953)
- Duration: 12'15"
- Recording date: October 8, 1953 in the Paulus-Saal, Freiburg
- Grehling, Ulrich (violin) Wenzinger, August (violoncello) Neumeyer,
Fritz (harpsichord)
- Title: Sonate op. 5 Nr. 12 d-moll 'La Follia'
- Released by Archiv Produktion single vinyl extended 45 RPM mono 37 035 EPA, theme and var. 1-10 side A, var. 11-23 side B. Series: VIII Das italienische Settecento serie D: solo- und triosonate
- Edition recorded: Edition Schott 438l (Mainz B. Schott's Sohne, 1953)
- Duration: 12'15"
- Recording date: October 8, 1953 in the Paulus-Saal, Freiburg
- Grindenko, Tatyana (violin) and the Moscow Chamber Academy
- Title: Sonata No 12 in D minor 'La Follia'
- Released 1989 by Ondine compact disc Ode 735-2
- Duration: 10'05"
- Recording date: May 1989 at the Järvenpää Concert Hall
- Grumiaux, Arthur (violin) and Castagnone, Riccardo (harpsichord) 'Arcangelo Corelli. Sonate Op. 5 A Violino E Violone O Cimbalo'
In the slipcase is written:
Incidentally, the suite in Italy at that time was called sonata da camera, or chamber sonata, so that it could be immediately distinguished from the sonata da chiesa. The 12th and last of the so-called 'sonatas' has nothing to do with either of these: it is a theme with variations. The theme, entitled 'La Follia' - a Spanish dance - was one of the most popular melodies of the day and was arranged by many Baroque composers. But it really only survives today in this last and most popular of Corelli's 12 sonatas.
- Title: Sonata No. 12 in D minor: Adagio - Allegro
- Released 2004 by Elite Classics Baroque Collection 2 compact disc-set 51-550-B labeled 'For sale in Russia'
- Duration: 13'26"
- Recording date: not mentioned in the documentation
- The same release contains the Follia of Corelli performed by Siegwald and Wieland Kuijken and Robert Kohnen as a bonus track
- Grumiaux, Arthur (violin) and Castagnone, Riccardo (harpsichord) 'Baroque violin sonatas'
William Yeoman wrote for the slipcase:The last of Corelli's twelve sonatas comprising his Op. 5 consists entirely of a series of increasingly virtuosic variations on 'La Folia'. Originally a Portuguese peasant's dance, the Folia (the etymology of which is related to our 'fool') became the basis for improvisations by more courtly musicians throughout the Iberian peninsula before making its way northwards to France, Italy, England and the Netherlands during the sixteenth and seventeenth centuries. Corelli's version, like the rest of his Op. 5, was highly influential; Vivaldi's Op. 1 trio sonatas of 1705, for example, ends with a set of Folia variations as a direct homage
- Title: Sonata in D minor, Op. 5 No. 12 'La Folia'
- Released 2007 by Philips compact disc 2x cd-set mono recording 442 8240, originally produced 1957, Universal International Music
- Duration: 11'53"
- Recording date: July 1956 Bachzaal, Amsterdam, The Netherlands
- Grumiaux, Arthur (violin) and Castagnone, Riccardo (harpsichord)
- Title: 'La Follia' Sonata OP.5 no 12
- Released by Philips LP A 00380 L (Made in Holland)
- Duration: 13'14"
- Recording date: 1975
- Grumiaux, Arthur (violin) and Castagnone, Riccardo (harpsichord) 'Corelli, 12 sonate a violine e cembalo op 5'
- Title: 'La Follia' Sonata OP.5 no 12
- Released 1975 by Philips LP 6700 096
- Duration: 13'14"
- Recording date: 1975
- Grumiaux, Arthur (violin) and Castagnone, Riccardo (piano) 'An Arthur Grumiaux recital'
- Title: 'Follia'
- Released 1956 by Gold Label mono LP LC 3414
- Duration: 11'51"
- Recording date: July 1956, Amsterdam, The Netherlands
- Grumiaux, Arthur (violin) and Castagnone, Riccardo (piano) 'Grumiaux, the early recordings'
- Title: Sonata in D minor Op.5 No.12 'La Folia'
- Released 1993 by Philips 3-cd boxset PHCP-1260~2 (made in Japan) and 438-516 (438-517, 518 and 519) made in Germany
- Duration: 11'51"
- Recording date: July 1956, Amsterdam
- Arrangement by Riccardo Castagnone
- Grumiaux, Arthur (violin) and Castagnone, Riccardo (piano) 'Violin sonatas: Tartini, Corelli, Vitali, Veracini'
- Title: Violin Sonata in D minor, Op. 5, No. 12, "La folia"
- Released by Naxos compact disc 9.80482
- Duration: 11'48"
- Recording date: unknown
- Haendel, Ida (violin) and Parsons, Geoffrey (piano) 'Ida Haendel, violin Classical Recital'
- Title: Sonata No 12 in D minor 'La Folia'
- Released 1977 EMI, A Christopher Parker recording, the first release LP ASD 3352
- Duration: 13'25"
- Recording date: june 1976
- Arrangement by Fritz Kreisler
- Haendel, Ida (violin) and Parsons, Geoffrey (piano) 'Baroque Transcriptions'
- Title: Sonata No 12 in D minor 'La Folia'
- remastered 2002 from the original release 1977 by EMI LP ASD 3352, SBT compact disc SBT 1258
- Duration: 13'25"
- Recording date: june 1976
- Arrangement by Fritz Kreisler
- Haendel, Ida (violin) and Parsons, Geoffrey (piano) 'July Classical Sampler 1977'
- Title: excerpt of Sonata No 12 in D minor 'La Folia'
- Released 1977 as a demo by EMI/HMV LP DEMO C41 (UK only release), originally LP ASD 3352
- Duration: unknown (excerpt)
- Recording date: june 1976
- Arrangement by Fritz Kreisler
- Haendel, Ida (violin) and Yampolsky, V. (piano)
- Title: Folia
- Released as mono recording 1960's by Russian label Melodiya LP D 07287-07288
- Duration: 11'39"
- Recording date: 1960
- Arrangement by G. Leonard
- Haendel, Ida (violin) and Yampolsky, V. (piano)
- Title: Folia
- Released as mono recording 1960 by Russian label Melodiya LP D 07287
- Duration: 11'39"
- Recording date: 1960
- Arrangement by G. Leonard
- Haendel, Ida (violin) and Yampolsky, V. (piano)
- Title: Folia
- Released as mono recording by Russian label Melodiya LP D-07287. Gost 5289-61.
- Duration: 11'20"
- Recording date: unknown
- Arrangement by G. Leonard
- Haendel, Ida (violin) and Yampolsky, V. (piano) 'Bach, Händel, Corelli, Schubert, Bartok, Stravinsky'
- Title: La Folia
- Released as mono recording by Russian label Melodiya LP D-07287, 07288 GOST 5289-68, Pink Label
- Duration: 11'20"
- Recording date: 1960
- Arrangement by G. Leonard
- Haendel, Ida (violin) and Yampolsky, V. (piano) vinyl without title
- Title: La Folia
- Released as mono recording by Russian label Melodiya LP D-07287, Ryga Factory GOST 5289-61
- Duration: 11'20"
- Recording date: 1960
- Arrangement by G. Leonard
- Hall, Mike (alto trombone) Bell, Rebecca (harpsichord) and Rice, Larry (double bass) 'Arcangelo Corelli, solo chamber sonatas opus 5'
A very unusual line-up with alto trombone and harpsichord and double bass as basso continuo but it sounds all very natural to me.
The choice was made out of practical and orchestral considerations. The solo trombone sounds an octave lower than Corelli's violin, so they used the double bass as the bass instrument because it sounds an octave lower than Corelli's bass, but also because the two instruments compliment each other so well in the 21st century ear according to Mike Hall. Duration: 1'04", 1011 kB. (128kB/s, 44100 Hz)
2 Variations, with multi-phonics of the alto trombone in the second variation
© James Michael Hall 2004, used with permission
Mike Hall wrote for the slipcase about Sonata 12 in D minor:
This sonata is performed essentially as Corelli published it, 23 variations on the 'Follia' theme. Perhaps Portuguese in origin, the centuries old "Follia" theme was a popular subject for variation sets of the 17th century. Some have described Corelli's variations as nothing more than bowing exercises, but Corelli makes his bass as active and involved as the solo. This adds considerable interest to a sonata that seems intended as a vehicle for virtuosic display. We employ orchestration that suits the wind soloist and we rely upon trombone multiphonics to take the place of the many passages that call for double-stopped notes on the violin. Trombone multi-phonics is the practice of singing a note with the voice, while at the same time, playing a lower note with the lips. While this is certainly not a Baroque technique, it is an accepted part of 21st century trombone technique. In the same way that Corelli sought to demonstrate the technical capabilities of the violin that flourished in his era, this recording seeks to demonstrate similar capabilities unique to the trombone in the 21st century. Indeed, this recording and its accompanying performance editions aspire to take a place in the unbroken, 300-year performance lineage established upon Corelli's solo sonatas.
- Title: Sonata No 12 in D minor 'Follia' variations
- Released 2004 by Conn-Selmer Kagarice Brass Editions compact disc KUCS1207
- Duration: 12'53"
- Recording date: September 24-26, 2001 and January 14-16, 2002 at Saint Lawrence Catholic Campus Center, Lawrence, Kansas, USA
- Alto trombone: Conn 36h E-flat alto trombone with B-flat/A valve attachment. Greg Black standard weight, custom mouthpiece, similar in internal size and shape to Bach 18.
- Hesperion XXI (with Manfredo Kraemer violin) directed by Jordi Savall
Live performance in Het Concertgebouw February 16, 2012
Duration: 7'23" direct link to YouTube
© 2012 by Jordi Savall and ZaterdagMatinee- Title: Concerto grosso "La Follia", opus 5, No. 12, composto della Opera Quinta d'Arcangelo Corelli, con due Violini, Viola e Violoncello di Concertini Obligati e Concerto Grosso
- Broadcasted by NTR Netherlands for radio and YouTube (promo) as part of De Zaterdagmatinee
- Duration: unknown
- Recording date: February 18, 2012 in Het Concertgebouw in Amsterdam, The Netherlands
- Holloway, John (violin) and the Zurich Chamber Orchestra
- Sonata for Violin and Basso Continuo, Op. 5: no 12 in D minor 'La Follia'
- Released July 27, 1999 by 'I Love classics' compact disc (2) #541
- Homolya, Istvan and Devich, Sandor edited the music Z 13 600
- Title: Sonata per violino e basso continuo (violino cello and continuo) 'Follia' Opus 5 No. 12
- Published by Editio Musica Budapest, H-1370 PO 322 Telex 22 5500
- Score 13 p. and 2 part, 346 bars
- Publisher No. Z 13 600
- Hoopes, Chad (violin), O'Riley, Christopher (piano)
Great program for top talents and to encourage all people to join playing the music. Some funny jazzy variations and some lying down as the photo indicates.
- Title: La Follia in an arrangement of Fritz Kreisler
- Broadcasted for the program 'From the Top at Carnegie Hall', Season 2, Episode 11: Jumping Through Hoopes
- Recorded in 2008 for NBC television at carnegie Hall, New York, USA
- Duration 8'20"
- From the Top at Carnegie Hall is a co-production of 'From the Top', WGBH and Don Mischer Productions in partnership with Carnegie Halll.
- More about this episode at season 2, episode 11
- Huang, Bin (violin) and Kim, Hyung-Sun (piano) 'Baroque Violin Favorites'
- Title: 'La Folia'
- Released 2002 by Naxos compact disc 8.5558960
- Duration: 9'02"
- Recording date: 23-24 January 2002 at the River Run Centre, Guelph, Ontario, Canada
- Jacobsen, Maxim edited the music for violin and piano. Cadenza by H.
Leonard.
- Published by Edition Peters c.1931
- Score 8 p. and 1 part, 31 cm
- Publisher No. 3443
- Jansen, Jan (organ solo)
Unfortunately nothing is said in the documentation (slipcase) about this wonderful arrangement of the Folia-arrangement of the music by Corelli.
In an e-mail Jan Jansen wrote July 12, 2009:Ik speelde "La Folia" gewoon uit het manuscript voor viool en continuo. Harmonische toevoegingen kwamen logisch voort uit de bc. De regisratie en registerwisselingen zijn afhankelijk van de mogelijkheden van het orgel. (translation: I just played the Corelli variations from the manuscript for violin and basso continuo. Harmonic added parts were derived from the b.c. The registration and stops are of course dependable from the possibilities of the local organ.)
In the slipcase is written about Jan Jansen:Jan Jansen (1946) studied organ, piano and harpsichord at the Utrecht conservatory. In 1966 he won the 'chorale'prize at the national improvisation competition in Bolsward. As a pupil of Cor Kee he gained the Prix dÉxcellence for organ in 1970. Jan Jansen has taught at the Utrecht conservatory since 1973, and he was appointed organist of the Dom in Utrecht in 1987, where he performs weekly with the choir at Saturday afternoon concerts. He has played in Holland and abroa, and has made many recordings (radio, TV,LP,CD).
- Title: Sonata No 12 in D minor 'La Follia' in an arrangement for organ solo
- Released by Lindenberg compact disc LBCD 71/74 in association with the dutch Katholieke Radio Omroep (KRO) and Radio Netherlands World Service (RNW)
- Duration: 11'30"
- Recorded 1996 at the Anton Kartner Choir-organ (built in 1767), in Tekla, Bohemen
- Jelescu, Radu (violin), Buniato, Giannina (voice soprano), Carrubba, Sergo (pianoforte)
Duration: 3'52" direct link to YouTube
Fragment of the film 'Le cose che parlano' with Radu Jelescu's arrangement of La Follia
© 2006 Zelig srl Catania- Title: 'La follia' di Arcangelo Corelli
- Arrangement: Radu Jelescu
- Duration: 3'52"
- As part of the film 'Le cose che parlano', a film by Rosario Lizzio and Tiziana Bosco
- Production: Zelig srl Catania in collaboration with Comune di Catania - Assessorato al Turismo
- Recorded 2006 in Italy
- Joachim, J. & Chrysander, F. edited the Urtext edition
- Twelve violin sonatas opus V (including La folia)
- Published by Lea Pocket 1970
- Score 107 p., 17 cm
- Publisher No. Lea Pocket Scores 166
- Jones, Thomas (violin) Valler, Rachel (piano) 'A Kreisler Celebration'
- Title: La Folia (Arcangelo Corelli, arr. Fritz Kreisler)
- Released by Move Records compact disc MD3173
- Juda, Jo (violin) Hengeveld, Gerard (piano) 'Nardini and Corelli'
- Title: Sonate Op.5 Nr.12 d-moll La Follia
- Released by Diskanto LP
- Khitruk, Anastasia (violin) and Tchalik, Daniel (piano) 'La Folia'
Baudime Jam wrote for the slipcase (translated by Michael Pochna):
The first mention of the theme on which 'La Folia' is based occurs in 1505, and a number of compositions bearing that name appear throughout the 16th century. In 1611 'Tesoro', the first published dictionary of the Spanish language, gives us this definition: 'La Folia: Portuguese dance, very loud since in addition to many people on foot with little cymbals (Basque tambour) and other instruments, it includes portefaix in costumes carrying on their shoulders boys dressed as girls who shake their long sleeves, dance sometimes, and play their cymbals as well; the noise is so loud and the rhythm so fast that they all seem to be possessed by 'madness' whence the name 'Folia'.
During the seventeenth century, the spirit of the Fpolia changed: from a leaping dance it was transformed into a kind of passacaglia or chaconne, noble and stately. From then on, La Folia came intofashion with composers all across Europe, from Frescobaldi in Italy; Boyce and Arne in England, passing through Lully and d'Anglebert in France and Pergolesi and Bach in Germany. This theme has remained popular with composers such as Cherubini (The Portuguese Hostelry: 1798), Liszt (Spanish Rhapsody: 1863), and Nielsen (Mascarade: 1906).
In Corelli's work, the sixteen-bar tune recurs constantly in the bass, while the violinist proceeds continually through new material, alternating mood and tempo for twenty three variations. The edition used here is that of the nineteenth-century violinist Hubert Leonard, who has altered somewhat the order of Corelli's variations, and has expanded some of them as Corelli himself undoubtedly did in performance.- Title: La Folia, variations sérieuses
- Released 1999 by Suoniecolori compact disc SC 253312
- Duration: 11'10"
- Recording date 1999 in La Maison de la Musique de Nanterre
- Kneihs, Hans Maria (recorder) & Radulescu, Michael (harpsichord) & Kaiser, Michael (cello) 'Baroque Recorder Vol. 2'
- Title: La Follia Variation Op. 5 No. 12 for Recorder and Bass Continuo
- Released 1972 by Klavier LP KS 512
- Duration: 9'55"
- Recording date: unknown
- Kokott, Marion (recorder) & Alexander Weimann (harpsichord), Douglas Vistèl (double bass) Doris Runge (baroque cello), Christian Hoffmann (Irish harp), Stefan Jagemann, Natajaran, Christoph Renner (percussion) and Helmut Abel (accordion) 'Floating senses, flute music'
In the last variations all the musicians are mentioned and the gratitude for their contribution is shown.
- Title: Sonata No 12, op. 5 in G minor 'La Follia'
- Released 2003 by Hännsler Classic compact disc 98.461
- Duration: 12'53"
- Recording date: not mentioned in the documentation
- Kol, Bracha (recorder) & Brodo, Amy (cello) & Shemer, David
(harpsichord) 'Baroque Favourites'
Ora Binur Shmit wrote for the slipcase:'La Folia' also belongs to the variations genre. Folia (or Follia, known also as Les Folies d'Espagne and by other titles) is a famous melody of the early 16th century, probably of Portugese origin, which was used by a great number of composers as a theme for continuous variations. The Folia has no ritornellos, is almost always in D minor and is geberally slow and dignified.
The Folia began, usually, with a statement in which all second beats were dotted. This threw a powerful secondary accent on the opening chord.
This masterly set of twenty-four variations, which concluded his Op. 5 is Corelli's most difficult as well as his most enduringly popular composition.- Title: La Follia, Op. 5 No. 12
- Released 1988 by Fine Art Collection CDI compact disc 18806
- Duration: Adagio/Allegro 3'25", Adagio/Vivace/ Allegro/Andante/Allegro/Adagio 4'28", Allegro 2'56"
- Recording date: 1988 at the Jerusalem Music Centre, Jerusalem, Israel
- Kottmann, Alois (violin) Dennemarck, Rudolf (piano) 'Portrait'
In the booklet is written:
With cycle of sonatas opus 5, in which the Sonata "Folies d'Espagne" belongs, Corelli finally established his fame as composer and violinist. This piece of music appeared in print in Rome, Amsterdam and London all in the same year - 1700. This was very unusual at the time (for example, Bach's works were not printed at all during his lifetime.
- Title: Sonata Folies d'Espagne, op. 5/12 (La Folia): Variationen über ein Thema von Farinelli
- Released 2002 by Melisma 2 cd-box OPUS 7202-2
- Duration:10'06"
- Recording date: January 31, 1976 at the Hessischer Rundfunk, Germany
- Kovács, Dénes (violin) Banda, Ede (cello) Sebestyén,
János (harpsichord) 'Twelve Sonatas for Violin and Continuo, Op.
5'
Dénes Kovács, János Sebestyén and Ede Banda
Duration: 11'38" direct link to YouTube
© ca. 1970 Hungaroton- Released circa 1972 on Hungaroton LP SLPX 11514-15
- Duration: 12'10"
- Recording date: circa 1970
- Kraemer, Manfredo (Hespèrion XXI conducted by Jordi Savall and others) 'Altre Follie'
Rui Vieira Nery wrote for the slipcase:
With the development of the virtuosic repertoire for the violin at the turn of the century it was only natural that the Folia should be included in it. In 1700 the great Arcangelo Corelli (1653-1713) used it as the basis for a series of exceedingly virtuosic variations with which he concluded his most influential collection of solo sonatas for violin and continuo, the famous Op. 5, the contents of which are known to have circulated in manuscript for more than a decade prior to this printing. In 1704 one of the most representative composers of violin music of the German and Dutch school, Henricus Albicastro, an artistic pseudonym of Johann Heinrich von Weissenburg (ca. 1660 -ca. 1730), published a sonata 'La Follia', which displays a clear Corellian influence in its virtuosic writing. And it was not by accident that a year later, in 1705, the young Antonio Vivaldi (1678-1741) also chose to conclude a decisive publication in which he placed the highest hopes for the future of his artistic career, his Op. 1 collection of trio-sonatas, with yet another magnificent set of Folia variations.
- Manfredo Kraemer (violin), Balazs Mate (violoncello), Xavier Díaz-Latorre (guitar), Carlos García-Bernalt (harpsichord)
- Title: Follia (1700)
- Released 2005 by Alia Vox compact disc AV 9844
- Duration: 11'00"
- Recording date: February 28-March 3 and June 6-9, 2005 in the Collégiale of the Château de Cardona, Catalogne
- See also the page Recommended Folia-recordings
- Kränzlein, Anna Katharina see composers letter K(ränzlein)
- Krainis, Bernard (recorder) et son ensemble baroque 'La flute a bec
(2) as part of the series 'Musique pour instruments anciens, vol. 6'
- Released by Mode Disques LP MDK 9 252. Year of release not indicated
- Duration: 10'23"
- Krainis Recorder Consort Bernard Krainis (alto recorder), Paul maynard (harpsichord), Barbara Mueser (viola da gamba) 'Music for the recorder Vol. 2'
as part of the series 'Eight centuries of music for recorders'
Bernard Krainis wrote for the recording:
In May of 1702 John Walsh, the famous London music publisher, issued 'Six Solos for a Flute and Bass' by Arcangelo Corelli. Five of these 'solos' were transcriptions for alto recorder of the celebrated violin sonatas from Opus 5 (which Walsh had published two years earlier). The remaining work, also from Opus 5, was the even more celebrated 'Follia' or 'Spanish Folly': a set of variations on a tune much admired by composers of variations before Corelli's time and since. Recorder transcriptions of all sorts of music, both vocal and instrumental, were commonplace in 17th and early 18th Century England. Players of the recorder (then called the 'flute') were apparently as numerous then as now, since publishers displayed much energy and imagination in supplying their needs.
- Title: La Follia, Opus 5 No. 12
- Released by Kapp Disques LP KS-3386. Year of release not indicated but it must be after 1957 because the source of that year was used
- Duration: 10'23"
- Source used: Archangelo Corelli: La Follia. New York: McGinnis and Marx, 1957
- The name Correlli (with double R) is proclaimed with large letters on the recording, but not in the smaller texts. The spelling of the name Arcangelo is as 'Archangelo' throughout the texts.
- Kreisler, Fritz edited the music for violin and piano
- Published by Carl Fischer c.1927
- Score and 1 part, 31 cm
- Publisher No. 31858
- Kreisler, Fritz
- Programme for solo recital published 1925 (concert was not recorded)
- The programme included Corelli's La Folia, Lalo's Symphonie Espagnole and a selection of lollipops including transcriptions of La Fille au cheveux de lin by Debussy and Molly on the Shore by Grainger.
- Recording date: November 15, 1925 at the Royal Albert Hall with Charlton Keith
- Kuijken, Sigiswald (violin: Giovanni Grancino, Milan 1700) Kuijken, Wieland (violoncello: Andrea Amati, 1570)
Kohnen, Robert (harpsichord: Joannes Daniel Dulcken, Anvers 1755) 'Sonate a Violino e Violon o Cimbalo op. V'
- Released 1984 by Accent compact disc ACC 10033 and ACC 48433 D
- Duration: 11'48"
- Recording date: April 1984 in L'eglise Protestante de Bruxelles Chapelle Royale
- Violin by Giovanni Grancino - Milano 1700, violoncello by Andrea Amati 1570, harpsichord by Joannes Daniel Dulcken - Antwerpen 1755)
- Kuijken, Sigiswald (violin) Kuijken, Wieland (violoncello) Kohnen, Robert (harpsichord) 'Arcangelo Corelli. Sonate Op. 5 A Violino E Violone O Cimbalo'
In the slipcase is written:
Incidentally, the suite in Italy at that time was called sonata da camera, or chamber sonata, so that it could be immediately distinguished from the sonata da chiesa. The 12th and last of the so-called 'sonatas' has nothing to do with either of these: it is a theme with variations. The theme, entitled 'La Follia' - a Spanish dance - was one of the most popular melodies of the day and was arranged by many Baroque composers. But it really only survives today in this last and most popular of Corelli's 12 sonatas.
- Title: Follia
- Released 2004 by Elite Classics Baroque Collection 2 compact disc-set 51-550-B labeled 'For sale in Russia'
- Duration: 11'53"
- Recording date: not mentioned in the documentation
- The same release contains the Follia of Corelli performed by Grumiaux and Castagnone
- Kulenkampff, Georg (violin) and orchestra conducted by Selmar Meyrowitz
- Title: La Folia, part 1 and part 2
- Released by Ultraphone 78 RPM FP 137
- Duration: unknown
- Recording date: not mentioned in the documentation (1920's?)
- Kurosaki, Hiro (violin), Balsa, Emmanuel (cello),
Christie, William (harpsichord) Soundtrack: 'Jefferson in Paris', original
music composed by Richard Robbins. Period music performed by 'Les Arts
Florissants'/ Christie, William. Historical music selected and overseen
by David Bahanovich. From the liner notes by David Bahanovich, historical
music supervisor, Paris, January 1995:
'... It was said that Jefferson's violin playing helped him win his wife's hand in 1772, and it would not be surprising if Maria Cosway was also impressed by his musical abilities. I gravitated to Corelli's Violin Sonata Op 5 no 12 La Follia not only because Jefferson owned multiple editions of this work but also for its sheer beauty. Corelli's La Follia and its orchestrated version by Francesco Geminiani are heard throughout the film, each time helping to highlight the ever-changing emotional landscape. ...'.
Jim Stevenson commented in June 2001:the Geminiani version does not appear to be on the CD. And since the CD is designated ADD and a reference is made to Erato records, it may be that this is an old recording re-released. But I could find no other reference to it. This CD no longer seems to be available through retail outlets. I had to get a copy from used CD dealers.
- Violin Sonata Op. 5 No. 12 La Follia - Theme & 23 Variations
- Released: 1995 Angel Records compact disc CDQ 7243 5 55311 2 4.
- Duration: 10'21"
- Recording date: not mentioned in the slipcase or container
- Kussmaul, Rainer (violin), Wolf, Jürgen (cello), Praetorius, Lisedore
(harpsichord) 'La Folia'
- Title: Sonate XII (La Follia) für Violine und Generalbass
- Released c. 1950 by Impromptu LP CS 93402
- Duration: 12'27"
- Recording date: not mentioned on the backside of the cover
- see also the page Recommended Folia-recordings
- Legene, Eva (recorder) Gillespie, Wendy (viola da gamba), Wright, Elisabeth
(harpsichord)
- Recorded by Indiana University, School of Music (Early Music Institute) in Bloomington
- Sound cassette, digital stereo, 1986-1987 no. 187
- Recording date: October 7, 1986
- Leonard, Hubert & Marteau, Henri edited the music for 2 violins
and piano
- Published by B. Schott's Söhne New York/Mainz Schott Music Corp. c.1930
- Score 7 p. and 2 part, 30 cm
- Publisher No. Edition Schott 1542; 06995/96
- Leonard, Hubert edited the music for violin and continuo
- Published by Schott freres c.191?,
- Score 11 p. and 1 part, 36 cm
- Publisher No. S.F. 1165
- Leupold Trio: Eva Stegeman (violin), Wouter Mijnders (cello) and Sören Leupold (chitaronne)
- Title: La Follia
- Recorded and broadcasted live at AVRO Radio 4 (The Netherlands) January 6, 2008
- Duration: 10'02"
- Recording date: January 6, 2008 in Kleine Zaal Concertgebouw, Amsterdam, The Netherlands
- Lichtenberg, Leopold edited and fingered the music for violin and piano.
Cadenza by H. Leonard
- Published by G. Schirmer Inc. 1929
- Score 8 p. and 1 part, 31 cm
- Publisher No. Schirmer's library of musical classics v. 525
- Linde, Hans-Martin (recorder) Jappe, Michael (viola de gamba) Scheidegger, Rodolf (harpsichord)
'Corelli für Blockflöte, sechs Sonaten aus OP 5, Corelli'
- Sonate nr. 6 D dur op 5
- Recorded 1981 by EMI LP EMI 1c 065-45 712
- Duration: 10'05"
- Recording date: 1981
- Linde, Hans-Martin edited the music for Treble Recorder and Basso continuo
Hans-Martin Linde wrote in the preface:
'La Follia', a dance melody similar in style to a sarabande, has inspired numerous composers to write variations on it. They include d'Anglebert (Pièces de Clavecin), Vivaldi (Op. 1, no 12) and Marais (Pièces de Violes, Deuxième Livre). Variations on the Follia melody for recorder over the Follia bass, described as 'Faronels Ground', appeared in the collection 'The Division Flute' (1706) (Edition Schott 5737). J.S. Bach in the aria of the Goldberg variations made use of the popular bass only. Its origin is unknown. It appeared already in early sources, and was described as 'Italian' by Spanish composers in the 16th century (cf. D. Ortiz, 'tenore italiano').
Corelli's 'La Follia', Op. 5, no 12, was published by John Walsh (London 1702) in a version for recorder transposed from d to g. It follows the original version for violin exactly, except for the double-stop parts.
There are no thrill signs in the original text (British Museum, London). Other additions made by the editor have been indicated as such. The variant in bar 160 is also to be found in F. Geminiani's Concerto grosso version of Corelli's Op. 5, nr. 12. The pauses that have been inserted by the editor should facilitate the division of the variation sequence.- Published by Schott, Mainz 1972
- Score 20 p. and 1 part, 30 cm
- Publisher No. OFB 121
- Locatelli Trio: Wallfisch, Elizabeth (violin), Tunnicliffe, Richard
(cello), Nicholson, Paul (piano) 'Corelli: 12 sonatas, Op. 5'
- Title: Sonata No 12 in D minor 'La Follia'
- Released November 1990 by Hyperion compact disc (2x) CDA 663812
- Recording date: 1989
- Manze, Andrew (violin) and Egarr, Richard (harpsichord) 'Corelli, violin
sonatas, Op. 5'
Andrew Manze and Richard Egarr wrote for the slipcase:
Opus 5 ends with twenty-four variations on the simple harmonic sequence, said to have originated in the Iberian peninsula: Follia. Many sets of variations in general, and of the Follia in particular, survive on paper, although one suspects that far more were improvised. than were ever written down. One violinist contemporary of Corelli who studied in Rome, Michel Farinel (1649-c.1700), introduced the Follia to England (where it was known as 'Farinel's Ground'). Perhaps it was part of a Roman violinist's everyday repertoire, in which case Corelli's notated version in Opus 5 was perhaps didactic in intent. He certainly provides an A-to-Z of violin technique circa 1700, including variations dedicated to arpeggios, consecutive thirds, running sixteenths and the indispensable messa di voce, the long, sustained bow stroke which was considered to be the key to good violin playing. Alongside these techniques, Corelli also leaves plenty of room for the performers' personal follies.
- Title: Sonata XII in D minor, 'Follia', adagio, allegro, adagio, vivace, allegro, andante, allegro, adagio, allegro '
- Released 2002 by Harmonia Mundi USA compact disc HMU 907298.99
- Duration: 12'12"
- Recording date: November 5-8, 2001 and February 5-8, 2002 at Skywalker Sound, Nicasio, California
- Manzone, Jaques-F. (violin), Degenne, Pierre (cello), Pillet-Wiener,
Nicole (harpsichord) 'Corelli, Sonatas Op. 5'
- Released 1965 by Decca France LP 7.151
- Recording date: unknown
- Markov, Albert Eduard (violin)
- Title: Sonata No 12 in D minor 'La follia'
- Released 1953 by the Russian label Torch as vinyl 5289-61
- Duration: unknown
- Recording date: unknown
- Martini edited the music for violins and choir
- Title: 15 Variationen über die Sarabande 'Aria della Follia'
- Published by Schott
- Score 146 p.
- Publisher No. CON38-70
- Melkus, Eduard (violin) Atmacayan, Garo (cello) Dreyfus, Huguette (harpsichord)
Eduard Melkus wrote as an introduction:
Since no authentic ornaments for 'La Follia', the last work in Opus 5, were available, the original text has been left untouched, although an eighteenth-century violinist would certainly have added some improvisations. Only the last variation was extended to include Veracini's coda. Otherwise we avoided Verancini's versions of Opus 5, since they entail too sweeping changes in the whole composition.
- Title: Sonata No 12 in D minor 'La follia'
- Released by Archiv F20A 20073
- Duration: 11'53"
- Recording date: January 9-12 and March 27-29, 1972 in Palais Schönburg Wien, Austria
- Melville, Alison (recorders) Harris, Lucas (archlute and baroque guitar) Jackson, Nadina Mackie (baroque bassoon), Medicky, Borys (harpsichord), Morton, Joëlle (bass viol)
- Title: Sonata op. 5 no. XII, 'Folia'
- Released 2010 by Pipistrelle Music ordernumber PIP1110
- Duration: 11'10"
- Recording date: February 18-20, 2010 at the Chapel of Royal St George's College, Toronto, Canada
- Mendoze, Christian (flûte à bec) and Musica Antiqua: Philippe Foulon (violoncelle), Brigitte Tramier (harpsichord),
Jean-Michel Robert (théorbo and guitar) 'Sonates pour violon op. 5 intégrale vol 2'
- Title: Sonata no 12 Follia
- Released 1999 by Parnassie compact disc PAR 04
- Duration: unknown
- Recording date: February 22 and 25, 1997 in unknown location
- Menuhin, Yehudi (violin) and Giesen, Hubert (piano) 'The Young Yehudi
Menuhin, The HMV Recordings 1929-30'
- Title: Sonata No 12 in D minor 'La follia'
- Released January 2001 by Biddulph LAB 032
- Recording date: December 11, 1930
- Menuhin, Yehudi (violin) and Giesen, Hubert (piano) 'Menuhin encores'
- Title: Violin sonata no. 12 in D minor: 'La follia'
- Released 1976 by His Master's Voice LP HLM 7077 Mono.This is an album of transfers from old 78's to 33 released in 1976.
- Recording date of La Follia 1930
- Milevski, Piotr (violin) Gee, Lawrence (piano)
- Title: Sonata in D minor, op. 5 no. 12 ('La Folia')
- Recorded by Indiana University, School of Music (Early Music Institute) in Bloomington for the Artist Diploma in Violin
- Sound tape reels, stereo, 1983-1984 no. 160
- Duration: 9'15"
- Recording date: October 13, 1983
- Milstein, Nathan (violin) Pommers, Leon (piano) 'The Art of Nathan Milstein
- Beethoven, Brahms, Dvorauml;k, etc'
- Arrangement by Hubert Leonard
- Released 1959 by US Capitol as LP SP-8481
- Re-released 1993 by EMI as 6-pack compact disc CDM 64830
- Duration: 9'15"
- Recording date: January 27-29, 1959
- Milstein, Nathan (violin) Pommers, Leon (piano) 'Quattro Sonate Italiane'
- Arrangement by Hubert Leonard
- Released by EMI Capitol as LP 3 C 053-81638 (Italian pressing)
- Duration: 9'15"
- Recording date: January 27-29, 1959
- Milstein, Nathan (violin) Pommers, Leon (piano) 'Italian sonatas'
Mistein plays Corelli variations with piano as basso continuo
Duration: 9'15" direct link to YouTube
© 1998 EMI- Arrangement by Hubert Leonard
- Released 1959 by US Capitol as LP SP-8481
- Re-released 1998 by EMI as compact disc CDM 66873
- Duration: 9'15"
- Recording date: January 27-29, 1959
- Milstein, Nathan (violin) Pommers, Leon (piano) 'Corelli, La Follia part 1 & 2'
- Arrangement by Hubert Leonard
- Released 1961 by La Voce del Padrone/Capitol, Extended Play (EP) mono FAP 3-8481
- Re-released 1998 by EMI as part of compact disc CDM 66873
- Duration: 9'15"
- Recording date: January 27-29, 1959
- Mönkemeyer, Nils (viola) and Kammerakademie Potsdam 'Folia'
Bayerische Rundfunk wrote about the disc:
Selbst Corellis berühmte "Folia"-Variationen - natürlich für die hellere, strahlendere Violine komponiert - wirken bei Mönkemeyer so unstrittig "richtig", so lebendig, schmissig und wild, dass die guten fünf Zentimeter mehr zwischen Wirbeln und Kinnstütze nicht ins Gewicht fallen - allenfalls positiv, wegen der extra Portion warmem, satten Sound.
- Title: Sonata No. 12 in D minor/G minor "La Folia" (adapted for Viola & Strings)
- Released 2011 by Sony compact disc 88697801132
- Duration: 12'25"
- Recording date: unknown
- Musical Amphion (Rémy Baudet violin, Jaap ter Linden cello, Mike Fentross theorbo & guitar, Pier-Jan Belder harpsichord)
conducted by Pieter-Jan Belder 'Corelli, Complete Works'
In the slipcase is written:
The last and most celebrated sonata contains the variations on the passionate theme La Folia, which areexceptionally virtuosic for Corelli. 'La Folia' was to become one of the most famous tunes in music history. The melody was taken from a Spanish dance, like a sarabande, but wild and exuberant as in the original sense of the word folia: madness or frenzy. It was gladly embraced by a whole line of western composers, from Lully, Corelli, Marin Marais via Alessandro Scarlatti, Carl Philipp Emanuel Bach to Liszt and Rachmaninov.
As a homage to his great example, Corelli's pupil Francesco Geminiani published a series of twelve concerti grossi in London from 1726, based on Corelli's sensational Violin Sonates op.5. What has been a highly virtuosic piece for solo violin in Corelli's hands became a merciless exercise for string orchestra in Gemininani's- Title: Follia
- Released 2004 by Brilliant Classics compact disc No. 8 (10 cd-set)
- Duration: 10'57"
- Recording date: Summer 2004 in Amsterdam, The netherlands
- Nielsen, Thorvald edited the music for violin and piano
- Title: La Folia variations serieuses violin og klaver
- Published by W. Hansen 1949
- Score 11 p. and 1 part 5 p., 31 cm
- Publisher No. 3443
- Nishizaki, Takako (violin), Wolf Harden (piano) 'Fritz Kreisler Edition, Vol. 6'
- Title: Violin Sonata in D minor, Op. 5, No. 12, "La folia" (arr. F. Kreisler)
- Released 2005 by Naxos compact disc 8.557872
- Duration: 11'36"
- Recording date: unknown
- Nishizaki, Takako (violin) and Dennis, Terence (piano) 'Takako Nishizaki plays Suzuki Evergreens, Volume 5'
In the slipcase is written:
The fifth volume of the Takako Nishizaki Plays Suzuki Evergreens starts with an arrangement by Shinichi Suzuki of Arcangelo Corelli’s variations based on the popular dance, La Folia. Corelli, with his twelve sonatas for violin and keyboard, his trio sonatas and his dozen concerti grossi, exercised a strong influence on his successors, with many of his works familiar before his death in Rome in 1713 and their final publication. His Op. 5, No. 12 is a set of variations on La Folia, a dance that was to form the basis of various compositions by his contemporaries and successors.
- Title:Violin Sonata in D minor, Op. 5, No. 12, "La folia" (a part of the original by Corelli and an arrangement by S. Suzuki: Suzuki is a trademark of the International Suzuki Association and the Suzuki Violin School music books are published by Alfred Publishing Co. Inc.)
- Released 2010 by Naxos compact disc Ordernr. 8.572382
- Duration: 7'06" (arr. Suzuki) and 6'35" (Corelli)
- Recording date: April 23-27, 2008 at WEL Academy, Waikato University, Hamilton, New Zealand
- Norman, Theodore; a transcription for solo guitar
- Published in Music for the Classical Guitar, Book II
- © 1964 by G. Schirmer Inc.
- Oberlinger, Dorothee (recorders and direction), Vestidello, Walter ( cello), Rado, Giancarlo (archlute and baroque guitar), Ose, Karsten Erik
(bass recorder), Rosato, Giampietro (harpsichord and organ) ' Italian Sonatas'
Dorothee Oberlinger wrote for the slipcase in 2007:
There were apparently quite a number of skilled recorder-players in 18th century England, and by 1702 at the latest, Corelli was a household name to them: this was the year when local publisher John Walsh brought out several recorder arrangements of the op.2 & 4 trio sonatas as well as of the famous op.5 violin sonatas. In the latter case, however, the arrangements were only made of the last six of the set of twelve, which are set in the sonata da "camera style". In the last sonata of the set, op. 5 no. 12 in G minor, Corelli sets the melody of then popular Portuguese dance "La Follia" with a total of 21 variations, in whose ostinato harmonies the bass line is quite virtuoso in places
- Title: Sonata in G minor op.5 no.12 "La Follia" Version for Alto Recorder & Continuo (London, 1702)
- Released 2007 by Deutsche Harmonia Mundi compact disc 88697115712
- Duration: Adagio 01:27, Allegro 01:58, Adagio 00:47, Vivace 00:19, Allegro 00:14, Andante 00:41, Allegro 00:33, Adagio 01:44, Allegro 02:53
- Recording date: February 28th, March 1-2, 2007 in Deutschlandfunk Kammermusiksaal, Köln, Germany
- Oberlinger, Dorothee (recorders and direction) and Ensemble 1700
- Title: Follia, op. 5 no. 12
- Broadcasted by dutch radio AVRO October 3, 2011 for the program "Avondconcert"
- Duration: 9'57'
- Recording date: July 8, 2011 during a live performance at the RheinVokal Festival in Abteikirche Rommersdorf (Stadtteil Heimbach-Weis)
Neuwied, Germany
- Olujic, Tatjana (violin) and Toskov, Aleksandar (piano) 'Recital'
- Released by Yugo LP RTB 230405
- Duration: unknown
- Recording date: unknown
- Orchestre Philharmonie de Hambourg conducted by Jochum, Eugen 'Centenaire
Eugen Jochum'
Eugen Jochum wrote for the slipcase (page 15):
I stayed [in Hamburg] fifteen and a half years for the entire Nazi period, the war and the defeat. This was only possible because of the open-mindedness that has always been a characteristic of this city. My personal and political opinions would have surely made it impossible for me to live in Berlin, Dresden or Munich.
- Released compact disc(2-cd box) TAH 468-469
- Duration: 13'25"
- Recording date: September 7, 1944 live , recorded by RRG
- Ostafi-Dancu, Ioana (cello) and Ungureanu, Mihai (piano)
- Title: La Follia op. 5 No. 12
- Released by Electrecord LP ST-ECE 03593 (made in Romania)
- Duration: unknown
- Recording date: Spring 1988 in a recital at the Romanian Athanaeum (Inregistrare realizata in Sala de marmora a Casei Scinteii, 1988)
- Paganini Duo
- 1. Adagio 2. Allegretto 3. Andante 4. Allegro moderato 5. Adagio
- Arranged by Meier, Gerd
- Released by Thorofon Capella compact disc MTH 326
- Recording date: 1987
- Pera ensemble
(with aoud, kanun, kemence, ney, baroque oboe, 2 Baroque violins, baroque cello, theorbo/baroque guitar, harpsichord and percussion 'Cafe, Orient Meets Occident'
- Title: Sonatas for Violin and Basso Continuo, Op. 5: no 12 in D minor "La Follia"
- Released 2012 by Berlin Classics compact disc 0300400BC
- Duration: 7'22"
- Recording date: unknown
- Perlman (violin) & Sanders (piano) 'Bits and pieces'
- Released October 1994 by EMI Classics compact disc 0777 7 54882 27
- Duration: 10'40"
- Perlman (violin) & Sanders (piano) 'Kreisler - Perlman, Encores'
John Siepmann wrote in 2006 for the slipcase:But this recital [...] is an act of hommage not only to Kreisler but to the long tradition of great violonist composers who came before himn, and of which het was the last representative. The point is implicit in the opening track. Arcangelo Corelli (1653-1713) is widely regarded as the most illustrious founder of that tradition. Ironically he is perhaps best known for a theme he never actually composed. La Folia is in fact a anonymous Iberian dance song from the 17th century, much varied by composers from that time onwards (among them Franz Liszt and Kreisler's friend an collaborator Sergei Rachmaninov).
- Title: La folia
- Released 2006 by EMI Classics, Series Gemini compact disc EMI 0946 350879 2 5 (2CD)
- Duration: 10'33"
- Recording date: January 13-16, 1992 in the BMG Studios, New York. .
- Petrenz, Siegfried edited the music for traverso and basso continuo
- Title: La Follia
- Published by Universal Edition, Braun, Gerhard and Heidecker, Martin
- Score 32 p., 23,2 x 30,5 cm
- Publisher No. UE19496
- Petri, Michala (treble recorder) Petri, Hanne (harpsichord) Petri, David
(violoncello) 'Greensleeves - Michala Petri'
- Title: 'La Folia' Sonata Op. 12 No. 5
- Arrangement 'by an unknown master'
- Released 1982 by Philips LP 28PC-45 and compact disc 420897-2
- Duration: 9'37"
- Recording date: July, 1981 in London
- Petri, Michala (treble recorder) and Esfahani, Mahan (harpsichord)
Mahan Esfahani wrote for the slipcase August 2014:The score (or set of parts, rather) used by us comes from a facsimile set of an undated publication by the famous eitheenth-century London publisher John Walsh. As stated on the printed title pag, the set of six sonatas was "transposed and made fit for the flute (that is , the recorder, as opposed to the "German" or traverso flute) and bass with the approbation of several eminent masters". The anonymous transscriber made rather clever allowances for a wind instrument, particularly with respect to the violinistic figurations found in the variations on "La Follia". The bass part rather sloppily replicates most of the figures found in the original Roman printing of 1700, and in general the publication lacks the aesthetic finesse of either that printing or the one by Roger of Amsterdam.
- Title: Violin Sonata in D Minor, Op. 5, No. 12, "La Follia"(arr. for recorder and basso continuo)
- Arrangement by Petri & Estafani
- Released 2015 by OUR recording compact disc ordernumber 6.220610
- Duration: 10'13"
- Recording date: May 5-8, 2014 in Garnisonskirken, Copenhagen, Denmark
- The Purcell Quartet: Elizabeth Wallfisch, violin (Petrus Paulus de Vitor, Brescia, 1790),
Richard Boothby, cello (anonymous English, c1750), viola da gamba (David Rubio, 1978, after Guillaum Barbey, Paris) Robert Woolley, harpsichord (single manual by Feldberg Whale,
1980, after Mucciardi, Italian 18th century)
'La Follia and other sonatas'
- Released 1987 by Hyperion compact disc CDA66226, in cheaper edition 2008 Hyperion Helios CDH 55240
- Duration: 9'56"
- Recording date: May 22-23, 1986 in St. Barnabas's Church, London
- The Purcell Quartet (Wallfisch, Elizabeth: violin & Boothby, Richard:
cello & Woolley, Robert: harpsichord) '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"The Purcell Quartet plays all variations by Arcangelo Corelli
Duration: 9'56" direct link to YouTube
© 1998 by The Purcell Quartet- Title: Sonata in D minor, Op. 5 No 12
- Released 1998 by Hyperion compact disc CDA67035
- Duration: 9'56"
- Recording date: May 22-23, 1986 in St. Barnabas's Church, London
- Quadro Janas (Lorenzo Cavasanti: recorders, Dorothee Oberlinger: recorders, Jorge Alberto Gurerrero: cello,
Paola Erdas: harpsichord)
Andrea Lausi wrote about this performance January 11, 2005 in an email:Duration: 10'12", 9592 kB. (128kB/s, 44100 Hz)
Quadro Janas live performance in an arrangement for two recorders
© 2004 Quadro Janas, used with permission
A comment on the Quadro - since Dorothee joined the Trio of the Lo Specchio Ricomposto I actually started considering this a sort of 'issue 0' for the quartet. Dorothee is a very good player, and also the trio was very good. But the four of them together really exceedes the mere sum of the components! There is something really unparalleled in the quality of the 'ensemble' sound which was (almost) never heard before. QJ resembles the Quadro Hotteterre, actually the Quadro in their name is an obvious hommage to the Dutch group, which is now unfortunately disbanded, and I have always considered Kees Boeke and Walter van Hauwe with the highest respect. More astonishing, the recording you have is from the FIRST concert QJ performed together. I was not there, but when they came back with the DAT tape I was really thrilled. I must also bow my head to Lorenzo and Paola for the recording sound quality: Lorenzo has a portabe profi equipement, and they did all the mike positioning by themselves, with the festival staff only helping with the on-off button. And when a few months later I finally had chance to listen to the quartet live, it was even better. It's a great group!
- Title: La Follia, Op. 5 No 12 in an arrangement for two recorders and b.c.
- Recorded during a live performance by Quadro Janas
- Duration: 10'13"
- Recording date: December 2004
- This music was used in an organic animation called La Folia by Jean Detheux
- The webpage of Quadro Janas can be found at http://www.janas-ensemble.it/eqcomponenti.htm
- Reger, Max edited the music for piano and orchestra (2 flutes, 2 oboes,
2 bassons, 2 kettledrums, a soloviolin, 2 violins, violincelli, and contrabasses)
- Title: La Folia, variations sérieuses pour le violon par Corelli, cadenza par H. Léonard
- Published 1914 by Schott Frères, Bruxelles
- Publisher No. S.F. 5614
- Reinecke, Carl
The free sheet music for piano is available at http://www.sheetsearch.com/sheets/7713/corelli-album-fuer-klavier-reinecke/
Francesco Ricci wrote in an e-mail August 19, 2011:. I found some informations about its publication on Imslp (http://imslp.org/wiki/Corelli_Album_%28Corelli,_Arcangelo%29")... It says 1895-96, the year of 1st publication.
Concerning Reinecke version I found these links with Corelli:
- Reinecke piece has 11 var. instead of Corelli's 22 var.
- Var.n.4-5 in Corelli are gathered in Var.4 (Reinecke) so Var.6 (C) become Var.5 (R)
- Var.7-10 (C) missing in R.
- Var.11 (C) become Var.6
- Var.12 missin'
- Var.13 become Var.7 (R) and Var.14 become Var.8 but very freely transcribed, in this last case
- Var.15(C) is Var.9 (R)
- Var.16,17,18,19 (C) missin'
- Var.20(C) is Var.10(R)
- Var.21 missin and last Var.22 (C) "sounds like" last Var.11 (R) but we cannot say it's the same piece, just the bass line is the same.- Title: "Arcangelo Corelli, Alnum für Klavier, Auserlesene Stücke", Folies d'Espagne d-Moll
- Pages 50-59 (with fingersetting)
- Published by VEB Breitkopf & Härtel, Musikverlag Leipzig
- Publisher No. 472-155 /B-303/64
- Respighi, Ottorino (1879-1936)
- Title: A. Corelli, Follia di Spagna (T.R.E.O.) Opus P 195. Trascrizione per violino solo con accompagnamento di piccola orchestra di Ottorino Respighi
- Il lavoro risulta dal Catalogo della Proprietà Editoriale della S.p.A.G. Ricordi & C. aggiornato al 31 dicembre 1956, ma non vi sono tracce né di manoscritto, né di edizione a stampa
- It seems that this arrangement of the music is never recorded nor published
- Romano, Conrado (violin) and Doris Rossiaud (piano) "Conservatorio di musica di Vicenza, Musica, Maestro!"
- Title: Sonata n. 12 "La follia"
- Released unknown date compact disc Conservatory without CD number but the Italian official seal that you see in
all Italian CDs states: CONSV1004
- Duration: unknown
- Recording date: October 13, 1952 in Ginevra, studio della radio Suisse Romande, Schwitzerland
- Roos, Frédéric de (flûte a bec) & Houtman, Nathalie (flûte a bec) with the ensemble La Pastorella:
Dirk Vandaele and Marianne Herssens (violins), Hans Devolder (alto), Hervé Douchy (violoncelle), Eric Mathot (contrebasse),
Alain de Rijckere (basson), Philippe Malfeyt (archlute and guitar), Guy Penson (harpsichord) 'Corelli in London,
Sonate & concerti per flauto'
In the slipcase Frédéric Roos wrote (translation Peter Lockwood):
These 18th century editions are the basis for the programme that Frédéric de Roos has compiled: it includes not only various sonatas and concerti but also the famous variations on La Folia and the Concerto latto per la notte di Natale, in which the timbre of the recorder accents the music's pastoral character. [...] the 12th sonata stands out from the others, it being the renowned La Folia, a series of variations on the bass that had already been popular for over a century. [...] We have also chosen (to) make a free interpretation of Walsh's arrangements of La Follia, judging that the respect for the strong emotions that we find in Corelli's work would have been much more important for our virtual player and for us than a strict respect for the arranger's notes.
- Title: Sonate en sol mineur "La Folia" Op 5/XII for flûte alto et basse continuo: Adagio, Allegro, Adagio, Vivace, Allegro, Andante, Allegro, Adagio, Allegro.
- Ensemble directed by Frédéric de Roos
- Released 2004 by Ricercar compact disc RIC 235
- Duration: 11'48"
- Recording date: May 2003 in Eglise Saint-Apollinaire in Bolland
- Rosand, Aaron (violin) & Sung, Hugh (piano) 'The Romantic Baroque
Violin'
- Title: Sonata in D minor, op.5 No.2 'La Folia'
- Released 1996 by Biddulph Recordings compact disc LAW-006
- Duration: 10'44"
- Recording date: August 30 & September 1, 1991 in the Curtis Institute of Music, Philadephia
- Rubato Appassionato (Antonio Tejeda (recorder), Eyal Streett (Baroque oboe), Sasja Agranov (Baroque cello) 'Nord versus Sud'
- Title: Follia Op. 5 /12 (Sonate, Opera V, Roma, 1700 & London, 1702 - Joe Walsh)
- Released 2005 by La mà de guido compact disc LMG2068
- Duration: 13'05"
- Recording date: April 1-2, 2005 in the capella de la Mare de Deu de L'Esperança Barcelona
- Saint-Saënt, Camille 'Oeuvres du XVIIIe Siècle'
- Title: 'Corelli: Les Folies d'Espagne'
- Sheet music transcription for violin and piano published by unknown
- Publisher's number 9905
- Transcription et réalisation de la basse chiffrée par Camille Saint-Saëns
- Savall, Jordi (viola da gamba [soprano]), Bruno Cocset (basse de violon),
Michael Behringer (harpsichord) 'La Folia, 1490-1701'
- Title: Follias, Op. 5 Roma (1700)
- Released 1998 by Alia Vox compact disc AV 9805
- Duration: 11'08"
- Recording date: July 31 and/or August 1-2, 1998 in the Studio Fondation Tibor Varga, Sion (Switserland)
- See also recommended recordings
- Schaarsmidt, Helmut (oboe), Hebb, Bernard (guitar), Ribke, Gunter (cello) 'Oboen-Sonaten des italienischen Barock'
- La Follia g-moll
- Released 1988 by Christophorus compact disc CD 74537
- Recording date: June 1987 in the St. Vitikirche Zeven
- Schaller, Erwin arranged the music for two guitars
- Title: Follia con Variationi
- Published 1981 by Preissler, Hans Libbert
- Score 13 p., 31 x 23 cm
- Publisher No. JPA21
- Schneider, Michael (recorder), S. Bauer (harpsichord & organ), Ozaki (lute),
Schneider (cello) 'Recorder Music of the Italian High Baroque'
- Title: Sonata in A minor La Follia.
- Duration: 11'06"
- Released 1995 by Capriccio compact disc 10512
- Duration: 11'06"
- Altblockflöte nach Stanesby jr: von Shigeharu Hirao, Kyoto
- Review in Early Music Review September: 20 (1995)
- Schneider, Michael (recorder), S. Bauer (harpsichord & organ), Ozaki (lute),
Schneider (cello) 'European Baroque Sonatas, Blockflotenmusik des italienischen Hochbarock'
In the slipcase was written:
Both 'La Follia' and the Corelli sonata were composed for violin, but the flute versions are derived from 18Ih century sources which show the popularity of these works among the flautists of the time. The sonata is one of a series of five works named in sources as works by Corelli, which however has not prevented many researchers from doubting their authenticity, as these works vary in style from other works by Corelli.
- Title: 'La Follia' op.5 No. 12 for recorder and basso continuo
- Released 2007 by Capriccio 8cd-set, Edition Flauto cd4 49550
- Duration: 11'06"
- Recording date: 1995
- Altblockflöte nach Stanesby jr: von Shigeharu Hirao, Kyoto
- Schröder, Jaap (Baroque violin),
Joyé, Elisabeth (harpsichord),
Sala, Christian (viola da gamba),
Vidaller, Jérôme (Baroque cello), Bayle, Bertrand (lute and Baroque guitar) "Ariane & Bacchus ou les Passions Baroques".
- Title: La Follia
- Released 2007 by 'Les Heures Musicales de la Vallée de la Bresle' compact disc
HMVB2
- Duration: 10'52"
- Recording date: October 31-November 3, 2007 in Théâtre du Château d'Eu, France
- Schwarzer, Egon (recorder) and Mihajlovic, Egon (harpsichord and organ) ' Vivi felice - Musik des 15.- 18. Jahrhunderts aus Italien, Spanien und Dalmatien'
- Title: La Follia
- Released 2004 by Cybele compact disc 200.403
- Duration: 9'05"
- Recording date: unknown
- Serenata Ensemble (arranged for recorder)
- transposed to the key of g minor
- Released by Pierre Verany compact disc PV 789022
- Recording date: September 14, 1988
- Sestakova, Andrea (violin) and Macudzinski, Rudolf (piano) 'Corelli, Tartini, Schubert'
- Title: La Folia
- Released by Opus LP 9111 0629 Blue-black (CZ Press)
- Duration: unknown
- Recording date: March 1978 in the Studio of Opus in Pezinok
- Shinozaki, Rick K. (violin) and Todd, Sally (piano)
- Arrangement by Fritz Kreisler
- Recorded by Indiana University School of Music in Bloomington sound tape reel 1993-1994 no. 483
- Duration: 9'53"
- Recording date: February 2, 1994
- Shumsky, Oscar (violin) Kaye, Milton (piano)
- Released 1982 by Musicmasters LP 20037
- Score by Kreisler, Fritz
- Shumsky, Oscar (violin) Kaye, Milton (piano) 'Fritz Kreisler Music for violin and piano, volume three'
- Title: La Folia
- Released by Academy Sound and Vision (ASV) LP ALH959 (stereo, made in England)
- Place and date of recording not mentioned in the documentation
- Score by Kreisler, Fritz
- SineDux 'A.Corelli, Die originalbegeleitung zu Ihrer Instrumentalstimme, Violine'
As a teaching device, only the b.c. of the harpsichord and cello is played while the student can include the solo
part of the violin for the complete sonate. The name of the players is not mentioned in the documentation.
- Title: Violinsonate Nr. 12 ('La Folia')
- Released by Sine Dux MusiKado, Köln, Germany CD 0103
- Duration: 13'28"
- Place and date of recording not mentioned in the documentation
- Sklar, Maurice (violin) and Sung, Hugh (piano) 'The Romantic Baroque Violin'
- Title: Violinsonate Nr. 12 ('La Folia')
- Released 2008 by Artists of Faith Music 2-cd-box 692125011070
- Duration: 10'30"
- Recording date: unknown
- Arrangement by Fritz Kreisler
- Societa Corelli 'Vivaldi, Corelli, Galuppi, Bonporti'
- Title: La Follia
- Released 1958 by RCA Italiana Red Seal LP ML 1880
- Duration: 6'33"
- Recording date: unknown
- Societa Corelli 'Vivaldi, Corelli, Galuppi, Bonporti'
- Title: La Follia, sonata for violin and bass
- Released 1958 by RCA Italiana Red Seal 45 rpm EP ERA 1-1880
- Duration: 6'33"
- Recording date: unknown
- Sonatori Fiorentini (Antonio Aiello: violin, Andrea Landi: cello, Matteo Venturini: organ)
'Diavolo e Follia'
- Released 2014 by OnClassical compact disc order number OC30B
- Duration: 11'14"
- Recording date: 2009 in Chiesetta di San Miniato, Pisa, Italy
- The basso continuo and sometimes lead voice is played on the organ
- Spalding, Albert (violin) 'Albert Spalding plays Tartini - Sonata in G minor, Bach - Prelude in F sharp minor, Corelli - Sonata in A, Sonata in D, La Folia'
- Released 1953 by Remmington LP RLP-199-23
- Duration: unknown
- Recording date: unknown
- Sterne, Colin edited and realized the edition with arrangement for recorder
and figured bass (harpsichord or piano)
- original score published circa 1710 by John Walsh
- Published by Hargail Music Press, 1956.
- Score 16 p. and 1 part, 31 cm
- Publisher No. 3443
- Hargail classical anthologhy no. 14
- Stubbs, Stephen (baroque guitar), Maxine Eilander (Spanish aand Italian harps),
Erin Headly (viola da gamba, lirone), Milos Valent (violin, viola) 'Teatro Lirico'
Just a few variations are played following the traditional sheet music but with an unusual setting; here the part for solo violin is substituded by mainly the harp. The purpose of this short piece is that it is the ouverture of a compact disc with some improvisations on the Folia bass and some other folias.- Title: Sonata "Follia" op. , no. 12: Adagio
- Released February 2006 by ECM New Series 1893 4763101
- Duration: 2'13"
- Recording date; February 2004 in Propstei St. Gerold
- See also the page Recommended Folia-recordings
- Suk, Josef (violin) & Hála, Josef (piano) 'Evergreens'
- Released April 21, 1995 by Lotos compact disc number 9
- Duration: 11'32"
- Suk, Josef (violin) & Barta, Ales (continuo) 'Sonatas (12) for violin
and basso continuo, Op. 5: no. 12 in D minor 'La Follia'
- Title: La Follia
- Released 1995 by Lotos compact disc number LT 0083-2
- Recording date: unknown
- Szeryng, Henryk (violin), Dreyfus, Huegette (harpsichord)
'Handel: 6 Violin Sonatas & Corelli: La Folia'
- Title: Sonata in D Minor Op.5-12 La Folia
- Released by Deutsche Grammophon Universal Music, Tower Records Vintage Collection Vol. 4, compact disc KK PROA17
- Duration: 10'55"
- Recording date: November 9-13, 1981, Paris
- Szigeti, Joseph (violin) & Otto Klemperer Los Angeles Philharmonic Orchestra 'Joseph Szigeti: A Centenary Tribute' features concert performances and broadcasts (1939-56)'
- Title: Sonata for violin & continuo in D minor ('La Follia'), Op.5/12 No 2 in D minor, 'La Folla'
- Released 1992 by the Music & Arts label 4-compact disc set
- Duration: 12'33"
- Recording date: 1945
- Szigeti, Joseph (violin) & Otto Klemperer Los Angeles Philharmonic Orchestra 'Klemperer in Los Angeles'
- Title: 'La Folia' from Op. 5 No. 12
- Released 2000 by Grammofono compact disc AB78643 (mono recording)
- Duration: 12'33"
- Recording date: Public Performances December 16, 1945 Los Angeles, USA
- Szigeti, Joseph (violin) & Otto Klemperer Los Angeles Philharmonic Orchestra 'Liszt Strauss Bach, the unknown recordings'
- Title: 'La Folia' from Op. 5 No. 12 (orchestral version)
- Released 1998 by Magic Master compact disc MM 37069
- Duration: 12'33"
- Recording date: Public Performances December 16, 1945 Los Angeles, USA
- Szigeti, Joseph (violin) & Otto Klemperer Los Angeles Philharmonic Orchestra 'Klemperer Maestro Mistico'
- Title: Sonatas (12) for Violin and Basso Continuo, Op. 5: no 12 in D minor 'La Follia' by Arcangelo Corelli
- Released 2004 by Maestro History double compact disc 203185 (mono recording)
- Duration: 12'33"
- Recording date: Public Performance December 16, 1945 Los Angeles, USA
- Szigeti, Joseph (violin) & Farkas, Andor (piano) 'Corelli, La Folia'
- Title: La Folia, Variations Sérieuses
- Arrangement by Leonard
- Released in the 1940's by Columbia, Columbia Masterworks collection 78RPM record number X-202.
- Szigeti, Joseph (violin) & Farkas, Andor (piano) 'Corelli, La Folia'
- Title: La Folia, Variations Sérieuses
- Arrangement by Leonard
- Released in the 1950's by Columbia, Blue and Silver "Magic Notes - Masterworks" Label) 2 record set (Made in U.S.A.) collection 78RPM record number MX 202 (71187-D // 71188-D)
- Recording date: Ca. 1950
- Szigeti, Joseph (violin) 'Joseph Szigeti: the recordings with Bela Bartok and Andor Foldes'
- Title: Sonata # 12 in d minor 'La Folia'
- Released 1993 by Biddulph Recording 2compact disc-set LAB 070-71
- Recording date: unknown
- Szreder, Robert (violin), Schaijk-Lambermont, Herma van (organ)
'Masterpieces for violin and organ'
Hein Zomerdijk wrote for the cover:Originally, this theme was a Portugese dance, but during the course of the 17th century, on an Iberian peninsula, it was said to have originated from a certain melody - 'Les Folies d'Espagne' (the Spanish fools). It became very popular in many parts of Europe and was chosen by several composers as a basis for writing variations on a theme. The original sarabande or chaconne rhythm could even be combined with the specific technique of a recurrent bass part and also forms the basis for Corelli's 'La Folia' - although in the middle section a smooth rhythm is used for three variations.
- Released 1980 by Eurosound LP ES 46.482
- Duration: 9'30"
- Recording date: September 15 and 16, 1980 in Abdij van Berne in Heeswijk, The Netherlands
- Takako, Nishizaki (violin) & Harden, Wolf (piano) 'La follia'
transcription by Fritz Kreisler for violin and piano.- Released 1983 by Camerata LP CMTX-1506
- Duration: 11'55"
- Recording date: July 26/27, 1982 at Festeburgkirche Frankfurt
- Tamminga, Liuwe (organ)
Live performance of an arrangement for organ solo Barcelona, May 14, 2008
Duration: 8'12" direct link to YouTube
© 2008 by Tamminga and Catalunya Música- Title: La Follia
- transcription for organ solo by Liuwe Tamminga
- Broadcasted by Spanish radio 'ELS concerts' September 9, 2008
- Duration: 8'12"
- Recorded by Catalunya Música May 14, 2008 in the Catedral of Barcelona, Spain
- Tangerine Dream 'Josephine the mouse singer'
At service-cd was written:
'Arcangelo Corelli's La Folia' is a symphonic, almost Bach-like track with synth strings leading the way on a jaunty piece of modern day classically influence synth music.
Arcangelo Corelli's La Folia
Duration: 7'40" direct link to YouTube
© 2014 by Tangerine Dream- Title: Arcangelo Corelli's La Folia
- Released 2014 by eastgate music & arts compact disc (cupdisc) ordernumber 069 CD
- Duration: 7'40"
- Recording date: unknown
- Tembembe Ensamble: Leopoldo Novoa ( marimbol, guitarra
de son, jarana huasteca, arpa llanera y tiple) ,
Enrique Barona (voz, huapanguera, jaranas, marimbol, leona, pandero y maracas), Eloy Cruz (guitarra barroca jarana barroca y tiorba)
Invitados: Ulises Martínez (violín, cajón de tapeo y voz), Ada Coronel (vihuela y voz), Andrés Flores (jarana y voz), Donají Esparza (baile tradicional) 'Diferencias e invenciones: Nuestro son barroco ' - Title: Folía para violín
- Broadcasted by a Mexican Radiostation during the anual festival 2009 in Guanajuato which is a state very close to Zacatecas in Mexico. It is a mixture of everything, including dance, theatre and plain entertainment. Savall has been there several times.
- Duration: 11'51"
- Recording date: October 22, 2009 in Templo de la Valenciana in Guanajuato, Mexico
- More about the performance at http://www.festivalcervantino.gob.mx/fic09/node/410
- Temmingh , Stefan (recorder) and Olga Watts (harpsichord) 'A. Corelli: Sonatas, Op. 5, Nos. 7-12'
- Title: Sonata in G minor, Op. 5, No. 12, "La Follia" (arr. F.M. Veracini)
- Released 2009 by Oehms Classics compact disc OC598
- Duration: I. Adagio 0'40", II. — 0'35", III. Allegro 2'00", IV. Larghetto 0'45", V. Allegro 0'32", VI. Adagio 0'39", VII. Allegro 0'30", VIII. Adagio 1'27", IX. Allegro 1'11", X. — 1'21", XI. Allegro 1'16"
- Recording date: September 17-22, 2007 in der Kirche Neumünster, Zürich, Switserland
- Trio 21meter60 'Nothing but Tuba, Werke von Monteverdi, Piazzolla, Morricone, Schnyder, und Anderen'
Arrangement for 3 tubas
- Released 2021 by Genuin
- Duration: 7'36"
- Recording date: August 17-20, 2020 at the Bethanienkirche, Leipzig
- Trio Sonnerie 'Sonate violino e violone o cimbalo, Op. 5: 1-12'
Monica Hugget: violine; Mitzi Meyerson: cembalo; Sara Cunningham: cello;
Nigel North: baroque guitar built by Robert Mavrinac 1982.
In the slipcase is written:
In the 'Follia' variations, a baroque guitar helps to bring out the Spanish roots of the theme.
- Released 1990 by Virgin Veritas double compact disc VCD 5 45978 2, re-released 2003 double compact EMI Virgin Veritas disc 24356 22362
- Duration: 11'10"
- Recording date: May 1988 & March 1989 Forde Abbey, Chard, Dorset.
- Trio Uccellini (Ende, Vincent van den (recorder), Wakelkamp, Frank (violoncello),
Blok, Gerard (harpsichord) 'Passionate Baroque'
Anton Vooghelaar wrote for the slipcase:
Playing Corelli's 'La Folia'hundreds of times has never filled us with boredom. Again and again it is a wonderful piece to play, rendering endless possibilities. It is an ideal piece of music for members of estabished ensembles to explore one another's horizons, to wait and see how they will react to one another, how the musical impulses of one musician are being understood and creativity worked out by another. It is attractive because of the full measure of always impressing virtuosity and of course because of the large range of changes, in spite of an endless repetition in harmonic scheme. The recorder as well as the continuo are fully recognized being equally important.
It is interesting to know, that the basso ostinato which 'The Follia' literally is based upon, has inspired numerous composers, amongst whom Rachmaninov. One variation from his 'Corelli-variations' (in major!) enabled us to create a wonderful moment of light in our interpretation'.- Title: La Follia
- Released November 2000 by Uccellini Productions compact disc ordernumber 26-00
- Duration: 11'52"
- Recording date: October 23 and 24, 2000 in Maria Minor Utrecht, The Netherlands
- Trio Veracini (John Holloway violin, David Watkin violoncello, Lars-Ulrik Mortensen harpsichord)
John Holloway wrote for the slipcase:Follia: 1st version violino e violone; 2nd version violino e cimbalo, ornamentation improvised
Follia (more commonly spelled folia in Portugal, Spain and Italy) is the name given to a musical framework used for songs. dances and sets of variations during the Baroque period. There are two distinct phases in its history: the first, from the late 15th century in Portugal to the third quarter of the 17th century in Spain and Italy was strongly associated with the guitar, and with songs and dances accompanied by the guitar. It was usually fast, with the wildness of spirit suggested by the name. In 1671 Francesco Corbetta published a set of Folia variations in which all the second beats were dotted; this, some changes to the harmonic structure of the early folia and the emergence of a virtually fixed melody led rapidly to the later folia. Almost always in D minor, the later folia was generally slower and more dignified than its forerunner. The earliest version is a 1672 Air des Hautbois by Lully, and in this form it flourished especially in France and England. Variations by Vivaldi, Alessandro the most famous music he wrote.- Titles: Follia a violino e violone (12'34") and Follia a violino e cimbalo (12'18")
- Released by Novalis double compact disc 150 128-2
- Duration: 12'46" ("Follia a violino e violone" = violin and violincello) and 12'18" ("Follia a violino e cimbalo" = violin and harpsichord)
- Recording date: November 1995/March 1996
- La Turbulente 'Vol 2 'La Follia' & Sonataes da Camera, Opus IV no
2, 3, 6, 7, 8, 10 Opus V no 9, 11, 12
Susi Möhlmeier and Frédérique Thouvenet: recorder, Catherine
Latzarus: harpsichord and Nicolas Hartmannn: cello
- Released 1997 by Ligia Digital compact disc Lidi 0301051-97
- Duration: 10'55"
- Recording date: October 1996 in the Opéra de Vichy
- University of Lviv Chamber Orchestra, 'Rummer Orchester der Universitat
Lviv'.
- Available as a tape cassette
- Released by Orchestra: Ukraine, 290054, Lvhv (Lemberg), Lubinska 96/78 Burko Serhlj TELEX 234128 TELCOP SLI FAX 72 67 39
- Veilhan, J.C. edited and realized the edition with arrangement for recorder
and figured bass based upon the J. Walsh arrangement for recorder and
basso continuo
Veilhan wrote about the Walsh arrangement (1702):In 1700, A. Corelli published his op. V, 12 sonatas for violin and bass, which immediately met with an immense success, thanks in great part to the 'Follia' that included the work. As early as 1702, the London editor John Walsh published a transcription of the last 6 sonatas of the op. V - including the 'Follia' - for recorder and bass, under the title: 'Six Solos for a Flute and Bass by Archangelo Corelli being the second part of his fifth opera containing preludes allmands corrants jiggs sarabands gavotts with the Spanish Folly. The whole exactly Transpos'd and made fitt for a flute and a bass with the aprobation of several eminent masters'.
This is the version that is always chosen by recorder players. If it is not quite as 'exactly Transpos'd' as he claims, Walsh's realization is nonetheless well adapted to the recorder, and this no doubt is the reason why - in addition to the interest of Corelli's composition - his transcription has known undisputed success until today
It is clear that Walsh intended to present a simplified transcription of the 'Follia' avoiding the low f sharp (the boring of double holes on the instrument being a rare occurance in the 18th century), as well as the high register, whenever possible. However, if certain 'octaviations' are indeed required by the compass of the recorder - more limited than that of the violin - others could have been avoideed in Walsh's version use of high notes. Also, Walsh deletes - in the recorder version - all double-stops written by Corelli for the violin. Yet these double notes are perfectly manageable on the recorder if the performer simulaneously plays the alto recorder with the left hand (the recorderstabilized by resting on the left knee), and the soprano recorder with the right hand: this process today employed in contemporary music, was practiced during the 18th century on the flageolet and double flute, and hails back at least to the double aulos of the Greeks ... Obviously, the double not performance of certain variations is left here to the taste of the personal player.- Title: Follia pour flûte à bec alto et Basse continue
- original score published circa 1702 by John Walsh
- Published by Alphonse Leduc & Cie, 1983
- Publisher No. A.L. 27000
- Verbruggen (recorder), Gibbons & Mahler 'Eighteen-century recorder
sonatas'
- Released 1988 by Titanic Records compact disc TiCD-35
- Duration: 10'35"
- Recording date: July 1978 at the Lindsey Chapel, Boston
- Verhagen, Reine-Marie (recorder) & Mathot, Tini (harpsichord): Corelli
Ensemble
- Live registration of a concert for broadcasting by the Concertzender, The Netherlands
- Duration: 9'59"
- Recording date: May 24, 1997 at De Waalse Kerk, Amsterdam
- Broadcasted by De Concertzender September 15 and 18 (replay), 1997
- Voorhorst, Lucius pupil of Frans Vester (traverso Hemsing 1725 a=415)
& Dekker, Gerard pupil of Gustav Leonhardt (harpsichord, Schutze 1964)
& Bol, Hans (viola da gamba) 'Works of Corelli, Quanz, de Konink,
Locatelli, Händel'
- Released 1971 by Bovema/EMI Haarlem The Netherlands LP EMI-HMV 5C-053-24533
- Duration: 12'04"
- Recording date: August 1971 place of recording unknown
- Wagnermeyer, Franz (trumpet) and Kovács, Robert (organ) 'Festivo!'
- Title: Sonate d-Moll op. 5 Nr. 12 fü Trompete and Orgel 'La Folia'
- Released 2007 by ARS Produktion compact disc ARS 38 476
- Duration: 10'35"
- Recording date: June 14-17, 2007
- Watillon, Sophie (viola da gamba), Stinders, Herman (harpsichord), Noiri,
Shizuko (lute) Leertouwer, Detmar (cello) "The Art of the viola bastarda,
or lyra viol"
- Released 1994 by Ligia Digital compact disc Lidi0106020-94
- Duration: 9'48"
- Recording date: August 5-7, 1994 at eglise de Franc-Waret, Namur Belgium
- Weinberg, Norman (percussion), Sharpe, Kevin (piano)
- Graduate recital, recorded by Indiana University, School of Music in Bloomington
- Sound tape reel, 1983-1984 no. 36
- Duration: 11'47"
- Recording date: July 22, 1983
- Zathureczky, Ede (violin) and Petri, Endre (piano) 'Concerto for violin,
Viski & La Follia, Corelli-Leonard'
Arrangement for violin and piano by H. Leonard
- Released 196? by Qualiton LP HLPX M 1051 not stereo but only mono
- Duration: 11'30"
- Zipf, Richard (organ)
Arranged for 4 manual organ by Richard Zipf (2010, 2011, 2012, 2013). Performance on Hauptwerk Virtual Pipe Organ using Palace of Arts Budapest Pipe Organ Sound Sample Set (Gravissimo sCSA). Original MIDI sequencer unknown.Richard Zipf plays his arrangement for organ solo
Duration: 9'07" direct link to YouTube
© 2013 by Richard Zipf- Title: Corelli: La Folia
- Released May 2013 by Richard Zipf for YouTube
- Duration: 9'07"
- Recording date: 2013
- Zucker, Laurel (flute solo) 'Inflorescence III, music for solo flute'
Arrangement by Laurel Zucker
- Title: La Folia Variations: Movement I. Theme for Solo Flute, Movement II (variation 1), Movement III (variation 2), Movement IV (varaiations 3 and 4), Movement V (variation 5)
- Released 2008 by Cantilena Records
- Duration: movement I 0'52", movement II 0'22", movement III 0'35", movement IV 1'04", movement V 2'54"
- Recording date: unknown
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?
In the announcement during the concert was stated (thanks to Carlos E. Osuna for writing out the announcement of the piece):
Ahora a tocar ahora una de las pocas piezas que si esta solita: es una Folia del compositor italiano Arcangelo Corelli,
que vivio a fines del siglo XVII y principios del siglo XVIII. La Folia o mas bien como comunmente se conocian
las Folias, no se por que tenian nombre en plural.
Decian en una obra espanola de teatro del principio del siglo XVII, que las Folias es, son las aguelas de todos los Sones
(lo ponian asi con "g": las aguelas de todos los Sones), porque eran el Son mas antiguo. Es un son que existe desde mediados,
por lo menos desde mediados del siglo XVI, y que de alguna u otra manera se ha conservado vivo desde aquel entonces.
La esencia de nuestro proyecto consiste en el mezclar estos sones muy antiguos que existen desde el siglo XVI
con los actuales sones tradicionales de Mexico (como los sones huastecos, jarochos, planecos de Michoacan, con los
arriben~os de por aqui de toda esta region) y encontrar las similitudes que sabemos que estan ahi.
En esta ocasion... Bueno, el ano pasado, debo decir que tuvimos el gusto de estar en este mismo recinto
con Jordi Savall, y el estaba muy sorprendido porque el traia una pieza italiana, y la empezo a tocar, la
pieza barroca, y uno de nuestros companeros, Patricio Hidalgo inmediatamente empezo a tocar una pieza jarocha
encima de ella. Entonces era como ensenarle una pieza tradicional mexicana a un musico barroco.
Lo que hicimos ahora fue traer una pieza barroca y ensenar.. mostrarsela a un musico tradicional mexicano,
a Ulises, que son unas folias para violin escritas por este compositor italiano, que sin embargo son un son,
como cualquier otro, no son como una pieza barroca muy especial, son tan son como la Bamba o cualquier otro.
Y de hecho, cuando lo estabamos tocando con el, les decia: estas figuras melodicas de aqui parecen huastecas, del violin.
Y luego decia: estas no parecen huastecas, estas son huastecas: es una pieza huasteca. Entonces, decidimos dejarlo que el
convirtiera estas folias barrocas que estan todas escritas: esta es una fotocopia del facsimil del original,
pero que las tratara libremente como lo hace con la musica viva y que las convirtiera en una pieza jarocha,
huasteca de hace 300 anos, de hoy. Yo creo que si la musica esta viva, funcionara, y aqui encontramos a la abuela
de todos los sones viendo a sus tataranietos huastecos en el esplendido violin de Ulises.
Now we are going to play one of the few pieces that are not paired: it is a Folia by the Italian composer Arcangelo Corelli, who lived at the end of the 17th century and beginning of the 18th century. The folia, or as it was more commonly known Folias (I have no idea of why the name is used in plural)... A Spanish theatre work from the beginning of the 17th century said that the Folias were the grandmother of all "sones", because they are the oldest "son". It is a "son" that exists at least from the middle of the 16th century, and which has been kept alive since then. The essence of our project consists of mixing these very old "sones" from the 16th century with today's traditional Mexican "sones" (Huastec-, Jarocho-, Michoacan planeco- and also arribeño-sones from this region) and discover the similarities that are there. On this occasion... Well, last year, I have to say that we had the pleasure to be at this same venue along with Jordi Savall, and he was very surprised because he brought an Italian piece, and when he started to play it, one of our colleagues, Patricio Hidalgo, immediately started playing a Jarocho piece on top of it. It was like teaching a traditional piece to a baroque musician. What we did now, was to show a baroque piece and teach... show it to a Mexican traditional musician, Ulises, and these are the folias for violin written by this Italian composer (Corelli), that are however a "son" like any other "son", and not like a very special baroque piece, as they are just a son like the Bamba or any other son. And when we were playing them with him, I told them: these melodic figurations seem Huastec, in the violin. And then I said: these, not only appear to be Huastec, these are Huastec: it is a Huastec piece. Then, we decided to allow Ulises to transform these baroque folias which are completely written (this is a photocopy of the facsimile of the original), and treat them freely, the same way he does with live music, and transform them into a Jarocho piece, a Huastec piece from 300 years ago, as of today. I believe that if this music is alive, it will work, and here, the grandmother of all "sones" will be watching all her Huastec granchildren under the splendid violin of Ulises.
Simple Folia for harpsichord intended for didactical purposes. First published 1749, reprinted in 1779
Duration: 2'21" direct link to YouTube
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| Opening of Les Folies d'Espagne (1749)* | |
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* In the original publication
of the sheet music the fingering is indicated to emphasize that the piece was written as an exercise for pupils |
- Baumont, Olivier editor of the edition
- Title: Les Folies d'Espagne in: Les Amusements du Parnasse, Méthode courte et facile pour apprendre à toucher le clavecin
- Published 1984 by Edition Henry Lemoine, Paris
- p. 5 and 6
- De Luca, Fernando (arcadian name; Ducande, Valerno) (harpsichord)
Fernando De Luca plays Folies d'Espagne
Duration: 2'13" direct link to YouTube
© 2013 by Fernando De Luca- Title: Les Follies d'Espagne
- Released November 2013 at YouTube by falernoducande
- Duration: 2'13"
- Recording date: November 2013 in Rome, Italy
- Gómez Álvarez, José Enrique 'Esbozos Antiguos'
José Enrique Gómez Álvarez wrote about this piece in an e-mail 14 April 2014:
Why I have chosen this piece by Corrette? Well it is a piece that belongs to his treatise to learn how to play the harpsichord. It is a didactical piece where the fingering is indicated. It is a good example of home made music not intended for the virtuosi. I like the piece particularly because it shows that the popular piece was arranged for several purposes.
- Title: Les Folies d'Espagne: 1rer variation, 2e variation, 3e variation, 4e variation in: Les Amusements du Parnasse, Méthode courte et facile pour apprendre à toucher le clavecin
- Released January 2014 by Prodisc compact disc 7509848801549
- Duration: 3'03"
- Recording date: December 2013 in Mexico City, Mexico
- Instrument: Bentside spinet build by Alejandro Vélez in 2001
Jeffery Cotton was studying with Hans Werner Henze back in 1984 when Henze conducted his 'Aria de la Folia Espanola' at the Edinburgh Festival, which is also a massive orchestral Folia and which Cotton describes as a wonderful piece of music. In 2002 Jeffery Cotton has received the 2002 Aaron Copland Award.
Despite the very complex nature of 'La Folia for string orchestra and harp', it appealed to me instantly. Although there is obviously a collision between the old traditional melodic music and the modern style-figures the music seems very natural and smooth without fiercely forced ideas. After the opening in a very traditional way, the theme is still approached with caution in the first variation before making the journey to unfamiliar Folia-territory. Now and then the theme emerges again (4'11", 5'55", 12'01") as a beacon to lead the listener in a gentle manner. But better judge for yourself because the work can be downloaded in its full length at the page of the composer mentioned below.
Jeffery Cotton wrote about his Folia-composition:
In my 'La Folia' I continue an ongoing pursuit: to write
music about music. This is an idea that came to me from Mahler by way of
Henze. This work is not a standard set of variations on the Folia theme.
Here, the theme itself haunts the margins of the piece, not so much in an
integrated, nicely-tied-together sort of way, but rather such that this
ancient idea seems to be trying to force its way into the present, into
my present. This approach to composing has always made sense to me, since
what I do – write orchestral and chamber music – has always seemed to me
an odd, anachronistic thing, belonging more to the past than the present,
and as such, a little mad.
In 1982 Gregorio Paniagua produced an album
called 'La Folia', a set of variations on the theme which seem to emphasize
the insanity aspect: the orchestration includes viols, crumhorns, sitar,
a klezmer band, and the sound of a car engine starting. It is a stunning,
hilarious compilation. In his very impressionistic notes for the album,
Paniagua made the following observation, which sums up perfectly my own
feelings about 'La Folia', and about writing music in general: 'All
the composers in the world who write their own Folia don't keep a close
account of what they are doing. They mature patiently like the tree that
does not haste his sap; They soak up everything and remain confident in
the torments of spring, without anxiety that they might not know another
spring. And spring comes and a quiet weariness overcomes them, even if they
are patient, carefree and calm, as if all eternity lay before them. They
can then love their Folia and their solitude; they endure the pain it causes
them and succeed in investing the sound of their complaint with beauty.'
More information about the oeuvre of Jeffery Cotton can be found at: http://www.jefferycotton.net/jcn/work_information.asp?WorkID=17. At this very functional and complete site you can listen to the entire Folia-composition in MP3-format (15 Mb) and download the complete partiture (pdf-format for Acrobat reader).
You'll need a MP3-player (like Winamp, or XingMp3player) to listen to the file below. You can download it from the web (www.mp3.com, or www.xingtech.com)
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Duration: 1'32", 363 kB. (32kB/s, 32KHz) |
- Metamorphosen Chamber Orchestra, Scott Yoo conductor
The instrumentation is Violin I, Violin II, Violas, Cellos, Basses, Harp. Metamorphosen did it with 5-4-4-3-2 in the strings
- Dedicated to Dan Coleman
- Yet to be released
- Duration: 14'54"
- Recording date: March 9, 2001 at the Jordan Hall, Boston
- The complete Folia can be downloaded at http://www.jefferycotton.net/jcn/work_information.asp?WorkID=17
- Commissioned by Metamorphosen Chamber Orchestra
- Cotton, Jeffery
- For more details see the link above (http://www.jefferycotton.net/jcn/work_information.asp?WorkID=17)
- Duration: 14'54"
- Score: 55 pages (you can download the entire score from Jeffery's site). The instrumentation is Violin I, Violin II, Violas, Cellos, Basses, Harp.
Theme and 4 variations (and starting the first four bars of the 5th variation). First published 1811 by W. Mitchell, London England.
- Laganà, Ruggero (fortepiano) 'Follie, bizzarrie e stravaganze in musica, dal '500 all '800'
- Title: Follia di Spagna
- 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: 3'53" (duration of Divertimento X: 18'49")
- Recording date: August 18-19 and November 15-19, 2004 in Chiesa di S. Maria Incoronata, Martinengo (Bg), Italy
- All variations nicely indexed
- See also the page Recommended Folia-recordings
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John Craton |
John Craton wrote about his composition March 2012:
I have long had a fascination with the original theme, after I studied the Corelli variations as a freshman violin major in undergrad years ago. As I recall, I had recently completed making an arrangement of the Salieri variations for violin & piano (which are published by Wolfhead Music) and decided to write a series of variations of my own. Some of these had been juggling around in my head for many years. The variations I wrote are in neo-classical style, thereby giving homage to the great works of Corelli and Salieri, but the variations are all original.The work was premiered by Ljubomir Velickovic (violin) and Dmitry Cogan (piano) in Sacrameto, California, US, in January 2010.
- Craton, John
- Title: Variations on "La Follia" Subtitle: In the tradition of Arcangelo Corelli & Antonio Salieri
- Published 2007 by Wolfhead Music
- Duration: app. 9 minutes
- Pages: 12 pp., piano; 5 pp., violin; 8½” x 11”
- For ordening and an impression of the openingspage for violin and piano see http://www.wolfheadmusic.com/folliavar.htm
- More about the composer you can find at his website http://www.craton.net/index.html
Despite the modern harmoniques and rhythm the Folía theme is clearly recognizable in every variation. Because of the rich influences of baroque, folk, flamenco and repetitive minimal music, these variations are very easy and enjoyable to follow from the start with its rich embellishment and syncopated countermelodies. Through a set of continuous variations, in which the folia is clearly evident as the harmonic basis, the piece develops from introspective sections to sections of greater intensity, resolving the accumulated tension at the very end.
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David Crittenden |
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Fragment of the premiere (live performance) by the 2006 MacPhail Suzuki Guitar Quartet |
I freely composed over the bass progression commonly used by previous composers, but aside from that, my piece is not modeled after any other composer's treatment of la folia. I've always felt that the progression was beautiful and moving, so when the time came for me to compose a set of guitar quartets, it seemed natural to turn my efforts to this traditional form. Structurally, my piece (a set of continuous variations) has a two-measure introduction and a brief coda, and some of the variations have elisions between the end of one section and the beginning of the next.
As you listen to my piece, I think you will find that, while remaining largely consonant, it employs a modern harmonic language.
- Crittenden, David
- Title: Quartets for guitars, three intermediate works
- Published 2010 by Summy-Birchard Music (Alfred)
- Duration: app. 5'30"
- Premiere by students (Christopher Garwood, Stephen Krishnan, Tom Polzine, and David Tramm) of Alan Johnston in Minneapolis, Minnesota at the Suzuki Association of the Americas conference in Minneapolis in 2006
- You can learn more about this composer at his website http://davidcrittendenmusic.com/
Ballet commissioned by Balletto Teatro di Torino (2010).
Follia II per violoncello solo (duration 6'12")
Lamberto Curtoni wrote about the piece:
The idea of "echi e follie" came to existence during my live concerts, in which i usually play classic peices and try to give them a touch of modernity. I decided to use Marin Marais's variations on the folia theme, and develop them in various directions.
It's entirely for cello, and all its tecniques. the music is very physical, and I tried to give it emotional freedom in order to create a connection between the cello's voice and the cellist's. "Echi e follie" is an outpouring of different emotions. Also in Matteo Levaggi's work you can see this very important feature.
"Echi e follie" is a musical project that I wrote on commission from the Balletto Teatro di Torino with choreography by Matteo Levaggi. The debut took place in February 2010 in Collegno (Turin) in the Lavanderia a Vapore (http://www.lavanderiaavapore.it/) one of the most important Dance center of Italy. Lavanderia a vapore was the true laundry of the mental hospital of Collegno (suburb of turin).
It was then taken on tour and is a project that we still have among the proposals.
In summer 2010, the title became La folia :"Echi e Follie" was also performed at the Ravello Festival in 2010.
I started to actualize the theme of "La Folia", writing sections that they like the bass and at times creating new sonorities created by delays or dissonance. In the Scene there's solo cello. (i work with my sound engineer with live electronics and file)
The lineup includes more movements and not everyone is in the bass line or theme of the Folia Marais is recognizable. Similarly, I wrote some scores titled "ECHI" who are opposed to "FOLLIE" and have different themes.
- Curtoni, Lamberto
- Title:
Echi e follie per violoncello solista, archi ed electronics, the parts:
- LUCE I
- ECHI II
- MADRIGALE
- PESTE
- LUCE II
- ECHI
- LUCE Beatriceʼs Song
- TRASPARENZE I
- URLI
- LET HER FINISH HER DANCE
- TRASPARENZE II
- CHI PASSA PER STA STRADA - Published by Casa Musicale Sonzoglo
- Duration ca. 70 minutes
- Three sound fragment (1'06", 0'46" and 1'55" respectively) you can find at http://www.lambertocurtoni.com/it/audio.php
- More about the composer you can find at his website http://www.lambertocurtoni.com/it/progetti.php
- The score is for rent at the publisher http://www.sonzogno.it/it/compositore?id=623&lang=it&epoca=1&opera=2391
- Title:
Echi e follie per violoncello solista, archi ed electronics, the parts:
Diego Dall'Osto wrote about his composition in an e-mail May 22, 2013:
It happend that the choreographer Nicolo Fonte, told me about his project to create a choreography with some, intially generic, baroque inspiration.
So I suggested to use the Follia theme, as one of the most emblematic of the baroque era. A theme that I love particularly anyway. In a second meeting we had the idea of integrating Vivaldi's Folia in a revisited, rearraganged version. Like chinese boxes, a new series of variations on La Follia, fitting a version (mine) of another version (Vivaldi's).
- Diego Dall'Osto and the orchestra of the Goteborg Opera House
- Performance date 2004 at Goteborg Opera House, Sweden
- Duration: 42'30" (including c.10' the arrangement of Vivaldi's Folia)
- Some fragments of the piece you can find at http://www.dallosto.com/en/audiovideo.php including a YouTube-file with a new arrangement of a Folia based upon Vivaldi's Op. 1 no. 12
- More about this composer at his website http://www.dallosto.com/en/
- Luisa Mauro (mezzozsoprano), Rokk Jakaj (violin), Mario Torni (violin), Gustavo Fioravanti (viola), Alfredo Giarbella (cello),
Kim Sung-Hwa (pianoforte) conducted by Irlando Danieli
- Composed in 1999 copyright Irlando Danieli
- Duration: 9'00"
- Performance date: June 24, 2000 in Sala Verdi, Conservatorio Milan, Italy
- More about this composer at http://www.wickymusic.com/dettaglio_compositore.asp?IDcompositore=25&pagina_load=/dettaglio_compositore.asp
- Österreichische Nationalbibliothek, Wien
- Published in facsimile, János Darvas, Köln
- Year of Manuscript 1952-1960
- Recordings: -Qualiton-HLPM-1549 (1954) -Qualiton HLP 108 -Parliament-PLP-124 (1960) -Gloria-C-045-91165 -Westminster WST 14151 -Qualiton-SLPX-11341 (1967) -Qualiton-MK-11341 (1967) -Hispavox HUNS 660-02 (1974)
- More about this composer at http://www.darvas.de/gd
- Delucchi, Emanuele
- Published at the internet at http://imslp.org/wiki/La_Folìa,_Op.10_(Delucchi,_Emanuele)
- Copyright: Creative Commons Attribution Non-commercial 3.0
- Score: 11 pages
- Publisher's No. not mentioned
The Camerata Singers of Monterey County
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- The Camerata Singers of Monterey County, artistic director John Coza
- Published at YouTube January 5, 2014
- Duration: 4'16"
- Recording date: May 2008 in the First United Methodist Curch, Pacific Grove, Canada.
- Roux, Didier Le and Bazin, Jean-Paul (mandolins)
'The Mandolin through the ages'- Released by Musical Heritage LP 1984
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Duration: 1'33", 06 kB. A transcription for midi of one of the 'variations' Sequenced by the composer 1997, © David Denniston |
This particular variation uses an oboe and several sounds which are approximately like a piano, so it works acceptably in midi format. I have tried several of the others but not with much success. Most of the variations use sounds which are nothing at all like the QuickTime instruments.
- Denniston wrote about his La Folia Mutations in November 1997:
My version is an entirely electronic composition (so there is no printed score) and is more-or-less a theme and variations, except that the variations move progressively farther from the original tune, eventually reaching a sound-universe unimaginable to a 17th-century musician, and containing melodic and harmonic fragments only distantly derived from the original. The whole piece is about 15 minutes long. Eventually there will be a choreographed version. It has been heard on several concerts on the West Coast of the U.S. and will appear on my CD next year sometime.
- Score: 1 manuscript 30.7 x 22.4 cm.
- Published c. 1825 by Duhan, Paris
- Published by Lemoine, Paris 21 p.
- printed version in RISM A/I, D 1674.
- Contents: (f. 1v:) 1.re Prelude, g, 3/4 -- (f. 1v:) 2.e Prelude, g, 3/4 -- (f. 2r:) Thêma, g, 3/4 -- (f. 2r:) 1.re Exercice, g, 3/4 -- (f. 2v:) 2.me Exercice, g, 3/4 -- (f. 3r:) 3.me Exercice, g, 3/4 -- (f. 3v:) 4.me Exercice, g, 3/4 -- (f. 4r:) 5.me Exercice, g, 3/4 -- (f. 4v:) 6.me Exercice, g, 3/4 -- (f. 5r:) 7.me Exercice, g, 3/4 -- (f. 5v:) 8.me Exercice, g, 3/4 -- (f. 6r:) 9.me Exercice, g, 3/4 -- (f. 6v:) 10.me Exercice, g, [3/4] -- (f. 7r:) 11.me Exercice, g, 3/4 -- (f. 7v:) 12.me Exercice, g, 3/4 -- (f. 8r:) 13 Exercice, g, 3/4 -- (f. 8v:) 14.me Exercice, g, 3/4 -- (f. 9r:) 15.me Exercice, g, 3/4 -- (f. 9v-10r:) 16.me Exercice, g, 3/4 -- (f. 10r:) 17.me Exercice, g, 3/4 -- (f. 10v:) 18.me Exercice, g, 3/4. (f. 11v:) 20.me Exercice, g, 3/4 -- (f. 12r:) 21.me Exercice, g, 3/4 -- (f. 12v:) 22.me Exercice, g, 3/4 -- (f. 13r:) 23.me Exercice, g, 3/4 -- (f. 13v-14r:) 24.me Exercice, g, 3/4.
- Stanford copy 1 (MUSCL): No. 1 in a vol. with binder's title: Musique de harpe `a mlle. Bovis. Fantaisie, Year: 1810-1819
- Desprez, Fernard
- Published 1963 by Maurer Editions, Bruxelles
- Score 8p. and 6 parts. 34 cm, percussion part optional
- Publisher No. PH 304
This composer for the 5- and 6 course guitar wrote approximity 200 compositions for guitar solo and for guitar with piano, brass or violins. The name of this composer is often confused with the composer C. Lintant (1758-1830) who also wrote music for the guitar. So the fictive name 'Doisy-Lintant' is sometimes referred to in literature (Eitner) to indicate Doisy.
- Drouet, Louis François
- Published 1821 by Hentz, Paris (flute solo) and 1823 (together with 'Air della molinara') by André, Offenbach (two flutes)
- S: Whist. 1821 (solo) and S: Whist. 1823; 1844 L: DK: A NI DHwn (2 flutes)
- Score: unknown
- Publisher's No. unknown
- Quakernaat, Peter editor of the sheet music for two flutes
- Published 1960 by Broekmans & van Poppel, Amsterdam, the Netherlands
- The other air is 'Air della molinara'
- Score: 2 parts, 31 cm
- Publisher's No. 342
- Drozdov, Anatolij
- Published in Six morveaux anciens: pour piano: d'apres les maitres de luth et de guitare des XVI et XVII siève; cles or in original Russian language: 'Sest' starinnych p'es: dija fortepiano: po ljutnevym i gitarnym materialam XVI i XVII vekov'
- Published 1940 by Gosudarstvennoe Muzykal'noe Izdatel'stvo, Moskva
- Total of 21 pages size 30 cm
- Publisher's No. M. 16583 G
- With an introduction in the Russian language
- Part of the collection of the Royal Library in Den Hague NMI12.2, collection Hugo van Dalen (Volume 71)
David Norton wrote in the classical guitar forum ( http://www.delcamp.us) 26 September 2009:
This is extremely reminiscent of the Ponce set, but many shades easier. As it was explained to me by Duarte himself some years ago, the word "simple" was added to the title at the insistence of the editor for marketing reasons. Duarte denied any concept of the piece being a "homage to Ponce" in any way, but in complete truth there's no chance that anyone who has played this set and who has heard the Ponce cycle cannot help but draw the conclusion that Ponce was a strong subliminal influence here, and the composer's protestations to the contrary be damned. The Duarte set runs about 5 minutes in length and is really worthy of concert performance.
David Norton wrote in the classical guitar forum ( http://www.classicalguitardelcamp.com/viewtopic.php?t=73908) 25 December 2012:John Duarte's "Simple Variations on Las Folias, op. 10". The word "simple" in the title was added at the insistence of Dr. Boris Perrot of the London Philharmonic Society of Guitarists (PSG). Duarte had written his "Impromptu in Eb, Op. 8" for the PSG, and Dr. Perrot shamefacedly had to tell Duarte that the key of Eb made it untenable for most of the PSG members to tackle. So Duarte came up with the Folias variations as an alternative, adding "simple" to the title so as to encourage the PSG members to give it a go.
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Duration: 1'15", 02 kB. Theme as indicated below in the sheet music and the first variation |
| Theme of 'Simple Variations on Las Folias' | Columbia Music, 1964 |
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| First variation of 'Simple Variations on Las Folias' | Columbia Music, 1964 |
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- Duarte, John W.
- Published by Columbia October 1951
- Publisher No. CO 152
- Ouzounoff, Alexandre (editor of the music)
- Title: Variations des Folies d'Espagne (Urtext) pour Basson solo, / PAR EM. DUCREUX Elève de Devienne . / PRIX 1f 80c / Chez CORBAUX, Md. De Musique à la Lyre d’Or, rue de Thionville N. 28. / Il tient Pièces de Théâtre et cordes de Naples. / Propriété de Corbaux – Enregistré à la Bibliothèque Impériale.
- Published 2012 by Egge Verlag, Coblenz am Rhein, Deutschland
- Publisher's No. EVB 3202
Like Busoni and Darvas wrote orchestral arrangements of the Spanish Rapsody by Liszt for solo piano, Dumbraveanu made an orchestral version of the Variations on a Theme of Corelli by Rachmaninoff for solo piano. Dumbraveanu has taken no shortcuts, orchestrating even those variations that Rachmaninoff allowed to be cut.
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- Detroit Symphony Orchestra, conducted by Järvi, Neeme
Although I'm not a great fan of orchestral Folias, this is an outstanding arrangement and a great performance in one. Depth and timbres are overclassing the original score in every aspect imho and i know this view will not make me very popular.
Michael Fleming wrote for the slipcase:
Rachmaninov was on vacation in France in 1931 when he wrote the only original piano work of his years in exile: the Variations on a Theme of Corelli.
However the American Record Guide review is less enthusiastic:
It is doubtful whether the seventeenth-century violinist Arcangelo Corelli really inspired Rachmaninov's variations. True, Rachmaninov used the same theme Corelli had in one of his violin sonatas. But Corelli was not its inventor: the simple repeating bass known as La Folia had served as material for generations of composers. Some scholars speculate that Rachmaninov came to know it from Liszt's Spanish Rhapsody, which was part of Rachmaninov's piano repertoire.
In any case, this ancient theme opened the springs of Rachmaninov's creativity again. The piano writing here shows a new economy of means and sparseness of texture, and the twenty variations are organized into a sonata-like scheme, with opening movement, scherzo, slow movement and finale - even a cadenza and coda. Rachmaninov had only sporadic success with the piece in his recitals, but it pointed the way to one of his greatest works, the Rhapsody on a Theme of Paganini for piano and orchestra, which followed three years later.
This is the world premiere recording of the orchestral arrangement by the Rumanian conductor Corneliu Dumbraveanu.
[...]. I wish I could be just as positive about Corneliu Dumbraveanu's arrangement of the Corelli Variations, however, this work doesn't strike me as quite so effective in recreating Rachmaninoff's orchestral medium. Indeed, it often sounds more Romanian than Russian, which is not surprising since Dumbraveanu is Romanian himself. Consider, for example, the Intermezzo or Variation 17. And I found myself at times conscious of the length of the piece, even though few of the individual variations last longer than one minute (Rachmaninoff himself occasionally left out a few of them when playing the piano score in concert). However, Dumbraveanu may be forgiven because of the beautiful oboe solo he has created in Variation 15, here played in melting fashion by the Detroit Symphony's first chair Don Baker. A luscious performance of Rachmaninoff's own arrangement of the well-loved Vocalise is appended to end the disc on a welcome note of repose.
- piano: Alan Kogosowski
- Released by Chandos Records Ltd. compact disc CHAN 9261
- Duration: total 20'23" divided in Theme Andante 0'55", var. 1 Poco più mosso 0'55", var. 2 L'istesso tempo 0'47", var. 3 Tempo di menuetto 0'38", var. 4 Andante 0'52", var. 5 Allegro (ma non tanto) 0'23", var. 6 L'istesso tempo 0'24", var. 7 Vivace 0'33", var. 8 Adagio misterioso 1'24", var. 9 Un poco più mosso 1'55", var. 10 Allegro scherzando 0'33", var. 11 Allegro Vivace 0'18", var. 12 L'istesso tempo 0'33", var. 13 Agitato 0'35", Intermezzo A tempo rubato 1'45", var. 14 Andante (come prima) 1'45", var. 15 L'istesso tempo 1'53", var. 16 Allegro Vivace 0'29", var. 17 L'istesso tempo 0'54", var. 18 Allegro con brio 0'30", var. 19 Più mosso. Agitato 0'29", var. 20 Più mosso 0'53",
- Recording date: October 10 and 11, 1993 in the Detroit Symphony Orchestra Hall
The theme and all variations consist of only the first 8 bars of the original 16 bars, ending in the dominant (similar to the variations of A. Scarlatti).
In December 1998 Arnaud Dumond wrote about his 'Variations sur la Folie':
These Variatons on La Folia are part of a group of about
twenty pieces which I call Style Exercises (Exercises de Style). At present
they have been published in various regroupings of which Five French Homages
(Cinq hommages français) and Like a Tango (Comme un Tango) by Éditions
Doberman-Yppan and Differences on Greensleeves (Différences sur Greensleeves)
by Éditions Van de Velde.
Concert pieces as well as exercises, they explore various past styles and
forms in the light of the present-day guitar. Just like that of the interpreter,
the task of the composer consists, among other things, in questioning the
past. One way of evading those untimely yet dear influences is using a more
contemporary language. Which is, in most of the cases, the occasion of transfiguring
the original matter.
These exercises neither parody nor paraphrase, neither replace, nor copy
the original: they just fill in a gap.
Actually, in the age of Ravel, Debussy or Ravel, in the times of Greensleeves
or the Folia, the guitar waited in vain for a composition of its own, making
use of everything within the present reach.
An equally important aim I have set myself is that of evading stylistic
automatisms of the guitar in order to open up a more universal musical realm.
These pieces could appear to be the fruits of the pleasure of visiting "abroad",
meant to be imported into the far too enclosed field of the guitar. Emerged
from imaginary or faraway memories, they are like the 'account of a journey',
in space as well as in time, but departing from and returning to ours.
The Variations on the Folia rely on the regular scheme of the Folia, One
does not have to choose between the sweet sentiment, or the gnashing folly
evoked by the double meaning of the title and by the music. The theme has
an accent on the second beat. Yet each variation contains its own dynamics,
in accordance with its own style.
I have tried to give every variation its own distinguised character, colour
and style. In the first variation the attention is drawn to the bassnote
pattern, which takes the shape of a chromatic scale in the second variation.
The third variation is almost like a march, starting free and easy but ending
in remorseful bitterness. In variation 4 the admosphere is cleared by the
elastic scope of the notes with much suppleness like a never ending phrase
by Mahler, bringing in elements of hesitation and passion. Three bars in
one breath In variation 5 the technique of a lyrical tremolo is introduced
while the melody progresses in the bassline. Variation 6 was inspired by
Rachmaninoff, who composed some monumental
variations upon the Folia-theme in the early thirties. The tension and centre
of gravity in variation 7 and 8 are created by the sustained and repeated
B-note in the upper register. In variation 9 an harmonic ambiguity is shown,
while in variation 10 the abundantly use of left hand 'pull-offs' (mordents)
is responsible for the increasing tension. Variation 11 plays with accused
and blocked rythms, which free themselves in Variation 12, alla flamenca.
The reprise of Variations 4, 5 and 6 brings the work to its fulfilment.
In fact, these three variations are the only ones that do not follow the
traditional pattern of the Folia: they are no more than a transfigured memory.
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Duration: 1'33", 03 kB. Theme and first variation as indicated below and two more variations |
| Theme and first variation of Variations sur La Folie |
Reproduced with permission of Arnaud Dumond |
|---|---|
 |
|
- Dumond, Arnaud
- Published for guitar by Les Editions Dobermann-Yppan, 1998
- 161 bars
- Publisher No. DO 256
- Dumond, Arnaud (guitar) 'Oeuvres pour guitare, Vol. I'
- Title: Variations sur la Folie
- Guitar built by Antoine Pappalardo
- Released 1998 by Integral Distribution compact disc AD HOC 982
- Duration: 6'44"
- Recording date: 1988 in DS Audio
- Martinez, Kurt (guitar) 'Folías'
- Title: Les Folies d'Espagne
- Released without indication of year (but it is 2003) by martinezkurt@cs.com without order number
- Duration: 6'53"
- Recording date: not mentioned in the slipcase
- See also the page Recommended Folia-recordings
.
Joseba Berrocal wrote about this Folía:
This is one of the most well-known books of cello studies and there are a countless number of editions. In fact, near all cellists play them. You will find the original 1806 music in the later edition available at IMSLP. Even if the André edition translated and revised the first part of the method, he used the original Janet et Cotelle plates for the exercices (Plates Number 296)
- Duport, Jean-Louis
- The full score can be found at http://imslp.info/files/imglnks/usimg/9/95/IMSLP26008-PMLP58001-Duport_-_Instruction_on_the_Fingering_and_Bowing_of_the_Violoncello.pdf
- Published 1806 by Janet et Cotelle, Paris, France p. 192-193
- Total of pages 2
- Publisher's No.2599
In his ten movements the composer combines different variations on the folia with refined elaborations of historical themes of rancid ancestry:
"Guárdame las vacas", "Fantasía" de Mudarra, "Tres morillas de Jaén" and "Ay, triste que vengo".
Francisco Martínez Ramos wrote about Cervantina:
The work, a "symphonic suite on popular themes" is a tribute to the music of the time of Cervantes, consisting of variations of themes from the ancient repertoire, such as the "Folías de España". The form is imaginative and the orchestration brilliant.
 |
- ORCAM Orquesta Sinfónica de la Comunidad de Madrid. Dir.: Víctor Pablo
- Recorded in the Auditorio Nacional de Música de Madrid. 27/09/2016.
- Duration ca. 15 minutes
- At YouTube: https://www.youtube.com/watch?v=8EH0oXw6SGg
I came to write it because I like the Folia theme so much,
and I thought I would like to have a version that I could play and that
went on, at a fairly fast speed, for several minutes. Since the only instrument
I play (and the only one I compose for) is the recorder, I made this five-part
version for the recorder consort of which I am a member, The Reluctant Consort.
After the statement of the theme in the plainest five-part version possible,
eleven variations follow, the main interest moving from one voice to another.
To conclude, two of the variations are repeated. I mostly omitted bar 16
so that the music would continue driving along relentlessly. That's the
way I like La Folia to sound.
Although it has had a number of public performances, it has never been published
or recorded. Anyone who would like more information can contact me by
email: lance.eccles@mq.edu.au.
| Theme of Variations on La Folía | © Eccles, reproduced with permission |
|---|---|
 |
|
- Eccles, Lance
- Published by ERTA e.V. European Recorder Teacher Association
- You can buy the score from Edition Walhall – Verlag Franz Biersack in Magdeburg.http://www.edition-walhall.de/
- Published in 2005 (with some minor adaptions made in 2002 by Lance Eccles). Rights for publication by Eccles.
- Score 8 pages and parts 10 pages
- Publishers No. Flautando Edition FE A-076 Manuskriptesammlung, publication 6.2005
- Details of recorder music Lance Eccles has published can be found at Orpheus Music: http://www.orpheusmusic.com.au/
- Sydney Conservatorium of Music's recorder section of the Early Music Ensemble
- Published at YouTube by Tim Payne 6 June 2015
- Performied for the Ambassador of Portugal and the accompanying consulate and their guests.
- Duration: 5'30"
- Recording date: May 15, 2015 at the Sydney Conservatorium of Music's Verbrugghen Hall.
Despite the prominent mentioning of the Folia-theme in the announcement, I could only hear the later Folia-theme once as played by the violin as in the sound fragment.
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Duration: 1'26", 1353
kB. (128kbs, 44100 Hz) |
In the announcement of the program was written:
Die neue Konzert- und Kongresshalle in der alten schwedischen Universitätsstadt Uppsala ist ein eigenwilliges Gebäude. Das im September 2007 eröffnete Kulturzentrum liegt mitten in der Stadt und lädt mit drei unterschiedlich großen Konzertsälen, mit Konferenzräumen und einer großen Ausstellungsflächen zu vielfältiger Nutzung ein. Der große Konzertsaal, aus dem dieses Euroradio-Konzert live übertragen wird, fasst etwa 1.150 Zuschauer und ist nach neuesten Erkenntnissen im Bereich der Akustik gebaut. Hier finden nicht nur klassische Konzerte statt, sondern er ist auch für Pop-. Jazz und Folkkonzerte geeignet. So erklingt heute skandinavische Folk- und Tanzmusik gespielt von sieben der bekanntesten schwedischen Musiker in diesem Genre. hr2-kultur überträgt das Konzert im Rahmen des Euroradio-Schwerpunkts „Klassik trifft Volksmusik“.
- Göran Maansson (recorder), Lars Holm (accordeon), Fredrik
Gille (percussion, n.n. guitar), Johan Hedin (violin),
Mikael Marin (alt violin), Mats Olofsson (cello)
- Broadcasted by the Swedish radio in a Eurovision live broadcasting 'Klassik trifft Volksmusik'
- Duration: 55'13"
- Recording date: February 11, 2008 from the Konzert- und Kongresshalle, Uppsala, Sweden
Text in French |
Text in English |
On vit sortir d'une grotte profonde |
From a deep cave were seen to appear |
- Froment, Louis de (conductor) Lefort, Bernard (baritone), Ales, Georges ((violin), Doukan, Pierre (violin), Lanhuite, Pierre (viola), Albin, Roger (violoncello) "Werner Egk, Die Zaubergeige, La Tentation de Saint Antoine"
Froment, Louis de (conductor)
Duration: 2'17"" direct link to YouTube
© 2012 by Magdalen, a division of Metronome recordings mono- Title: La tentation de Saint Antoine, after eighteenth Century airs and verses by Michel Jean Sedaine. Baritone version. Title track: On vit sortir (Des Folies d’Espagne)
- Released 2012 by Magdalen, a division of Metronome recordings mono compact disc
- Duration: 2'17"
- Recording date: Recording issued in 1956 in Mono. First time on CD
- Koeckert Quartett, strings of the Bavarian Radio Symphony Orchestra
and Baker, Janet (alt)
Paul Griffiths wrote for the slipcase:
La Tentation de Saint Antoine, a concert work for contralto and string quartet written in 1945 (and adapted for contralto, quartet and string orchestra in 1952), stands therefore rather apart from his main output in its genre, though not in its ironic tone. According to its title-page, the piece is 'based on airs and verses of the 18th century, so that the demons besetting the saint wear curiously charming masks out of ancient régime pastoral, and the apocalyptic uproar mentioned in the first song is rendered by the musical means of a classical cantata. There is room, though, for Egk's playful music personality to exert itself, rather in the manner of Stravinsky's in Pulcinella. The vocal lines seem to have been kept pretty much intact, if rhythmically altered, but the strings almost always used to provide homogeneous textures, are in a spikier harmonic world, and Egk evidently revelled in the inappropriateness of his chosen airs, which often have a nursery-rhyme simplicity, to the expression of spiritual crisis. In doing so, however, he was contributing to the strong tradition of comedy in the Saint Anthony story, a tradition which deals with the Last Things not as the dire threat Everyman felt himself to face, but as so much absurdity.
- Title: On vit sortir d'une grotte profonde (Air: Des folies d'Espagne)
- This work for contralto and string quartet written in 1945 was adapted for contralto, string quartet and string orchestra in 1952
- Released 1971 by Deutsche Grammophon, digitally remastered 1990 compact disc 449 097-2
- Duration: 2'14"
- Recording date: November 1965 in Ufa-Tonstudio Berlin
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Duration: 3'05", 2900
kB. (128kbs, 44100 Hz) |
|
The complete Ma Follia, 15 pages in pdf-format, 1.1
MB © Victor Eijkhout 2006, used with permission |
I had come across La Follia as the name of an early music ensemble in Austin,
TX, where I live. When I looked up the history of that name I started thinking
about writing my own variations. The direct reason for doing so was the monthly
competition on the kvraudio.com web site. Ma Follia, or rather the recording
of it, was my entry for October 2006. The limit on competition entries is 2
minutes, so every variation was really only the first half of the theme, with
the exception of the last variation which returns to the tonic.
Since then, I've extended it to about 3 minutes, by supplying the second half to some variations. Since I find simple repetition a bit boring, the second halves bring in new material. I do this by using double-choral effects between A1,A2,T1 and A3,A4,T2. In the first variation the second choir simply thickens up the harmony, but in the second they play polyrhythmically 4-over-3, and in the third variation there is a little hocket passage between the two choirs. After two half variations with soprano and alto solo parts, there is a full variation with a swinging tenor solo, over which in the second half the higher voices quote a jazz tune.
True to tradition, this set has a variation in the major key, but instead of simply converting the chords to major, I wrote a brief passages of somewhat wild variations. Ma Follia ends with a dense texture of very traditional harmonies, played by the full ensemble, with sopranino and gar klein joining in on the second half.
- Eijkhout, Victor
- Recorders: small, sopranino, 2 sopranos, 4 altos, 2 tenors, bass
- Duration: 3'05"
- Recording date: November 2006 (original version September 30)
- More about the Ma Follia composition at the Petrucci Music Library http://imslp.org/wiki/Ma_Follia_(Eijkhout,_Victor) and about dutch rural folk songs http://imslp.org/wiki/Oude_en_Nieuwe_Hollantse_Boerenlieties_en_Contredansen_(Anonymous)
- More about Victor Eijkhout at the page http://www.eijkhout.net (including the seperate parts for instruments of the sheet music)
These Folia-variations are an enumeration of two pieces: an anonymous Spanish manuscript for harp and the manuscript by Lucas Ruiz de Ribayaz with a nice intro.
- Eilander, Maxine (Spanish and Italian harps, Stephen Stubbs: baroque guitar) 'Teatro Lirico'
- Released February 2006 by ECM New Series 1893 4763101
- Duration: 3'32"
- Recording date: February 2004 in Propstei St. Gerold
- See also the page Recommended Folia-recordings
"Variations on La Follia" were composed in 2011. It is approximately 18 minutes long. It was composed for Parthenia, a consort of viols (1 treble, 1 tenor, 2 bass).World Premiere performance by Ensemble Parthenia, October 22, 2011 at Picture Ray Studio in Manhattan
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Variations on La Follia began, appropriately enough, as a kind of a joke.
I first heard Parthenia when they performed at my friend Jacqueline Horner-Kwiatek’s wedding. I
spent most of that lovely afternoon sitting as close as possible, listening to them play Lawes and
Purcell and Jenkins, completely enthralled. Later, Jacqui suggested that I might want to write a
piece for her to sing with Parthenia. I immediately agreed. I had worked with viols before, on the Voices of Light project (which Jacqui, a member of Anonymous 4, had sung countless times). I
loved the sound of viols.
During the first part of 2010, I set several poems by an Irish poet (Jacqui hails from the Emerald
Isle) but try as hard as I could, the music kept coming out as modern string quartet music, not viol
music. Violins, viola, and cello seem related and similar to viols but are actually entirely different.
What is idiomatic and simple for the violin is not necessarily so for the treble viola, for example,
and the sound of the ensemble is very different: a consort of viols has a haunting, mysterious
sound, an evocative wistfulness that is deeply appealing to me.
In short, I had misjudged how very unique viols were and so, I put aside some 30 minutes of music
and undertook a deep immersion in viol technique and repertory. I listened to hours of recordings
and studied dozens of scores, often note by note to understand the technique and fingerings.
One day, on a lark, I started to play around with La Follia, that ancient tune that attracted so many
composers including Marais, Vivaldi, and CPE Bach. In my spare time, I’d write a variation or two.<
They sounded like they’d be fun to play so I wrote to Lisa Terry and suggested she hear all the new
music I’d been working on, the LaFo - as we called it - as well as a some short etudes. We spent a
very long afternoon going through it all and we both laughingly agreed that it that it was high time
someone wrote a new set of “La Follias.”
And so, what began as a diversion became a major compositional focus for a while. All the same,
my piece was never intended to be serious competition to the La Follia masterpieces of the
Baroque and Renaissance. Rather, it’s a collection of “follies,” with (hopefully) at least a tiny bit of humor. For example, there’s a variation in which one of the bass viols begins some elaborate
passagework, accompanied by the other three players. Then it gets a little too florid and deliberately
goes on too long until it becomes obnoxious. In exasperation, the other players finally shut up the
by-now nearly manically out of control bass viol.
William Faulkner wrote “the past is never dead, it's not even past.” While viols have a long
tradition, and an awesomely beautiful repertory,there always will be more music to write. The
challenges composers have today are the eternal problems, the same ones that Sainte-Colombe and
Marais and Purcell and Jenkins and Lawes all grappled with: how to compose for these gorgeous,
evocative instruments and how to honor and (hopefully) extend a great repertory with new music
that aspires to speak, with some fluency and eloquence, the language of viols.
I want to take this opportunity to thank Lisa Terry and the rest of Parthenia for their enthusiasm and
dedication to viol music. It has been a great pleasure to work with them and I hope to write much
more music for these instruments.
- Einhorn, Richard
- Published by Richard Einhorn Music (ASCAP) and can be purchased by writing to richardeinATmac.com
- Duration: approx. 18 minutes
- Number of pages and parts: Score: 27 pages of full score, Parts: 4 parts (1 treble, 1 tenor, 2 bass viols)
- You can find more information about the composer at http://www.richardeinhorn.com/
- Parthenia (Beverly Au, Lawrence Lipnik, Rosamund Morley and Lisa Terry)
- Published by Parthenia at YouTube February 2nd, 2012
- Duration: 18'37"
- Recording date: October 22, 2011 at Picture Ray Studio in Manhattan, USA
- More information about Parthenia at http://www.parthenia.org/
La Folia by Eisentanz
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- Eisentanz (Jean-Claude Horlacher)
- Released 2013 by Ng-Productions single in mp3-format
- Duration: 4'41"
- Recording date: 2013
Dedicated to Hans Werner Henze
- Instrumentistas del III Festival Cantiere d'Arte de Montepulciano
- Released 1980 by Suvini Zerboni, Milán
- Duration: 10'00"
- Recording date: August 9, 1978 at the 3rd Festival Cantiere d’Arte de Montepulciano, Teatro Poliziano, Montepulciano,Italy
Daucé made a musical reconstruction of the dance, divided into four parts and with a libretto by Isaac de Benserade. The Folies d'Espagne is not mentioned in the program, yet it is quoted briefly in the program at 32'54" - 34'08" in the YouTube registration with the slow theme (sarabande) and one quick variation including trumpets and castagnets.
- Ensemble Correspondances conducted by Sébastien Daucé
- Performed at the Festival of Early Music, Utrecht, The Netherlands, 28 August 2018
- Broadcasted at YouTube by AVROTROS 29 August, 2018 https://www.youtube.com/watch?v=JNqcu-mogTs&t=713s
- Duration: 1'14"
- Recording date: August 28, 2018 in Tivoli/Vredenburg, main podium (Grote Zaal).
A Folia with unusual instruments and a reference to the most famous Folia of Arcangelo Corelli.
Follia dell'Arcangelo |
- Oni Wytars (with Marco Ambrosini: Viola d'amore a chiavi (nyckelharpa), Katharina Dustmann: Percussion,
Peter Rabanser: Baroque Guitar, Michael Behringer: Organ, Jule Bauer: Viola d'amore a chiavi (nyckelharpa)
- Published at YouTube April 3, 2014 by oniwytars, production WDR3
- Duration: 2'59"
- Recording date: December 18, 2013 in Bielefeld, Germany
- See also the page recommended recordings
- The website of Oni Wytars http://www.oniwytars.de/
The tune follows the score of Vivaldi's Follia in an arrangement for the recorder instead of the violin in the lead. However there is a brand new vocal part in between partly based upon Vivaldi but in a more southern Italian way. The text refers to the lietral meaning of the word Folia.
- Ensemble Oni Wytars 'La Follia, the triumph of Folly'
- Title: "Sontata "La Folia"(Vivaldi-Ambrosini)
- Released 2013 by Deutsche Harmonia Mundi compact disc 88765449782
- Duration:10'01"
- Recording date: October 1-3, 2011 in Kurtheater, Bad Kissingen, Germany
- See also recommended recordings
La Folie D' Espagne by Erna Schmidt |
- Erna Schmidt: Hubert Stütz (guitar), Hartmut Mau (flute, sax, oboe,
ocarina), Walther Laible (bass), Wolfgang Mathias (drums and percussion)
'Live '69-'71'
- Released 2000 by Garden of delights compact disc CD 048
- Duration: 7'02"
- Recording date: recorded live over the years 1968-1971 (though mostly from 1970)
The piece was commissioned by Larry Harper for Concert Band (wind orchestra) and the premiere is planned for March 2007.Pablo Escante wrote about this composition:
Well, I had a German girlfriend (professional singer) who was crazy about baroque music and because she died very young (28 years old)
I decided to dedicate one of my compositions to her memory and picked for that the very baroque-like Folia theme.
I knew this theme well because I played several sets of variations
by C.P.E.Bach, another Bach son and A. Scarlatti myself and was familiar with versions of Pasquini, Vivaldi, Corelli and Rachmaninoff.
I checked at the internet and found your web-site. I noticed that there was not yet a set of variations made for
Concert band.
Then I got this commission from Larry Harper in Wisconsin and voila.....I waited till I finished the whole piece to inform you that
a new set of variations was born. The composition is a theme with 8 variations plus a finale (a big fugue mixed in rondo form)
and the entire lenght is 15 minutes.
- Escande, Pablo
- To be published by Ed. Molenaar, The Netherlands
- Duration: approx. 15 minutes
- Number of pages and parts: unknown
- You can find more information about the composer at http://www.pabloescande.net
Variaciones Progresivas Sobre las Folías de España Op. 8 |
- Espií, Fernando (guitar) 'Espí X Espí'
- Released 2016 by label '6x8'
- Duration: 8'40
- Recording date unknown
- Link to YouTube https://www.youtube.com/watch?v=GKdIV91E16E
Eli wrote theme and 15 variations on the Folia including an intermezzo in quite a conventional way. Especially in the
intermezzo but also in a couple of variations the calm balanced way of piano-playing in the style of George Winston
is echoing in my mind.Clear lines without much tension or friction for a relaxed smooth journey into La Folia.
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Duration: 7'05", 8.6 MB. (128kbs, 44100Hz) |
I had thought to submit my folia, but didn't think my work
really merited inclusion. Besides, there is always one more variation that
could be tacked on, so I fear it may never be "finished."
I would agree with the assessment that it's a very convential approach;
I'm a very conventional person, and I have only a beginning/student level
of composition competence, so it only stands to reason. I'm gratified to
hear that you found it listenable, and I'll gladly submit whatever information
you need to include it in the Folia museum.
I think of my folia as a continual work in progress, so fixing the date
may be difficult. I wrote the first variations sometime in 2000, perhaps;
at any rate, it was not long after I discovered the Folia Home Page for
the first time. I had already heard of the folia in college, where I took
one year of basic music theory, and I've always admired it: Simple and elegant,
yet robust and flexible, with a certain ancient flavor. One day a friend
heard me playing a simple variation on the church piano after services and
asked me what I was playing. I couldn't remember the name of the theme,
but I remembered that Corelli and Salieri both produced variations. In looking
for the answer to my friend's question, I stumbled upon the Folia Home Page
and I spent an evening reading it all. After reading the history of the
folia and looking at some of the examples of the early and late folias,
I decided that writing my own (modest) set of variations would be an interesting
problem to tackle.
I generally write music not for the passion of the creative or artistic
process, but as a sort of relaxing mind game.
Why write a folia? I write variations on the folia for the same reason
that I write programs to automatically generate music from words and text:
It's an interesting problem, and that's the sort of thing that makes me
happy. The folia represents to me a sense of order. My approach to the folia
is conventional, because I see it as a convention: It's so pervasive and
flexible that it's like a musical institution, almost a fact of nature.
It's simple, instantly recognizable, harmonious, and balanced, but can be
employed in all sorts of novel ways. Because of this, the folia has a calming,
reassuring effect on me -- as if it reminds me that there can be order to
the universe after all, even when it doesn't seem like it. So whenever I
feel particularly chaotic, I can always ease my troubled mind through the
exercise of applying a new figuration or formula to the pattern folia to
see what new orders and sub-orders are produced by the combination.
I hope that doesn't seem overly pretentious. In fact, it's quite simple:
Some people have a brandy and a cigar to relax, or curl up with a good book,
or sit down to add some more rigging to their scale model of a Spanish galleon.
I write music. It's nice, clean hobby.
- Evans, Eli T. (piano/midi-sequencer)
- Released 2004 by Eli T. Evans at his website
- Duration: 7'05"
- Recording date: 2004 in Ferndale, Washington, USA
- More about the music of Eli T. Evans at his Blog-page http://www.supakoo.com/eli/default.asp?p=Music
First edition in Il primo libro de canzone, sinfonie, fantasie..... (Naples, 1650).
Originally written for two violins and continuo.
A copy is conserved at the Civico Museo Bibliografico Musicale, Bologna, Italy
This is one of the most interesting Folias in chronological perspective. Published in 1650 it features almost every charasteristic of a later Folia. The chord progression, the radical change of tempo in the somewhat chromatic slow 9th variation which become popular no earlier than half a century later(!) with famous composers as Corelli and Marais. Only the standard melody is missing. I can't imagine why the significance of this composer is hardly recognized. I think it is not that wrong to speak of the father of the later Folia.
The title of the music honors a lady of the Spanish nobility.
A live performance 2008 by the ensemble Voices of Music Capriccio Stravagante,
"Our version is a reconstruction that supplies what we consider to be a missing part in the harmony." |
|
Duration: 4'18", 17 kB. |
| First variation of Folías by Falconieri | Hudson, Richard Vol I, p. 34 |
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- Accademia del Piacere, directed by Fahmi Alqhai (viola da gamba) 'Las Idas Y las Vueltas'
This is the Folia by Falconieri with an intro and some inprovisation in the middle of the composition.- Title: Folíias (various authors circa 1700)
- Released 2012 by Alqhai & Alqhai compact disc D.L. SE 708-2012 (004)
- Duration: 5'35"
- Recording date: December 2011 and January 2012 in Sputnik Studios, Sevilla, Spain
- Accademia del Piacere, directed by Fahmi Alqhai
This is the Folia by Falconieri with an intro and some inprovisation in the middle of the composition.Folías by Accademia del Piacere live broadcasting
Duration: 4'34" direct link to YouTube
© 2012 by Accademia del Piacere- Title: Folíias (various authors circa 1700)
- Broadcasted by RTSI (Radio televisione svizzera italiana) 10 July, 2012
- Duration: 4'34"
- Recording date: live concert (program 'Fantasias, diferencias y glosas') 13 April 2012 during the Festival d'Estate, Sala Sopracelerina in Locarno, Swiss
- Anthonello, directed by Yoshimichi Hamada 'Ciaconna'
- Title: Folias
- Released 2001 by Symphonia compact disc SY 01187
- Duration: 3'44"
- Recording date: August 2000 in Toghen-Bukakaikan
- L'Astrée ( Francesco D'Orazio violin, Alessandro Tampieri violin
and baroque guitar, Alessandro Palmeri cello, Francesco Romano theorbo,
Giorgio Tabacco harpsichord)
Folías by L'Astrée live broadcasting
Duration: 3'33" direct link to YouTube
© 2005 by L'Astrée- Title: Folias echa para mi Señora Doña Tarolilla de Caralleños
- Broadcasted by RAI radio 3 (Italy) October 30, 2005
- Duration: 3'33"
- Recording date: October 30, 2005 at Cappella Paolina del Palazzo del Quirinale di Roma, Italy
- Australian Brandenburg Orchestra conducted by Paul Dyer 'Baroque Favorites'
- Title: Folia (a 3) echa para mi señora (Folia written for my lady)
- Released 2010 byABC Classics 2 cd-box ordernumber 476 4056-476 5057.
- Duration: 4'06"
- Recording date: unknown
- Belladonna: C. Galhano (recorder), M. Humphrey (baroque violin), R.
Humphrey (baroque cello), B. Weiss (harpsichord) 'Folias Festivas'
- Title: Folias echa para mi Señora Doña Tarolilla de Carallenos
- 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
- Duration: 2'51"
- Recording date: November 1998 at St. Bernard's Church in Saint Paul, Minnesota USA
- Bruggen, Erik van
Faronells Division on a ground, Leiden 10 Sept. 2016
Duration:4'09" direct link to YouTube
© 2016 by Erik van Bruggen- Title: Division on a ground (1684)
- Arrangement and improvisation by Erik van Bruggen
- Duration: 4'47"
- Recording date: 10 September 2016 in the Waalse Kerk, Leiden, The Netherlands
- Cappella de la Torre 'Ciaconna'
- Title: Folía Echa Para Mi Señora Doña Tarolilla De Carallenos
- Released 2015 Deutsche Harmonia Mundi – 88875141032, Sony Music - 88875141032, SWR2 - 88875141032
- Duration: 3'48"
- Recording date: November 10-13, 2015 in the Hans Rosbaud-Studio des SWR, Baden-Baden
- Cappella Musicale San Giacomo (including mandolin solo)
Follía by Cappella Musicale San Giacomo
Duration:4'09" direct link to YouTube
© 2014 by Cappella Musicale San Giacomo- Title: Follia
- Published April 2014 by Cappella Musicale San Giacomo for YouTube
- Duration: 4'09"
- Recording date: November 2013
- La Cetra d'Orfeo: Michel Keustermans (recorder and director), Hervé Douchy
(violoncelle), Jacques Willemijns (harpsichord), Jurgen De Bruyn (theorbo and
baroque guitar), Stephan Pougin (percussion), Laura Pok (recorder), Ingrid
Bourgeois (violon).
Michel Keustermans wrote for the slipcase (translation by Rachel Stacchini-Betton-Foster):
Andrea Falconieri, an Italian lutenist from the court of Parma, Modena, then Naples, dedicated his Folia to a great lady at the Court of Spain. It is an excerpt from his collection 'il primo libro de canzione, Napoli, 1650' (First Book of Songs) One can feel the obsessive omnipresence of the same harmonic structure and rhythm upon which unfold a series of variations, some quick, some slow. A more languorous central passage 'muy despacio' introduces the final variations.
- Title: Folias echa para mi Señora Doña Tarolilla de Carallenos
- Released 2007 by EOLE compact disc EAD002
- Duration: 3'43"
- Recording date: May 2006 at Chapelle du Bois
- See also the page Recommended Folia-recordings
- Chatham Baroque 'Españoleta'
- Title: Folias echa para mi Señora Doña Tarolilla de Carallenos
- Arranged by Julie Andrijeski
- Released 2000 by Dorian compact disc DOR-90284
- Duration 4'41"
- Recording date: unknown
- Collegium Musicum Brno
- Title: Folias echa para mi Señora Doña Tarolilla de Carellos
- Broadcasted by CZE-radio Vtlava Cesky Rozhlas 3, October2, 2007
- Duration: 3'59"
- Recording date: October 01, 2007 at Ostravy Festival
- La Compañia: Rosemary Hodgson (theorbo/baroque guitar), Linda Kent
(harpsichord and chamber organ), Danny Lucin (cornetto), Elizabeth Pogson (baroque
violin), Simon Rickard (dulcian), Laura Vaughan (viola da gamba)
- Title: Folias
- Recorded at the Festival 'Organs of the Ballarat Goldfields Festival 2006'
- Duration: 3'38"
- Recording date: January (without indication of date) in the Neil Street Uniting Church, Ballarat, Australia
- Broadcasted August 16, 2006 by ABC Classic FM
- Coolen, Saskia (recorder), Zipperling, Rainer (viola da gamba), Ayrton, Patrick (harpsichord) 'Diminutions and Ostinati'
- Title: La Follia from II. Libro Primo di Canzone, Sinfonie, etc.
- Released 2008 Globe compact disc GLO 5233
- Duration: 3'43"
- Recording date: May 2008 in the Protestantse Kerk, Cothen, The Netherlands
- El Mundo directed by Richard Savino (Zachery Carrettin, Adam LaMotte, violins;
William Skeen, cello and viol; Corey Jameson, harpsichord; Peter Maund, percussion;
Bruce Burchmore, Baroque guitar in D; and Richard Savino, Baroque guitar
in C) 'Villancicos y Cantadas: Sacred Songs and Dances from Latin America
and Spain'
- Title: Folías echa para mi Señora Doña
- Released June 2005 by Koch International KIC-CD-7654
- Duration: 4'54"
- Recording date: April 2003 at st. Vincent's School for Boys
- Ensamble Galileo (Alejandro Tello: oboe,
Manuel Mejía: lute,
Leonel Pérez: cello,
Josefina Hernández: harpsichord,
Patricio Osorio: violin,
Francisco Bringas: percusion,
Jacobo Poo: flute) Todos los Bienes del Mondo'
Folías by Ensamble Galileo
Duration: 5'01" direct link to YouTube
© 2003 by Ensamble Galileo- Title: Folías (1650)
- Released 2003 by Fonarte Latino compact disc
- Duration:5'00"
- Recording date: Spring 2003 in Subsónico, San Ángel, Ciudad de México
- Ensemble Anthonello (Yoshimichi Hamada (cornetto and recorder), Kaori Ishikawa (viola da gamba), Marie Nishiyama (harpsichord and harp) and Rafael Bonavita (lute and vihuela), António Carrilho (recorder) and Paulo Gaio Lima (cello)
- Title: A. Falconiero / Manuel Machado: Folias e Dos estrellas le siguen G.
- Broadcasted by Portuguese Radio April 29, 2009
- Duration: 8'01"
- Recording date: July 2008 during the 'Festival de Música de Caldas da Rainha', Centro Cultural e de Congressos de Caldas da Rainha, Portugal
- Ensemble Badinerie: Rahel Stoellger (Flauto dolce), William Dongois (Cornetto),
Christian Beus (dulcian), Alexander Weimann (harpsichord, positive organ)
and Karl-Ernst Schröder (theorbo, baroque guitar)
'la suave melodia'
- Title: Folías echa para mi Señora Doña Tarolilla de Carallenos
- Released 2003 by Carpe Diem compact disc 16266
- Duration: 3'52"
- Recording date: April 2000, Andreaskirche, Berlin, Germany
- Ensemble Badinerie: Rahel Stoellger (Flauto dolce), William Dongois (Cornetto),
Christian Beus (dulcian), Alexander Weimann (harpsichord, positive organ)
and Karl-Ernst Schröder (theorbo, baroque guitar)
'la suave melodia'
- Title: Folías echa para mi Señora Doña Tarolilla de Carallenos
- Released 2010 by Accent compact disc ACC10401
- Duration: 3'52"
- Recording date: April 2000, Andreaskirche, Berlin, Germany
- Ensemble Badinerie: Rahel Stoellger (Flauto dolce), William Dongois (Cornetto),
Christian Beus (dulcian), Alexander Weimann (harpsichord, positive organ)
and Karl-Ernst Schröder (theorbo, baroque guitar)
'Ensemble Badinerie'
- Title: Folías echa para mi Señora Doña Tarolilla de Carallenos
- Released by ORF compact disc 2002018
- Duration: unknown
- Recording date: unknown
- Ensemble Bois de Cologne: Meike Herzig and Dorothee Oberlinger (recorder),
Tom Daun (harp) ' Stella Splendens Musique mariale espagnole du XIIIe au XVIIe
siècle
- Title: Folias echa para mi Señora Doña Tarolilla de Carallenos
- Released by Marc Aurel Edition in corporation with Deutschland Radio 2000 compact disc LC00572 (MA20003)
- Duration: 3'29"
- Recording date: August 24-28 2000 at Deutschland Radio, Köln
- Ensemble Caprice
- Title: Folias echa para mi Señora Doña Tarolilla de Carallenos
- Broadcasted July 22, 2012 by Houston Public Radio, Recorded during a Houston Early Music concert
- Duration: 3'20"
- Recorded live during a concert March 5, 2010 in Christ the King Lutheran Church, Houston, USA
- Ensemble Caprice (Matthias Maute: recorder, Sophie Larivière: recorder, David Jacques:baroque guitar)
Folías by Ensemble Caprice live broadcasting
Duration: 3'20" direct link to YouTube
© 2010 by Ensemble Caprice- Title: Folias echa para mi Señora Doña Tarolilla de Carallenos
- Broadcasted by Radio WGBH Boston (also Padcast in 128 kbps)
- Duration: 3'02"
- Recording date: April 24, 2008 in a live performance in Studio One, WGBH Radio, Boston, USA
- Ensemble Fitzwilliam (flutes, harpsichord, basse de violon, violone,
harp, guitar) 'Andrea Falconieri, fantaisies, dances, villanelle, arie'
- Title: Folías echa para mi Señora Doña ....
- Released 1995 by Auvidis France compact disc E8551
- Duration: 3'14"
- Recording date: 1994 in the church of Evangélique Luthérienne de France, Paris
- Ensemble Isabella d'Este 'Andrea Falconieri, Il libro primo di canzone ...-
Napoli 1650'
- Title: Folías echa para mi Señora Doña Tarolilla de Carallenos
- Instrumentation: viola soprano, violino, viola basso, violone, flute, harpsichord, archlute, chitarrone, arpa doppia
- Released 1994 by Symphonia compact disc SY 94S32, re-released 2011 by Pan classics compact disc PC 10248
- Duration: 3'17"
- Recording date: September 1994 in Chiesa di Sornetan, Switzerland
- Ensemble Mirable (violins Elizabeth Blumenstock, Kati Kyme,
violas da gamba Joanna Blendulf,
guitar Kevin Cooper, harpsichord JungHae Kim) 'Influenza Italiana'
- Title: Follia
- Released 2013 by Magnatune compact disc order number EMJHK1005
- Duration: 3'58"
- Recording date: December 2011 at 25th Street Studio, Oakland, California, U.S.A.
- Italian Harpsichord JungHae Kim (after 18th century Florentine originals by John Phillips, Berkeley, 1993), Violins Elizabeth Blumenstock (Andreas Guarneri Cremona, 1660), Kati Kyme (Johann Gottlob Pffreztchner, Mittenwald, 1791) Viola da Gamba Joanna Blendulf (Peter H(u")ttmansberger, 2007 Limz, Austria after Nicolas Bertrand, 1700) Baroque Guitar Kevin Cooper (Michael Schreiner, 2001 after Jean Voboam, 1690)
- Ensemble Oni Wytars 'La Follia, the triumph of Folly'
- Title: Follia
- Released 2013 by Deutsche Harmonia Mundi compact disc 88765449782
- Duration: 3'21"
- Recording date: October 1-3, 2011 in Kurtheater, Bad Kissingen, Germany
- See also recommended recordings
- Grupo de música barroca 'La Folía', conducted by Pedro Bonet
'Música instrumental del tiempo de Velázquez (1599-1660)'
Pedro Bonet wrote for the slipcase (translation by Josephine Watson):
Falconiero often employed a descriptive style in them, as in the 'battle', the virtual character of which he allegorically located in the court of Satan, alongside the typical imitative techniques of instrumental chamber music of the first half of the seventeenth century, as in the canzona dedicated to the Serenissimo Don Juan, while in the folís dedicated to 'Doña Tarolilla de Carallenos' he applied the form with the variations that constitutes one of the most significant Iberian contributions to Baroque music.
- Title: Folías echa para mi Señora Doña Tarolilla de Carallenos
- Released 1999 by Dahiz compact disc 797-CD
- Duration: 3'46"
- Recording date: June 16-18, 1999 at the parish of Santiago el Mayor in Madrid, Spain.
- Hespèrion XXI conducted by Jordi Savall and others 'Altre Follie'
Hesperion XXI plays Falconieri
Duration: 4'29" direct link to YouTube
© 2005 by Alia Vox- Manfredo Kraemer (violin), Mauro Lopes (violin), Balazs Mate (violoncello), Xavier Puertas (violone), Xavier Díaz-Latorre (theorbo), Carlos García-Bernalt (harpsichord)
- Title: Folias (a 3) echa para mi Señora Doña Tarolilla de Carallenos
- Released 2005 by Alia Vox compact disc AV 9844
- Duration: 4'32"
- Recording date: February 28-March 3 and June 6-9, 2005 in the Collégiale of the Château de Cardona, Catalogne
- See also the page Recommended Folia-recordings
- I Furiosi (Aisslinn Nosky (violin), Julia Wedman (violin), Felix Deak (cello) with guests Lucas Harris (lute and theorbo) and James Johnstone (harpsichord) 'Crazy'
In the slipcase was written:Every Baroque composer worth his salt wrote a version of Les Folies D'Espagne, or La Folli´a or some variant of Folly. The ground bass is a repeated pattern which allows for any number of deviations to occur, thus creating variations, some of which can be truly crazy. I FURIOSI has chosen to record the adaptations by Antonio Vivaldi and Andrea Falconieri.
- Title: Folias
- Released 2008 by Dorian compact disc DRN 90802
- Duration: 4'07"
- Recording date: December 10-12, 2008 at Humbercrest United Church, Toronto, Canada
- L'Arpeggiata (Christina Pluhar theorbo, Marcello Vitale Baroque guitar,
Charles Edouard Fantin Baroque guitar, Gebhard David cornet à bouquin,
Paulina van Laarhoven lirone, Richard Myron bass) 'All' Improvviso L'Arpeggiata'
Folías by l'Arpeggiata
Duration: 3'58" direct link to YouTube
© 2004 by Alpha- Title: Folias
- Duration: 3'46"
- Released 2004 by Alpha compact disc Alpha 512
- Recording date: November 2003 and January 2004 at Paris, France
- La Douchaine:
Barbara Hernández: recorder, Tatjana
Gräfe: recorder
Ricarda Hornych: lute, theorbo, Uwe Oltmanns: viola da gamba, David Kosviner:
percussion (castagnets) 'recreo'
- Title: Follía
- Released 2005 by Cavalli Records compact disc CCD 273
- Duration: 3'47"
- Recording date: March 23-26, 2005 in Studio Cavalli-Records, Bamberg, Germany
- La Luna (Ensemble für 17th Century Music): Ingrid Matthews and Scott Metcalfe violin, Emily Walhout viola da gamba, Byron Schenkman harpsichord "Andrea Falconieri (1585/86-1657)"
Scott Metcalfe wrote for the slipcase:
The folia, meaning "mad" or "empty-headed," came from Portugal; it was originally a dance-song, fast and wild.
- Title: Folías echa para mi Señora Doña Tarolilla de Carallernos
- Released 1997 by Wildboar compact disc WLBR 9605
- Duration: 3'47"
- Recording date: July 1-3, 1996 at the Chirch of the Nativity, Indianapolis, Indiana, USA
- La Turbulente
(Frédérique Thouvenot and
Susi Möhlmeier (recorders) Claire Giardelli (cello & cello
piccolo) Mirella Giardelli (keyboards) Pascal Monteilhet (theorbo & archlute)
'Amours, Zéphyrs et Sirènes'
- Title: Folías echa para mi Señora Doña Tarofilla de Caralenos
- Released 2003 by Naïve/Astrée compact disc E 8884
- Duration: unknown
- Recording date: October 2002 in in Olivier Messiaen Hall, Grenoble, France
- London Baroque
'The Trio Sonata in 17th-Century Italy'
- Title: Folias echa para mi Señora Doña Tarolilla de Carallenos (from Il primo Libro di canzone, sinfonie)
- Released 2012 by BIS compact disc 1795
- Duration: 3'25"
- Recording date:unknown
- Musica Ad Rhenum (traverso, 2 violins, cello and harpsichord)
- Title: Folias echa para mi Señora Doña Tarolilla de Carallenos
- Broadcasted by AVRO radio The Netherlands (Radio IV) April 08, 2001 (direct link)
- Duration: 3'20"
- Recording date: April 08, 2001 at De Kleine Zaal van het Concertgebouw, Amsterdam
- Musicalische Compagney (cornetto, violin, dulcian, chitarrone, organ)
'Fiori Concertati: Castello, Falconieri, Kapsbergen'
- Title: Folías echa para mi Señora Doña Tarolilla de Carallenos
- Released 1983 by Teldec Classics International Gmbh, Hamburg, Germany
- Digitally remastered (ADD) 1998, Teldec Classics International Gmbh, Hamburg compact disc 3984-21803-2
- Duration: 4'15"
- Recording date: not mentioned in the slipcase of the 1998 release
- Musikschule Bonn
''La Follia, Junge Interpreten spielen Alte Musik"
- Zwei Sopranblockflöten und B.C.: Sophie Berke (recorder), Christina Hahn (recorder), Janna Herzig (harpsichord) and Antoni Gralak (violoncello)
- Title: Folías echa para mi Señora
- Released October 2007 by Musikschule Bonn compact disc without ordernumber
- Conducted by Meike Herzig
- Duration: 3'23"
- Recording date: August 2007 in Studio Katharco, Bonn, Germany
- Quadriga Consort (Angelika Huemer: recorder, Karin Silldorff: recorder, Peter Trefflinger: Baroque cello, Nikolaus Newerkla: harpsichord)
'Ground Ostinate Variationen'
Elisabeth Kurz wrote for the slipcase:
Für die Variation des frühen 17.Jahrhunderts sind das Weiterführen der spanisch-portugiesisch-italianischen Variationsmodelle und die Verbindung mit der Monodie und dem neuen Generalbass-Stil charakteristisch. Aufgrund des neuen Stils werden älteren Tanzbassgerüstvariationen (Folia, Passamezzo) nun durch neue, jetzt aber ausgesprochene Ostinatobass-Variationen bereichert: Ciacona, Passacaglia.
- Title: Folias Echa Para Mi Señora Doña Tarolilla De Carallenos
- Released 2003 by Harp compact disc LA73002
- Duration: 3'38"
- Recording date: September 17-20, 2002 in the Stiftskirche Pernegg (Niederösterreich)
- Ricercar Consort (Philippe Pierlot and Romina Lischka: viola da gamba, Xavier Diaz-Latorre: guitar and theorbo, François Guerrier: harpsichord)
Folías by Ricercar Consort
Duration: 3'14" direct link to YouTube
© 2012 by the Ricercar Consort- Title: Folias echa para my Señora Doña Tarolilla de Carallenos
- 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: 3'14"
- Recording date: July 1st, 2012 at Flagey, Brussels, Belgium during a live performance
- Savall, Arianna (harp), Pierlot, Philippe (Viola da gamba) direction
of the Ricercar Consort Ensemble 'Sopra la Rosa (cantates de Marazzoli,
Vitali, Falconiero)'
Philippe Vendrix wrote for the slipcase (in a translation by Mary Pardoe):
Falconieri was prolific as a composer of vocal music, but he is best known for his instrumental works, which have come down to us in two collections, one of which was published, the other remaining in manuscript form. Most of his pieces, bearing titles such as canzona, sinfonia, capriccio or L'eroica, are in two, three or four sections. But two of his most famous works are much longer: he composed a passacaglia with no fewer than thirty-two variations, and a folia comprising sixteen.
- Title: Folias pour violes et continuo (thème et 16 variations)
- Released 2003 by Mirare compact disc BA6495 (MIR9931 - 3760020170318
- Duration: 3'49
- Recording date: October 20-24, 2002 in the church of Bra-sur-Lienne, Belgium
- La Selva (Carolina Pace - flauti dolci Diana Fazzini - viola da gamba, Michele Carreca- lute and theorbo)
- Title: Folia
- Broadcasted by I Concerti del Quirinale di Radio 3 in collaboration with Rai Quirinale (Italy) February 15, 2009
- Duration: 4'11"
- Recording date: February 15, 2009 in Cappella Paolina del Palazzo del Quirinale in Roma, Italy
- Sonatori de la Gioiosa Marca (Fava and Falcone violin, Vestidello cello,
Rado archlute and guitar, Rosato harpsichord) 'Follie all'italiana,
sonatori de la Gioiosa Marca'
- Title: Folias echa para mi Señora Doña Tarollila de Carallenos
- Released 2001 Erato Disques, Paris, France compact disc 8573 85775-2
- Coproduction Erato and Westdeutscher Rundfunk Köln
- Duration: 3'52"
- Recording date: June 11-14, 2000 Chiesa di S. Vigilio,
Col San Martino Italy
- Voices of Music: Hanneke van Proosdij (recorder), Carla Moore (baroque violin), Elisabeth Reed (viola da gamba), Rodney Gehrke (baroque organ), Peter Maund (percussion), Cheryl Ann Fulton (triple harp), David Tayler (baroque guitar)
Voices of Music wrote about this performance at the YouTube page:Folías by Voices of Music during a live performance February 2014
Duration: 4'07" direct link to YouTube
© 2014 by Voices of Music, used with permissionThe original title reads "Folias Echa Para Mi Señora Doña Tarolilla De Carallenos" (Primo libro di canzone, Naples, Paolini & Ricci, 1650). The composition uses the technique of "wandering variation," pioneered by Monteverdi and others, in which the composer creates musical episodes in the form of brief excursions from the standard variation pattern. Falconieri also adds a brief adagio to provide a moment of harmonic and rhythmic contrast before the final variations.
The continuo group is here represented by the viola da gamba, organ, archlute and triple harp: in the 17th century it was not unusual to have a rich and varied continuo group; each player improvises a part that creates a unique "voice" in the texture as well as blends together to form a complete accompaniment.- Title: Folias echa para mi Señora Doña Tarollila de Carallenos
- Released at YouTube March 30, 2014 by Voices of Music
- Duration: 4'07"
- Recording date: February 2014 at the Art of the Recorder- concert
- the website of Voices of Music http://www.voicesofmusic.org/
 |
| Opening of the original score dated back to 1650 |
| Theme of 'Variations Opus 51 on a folia theme' | © M. Farago, used with permission |
|---|---|
 |
|
You can find more information about the
oeuvre of Marcel Farago at http://www.faragomusic.com- DeBolt, David 'David DeBolt, fagott och Jerry Davidson, piano'
- Released 1995 by Crystal Records compact disc CD347
- Duration: 7'11"
- supported by Kent State University College of Research and Graduate studies.
- Ojeda, Raymond A.
- Published 1987 by Kentfield California (98 Briar Road, Kentfield, CA 94904)
- 5 pages, 32 cm
The program included arrangements of compositions by Alonso de Mudarra: "Follia". Frans Liszt: "Rapsòdia espanyola", Arcangelo Corelli: "Follia". Sergei Rakhmàninov: Variacions sobre un tema de Corelli, op. 42. Anònims: "Follia antiga". "Follia criolla". "Ecos de folia"
- Fargas, Pau and Caselles, Sergi
- Title: 'Techno folia'
- Recorded live and broadcasted by Catalunya Música (ELS concerts) January 30, 2008
- Duration: 59'00"
- Recording date: February 28, 2007 in la Sala Polivalent 'Tete Montoliu' de l'Auditori de Barcelona, Spain
Both names 'Farinel' and 'Farinelli' are used in literature to indicate the one and only Italian violinist (with French origin?) who went to England and Germany. To confuse matters still more the tune is often called Far_o_nell's ground besides Farinell's ground. He contributed a lot to the popularity of the tune. The Ground is the basis of several pieces published in England about this time. His variations were published by John Playford in The Division Violin in 1684 (London) where it is listed in the index as 'A Division on Mr Farinell's Ground', and in the first part of The Division Flute published in 1704 by Walsh in London.
|
The sheet music of The Division Violin |
|
Duration: 5'12", 09 kB. |
| Theme of Faronell's Division on a Ground | by Hudson Vol I, p. 102 |
|---|---|
 |
|
- Bakker, Robert (recorder) & Anderson, Anke (harp) 'Two centuries
of English music' arrangements for recorder and harp'
- Title: La Folia - Division on a ground
- Arrangement for recorder and harp by S. Burgers
- Released 1993 by Robagram Amsterdam, compact disc RBG 11193
- Duration: 6'06"
- Recording date: September 1992 and May 1993 in the 'Hervormde Kerk' in the village of Broek in Waterland near Amsterdam, the Netherlands.
- Douglas, David (violin), O'Dette, Paul (theorbo) & Lawrence-King,
Andrew (harps) 'Apollo's Banquet, 17th century music from the publications
of John Playford'
Jack Ashworth and David Douglass wrote about this tune for the slipcase:
Today, professional violinists play composed music for the most part, unlike the 17th century when the ability to improvise extensive figuration was as important to 'classically trained' musicians as it is to jazz players today. Indeed, collections such as 'The Division Violin' can be thought of as models for teaching improvisation as much as sources of performance repertory.
Working within this context, David Douglas has varied the order and selection of variations in some cases and actually added his own to those found in Playford for two of the tunes, 'Paul's Steeple' and 'Faronell's Division'. The ground for this piece is well-known as a launching pad for divisions: it is the 'Folia' tune, familiar in settings by Corelli, Vivaldi, and others. Michel Farinel is one of the few non-English names we have in 'The Division Violin'; he was a french musician who studied in Rome and worked in Spain and France- Title: Faronell's Division on a Ground
- Released 1998 by Harmonia Mundi France, compact disc HMU 907186 and released 2002 by Harmonia Mundi USA with the title 'English Country Dances' compact disc HCX 3957186
- Duration: 7'26"
- Recording date: April 4-6, 1997, Skywalker Sound, a division of LucasArts Entertainment Company, Nicasio California
- Hespèrion XXI conducted by Jordi Savall and others 'Altre Follie'
Extremely nice arrangement with the harp as played by Arianna Savall
Rui Vieira Nery wrote for the slipcase:
This same combination of upper melody and harmonic bass circulated widely all over Europe and became a favourite object for variations, first in France itself, where it was employed by Lully and Marais, then in Germany, the Netherlands and England, where the publisher John Playford (1623-1687/88) included a set of Folia variations for the violin in his instrumental collection The Division Viol (London, 1685), under the title "Faronell's Division", which seems to have been traditionally associated with the Folia in that country. At the same time, the most commercially successful French and Italian dance treatises of the period, such as those by Feuillet (1700) and by Lambranzi (1716), spread the tune and the basic steps of this "Folie d'Espagne" through all the European market. With the development of the virtuosic repertoire for the violin at the turn of the century it was only natural that the Folia should be included in it.
- Title: John Playford: Faronell's Division (1684)
- Manfredo Kraemer (violin), Jordi Savall (basse de viole), Arianna Savall (arpa triple)
- Released 2005 by Alia Vox compact disc AV 9844
- Duration: 5'07"
- Recording date: February 28-March 3 and June 6-9, 2005 in the Collégiale of the Château de Cardona, Catalogne
- See also the page Recommended Folia-recordings
- Title: John Playford: Faronell's Division (1684)
- The Isis Consort (Peter Hanson violin, Jane Coe cello, Martin Souter harpsichord) 'Music for an English Pleasure Garden'
In the slipcase is written:This recording takes the listener on an imaginary promenade of around an hour or so through one of these gardens, calling in at various places and listening to different types of music along the way. [...] Finally as we make our way towards the gate again, ready to go home, we hear another set of variations for violin, harpsichord and cello. La Folia was one of the eighteenth century's most popular melodies and known to everyone. Another Playford arrangement gives a fine flow to the melody (reputedly sung first by a madman in an Italian asylum) and the violinist becomes more ambitious and daring until the final flourish (with just a hint of madness, perhaps?) brings our music and garden walk to a close.
- Title: La Folia
- Released 1995 by Isis Records compact disc PTCD1
- Duration: 3'18"
- Recording date: not mentioned in the documentation
- Linde, Hans Martin (recorder), Konrad Ragossnig (guitar), Pere Ros (viol),
Rudolf Scheidegger (harpsichord) 'Englische Blockflöte Musik'
- Title: Faronel's Ground (from The Division Flute)
- Released 1986 and 2004 by EMI CDC 7491612, HMV EMI 270404-1, His Master Voice 067-46 683 T
- Duration: 4'20"
- Recording date: 1985 in Endenburg, Danmark
- Linde, Hans Martin (recorder), Konrad Ragossnig (guitar), Pere Ros (viol),
Rudolf Scheidegger (harpsichord) 'Englische Blockflöte Musik'
In the slipcase was written:
The famous 'Follia' (here entitled Faronel's Ground) was also a frequent variation melody.
- Title: Faronel's Ground (from The Division Flute, 1706 by anonymous)
- Released 1986 by EMI CDC 7491612, HMV EMI 270404-1, His Master Voice 067-46 683 T
- Duration: 4'47"
- Recording date: 1985 in Endenburg, Danmark
- Musica Antiqua Provence conducted by Christian Mendoze 'Folies d'Espagne'
- Title: Faronells Ground pour flûte à bec, basse continue et castagnettes (d'après la Folia de G.B. Farinelli)
- Released 2009 by Integral Classic compact disc INT 221.169
- Duration: 3'40"
- Recording date: July 2008 in the Basilic of the Château de Valère in Sion (Schwitzerland)
- Oertle, Eva (traverso) and Greuter, Christoph (lute)
- Title: Faronell's Ground
- Released 2009 by Chronophon compact disc CP CD 0907
- Duration: 4'48"
- Recording date: October 2008 in Schlösschen, VorderBleichenberg, Biberist, Schwitserland
- Playford, John 'Division violin, Part 1, the first part of the division-violin:
containing a choice collection of divisions to a ground for the treble-violin'
- Title: Mr Farinell's ground
- Published 1995 in New York, performers' facsimiles 115
- Originally published London 1684
- See for the publication of the sheet music and video of Evelyn J.L. Puefken and Helmut Timpelan: Faronell’s Division on a Ground Für Clavier-Instrumente und Castagnetten (for keyboard instruments and castanets) html5t.html#puefken
- Ensemble Schirokko Hamburg (Rachel Harris: violin, Barbara Messmer: viola da gamba, Andrea Cordula Baur: archlute, Carsten Lohff: harpsichord) 'Division Violin - Part 1'
Rachel Harris wrote for the slipcase:
A pupil of Carissimi in Rome, Michel Farinel (1649-1726) travelled widely outside his home country of France, paying visits also to Portugal and England (1675-1679). In 1679 he went as part of a group of performers to Madrid and became superintendent of music and ballets to the Spanish queen. On his return some nine years later he bought a position as violinist at the court of Louis XIV, only to retire a year later to his home town of Grenoble to become maitre de chapelle at the convent at Montfleury.
His personal reputation as a violinist stood high, but he survives in history as the arranger of Les Folies d'Espagne, known as Farinel's Ground. His set of variations on the folia has many similarities with Corelli's variations at the end of op.5, although Farinel's composition was printed by Playford some fifteen years earlier! Folias: "Originally a noisy dance accompanied by tambourines, and performed by men dressed as women, who behaved so wildly that they appeared to be out of their senses, whence the name Folia". .- Title: Division on a Ground
- Released 2009 (?) by Ambitus compact disc amb 96941
- Duration: 5'01"
- Recording date: August 2007, St Pankratius, Ochsenwerder
- Sirinu (Sara Stowe harpsichord, Matthew Spring lute, Jon Banks harp, Henry Stobart recorder) 'Stuart Age Music, tunes from Troubled Times'
- Title: La Folia, division on a ground: Michel Farinel from The Division Flute (1706) for recorder and harpsichord
- Released 1996 by Griffin & Co Ltd compact disc GCCD 4007
- Duration: 4'39"
- Recording date: November 29-30, 1995 at St. Paul's Church, New Southgate, England
- Trio Sonnerie, (violin, guitar, spinet, viol) 'A Gift of Nature; English
chamber music of the 17th century'
- Released by Teldec, Das Alte Werk compact disc 4509-90841-2
- Duration: 5'17"
- Recording date: December 1992
Adélaïde de Place wrote for the slipcase:
Known as Folia in Italy, Follía in Spain or Folie in France, Folia is a melody that probably origintaed in Portugal and then passed through Spain before acutally gaining popularity in almost all European countries towards the end of the 15th century. French guitarist and lutenist Robert de Visée, musician for the Chamber of Louis XIV and guitar teacher for the young Louis XV, said that "in court so many couplets from which all concerts ring out, that I can only hear the folias of others".
The well-known theme from the Folia - characterised by its sarabande rhythm and its moderate movement - would give rise to several variations.
We have lost count of the number of musicians who haqvew developed or modified
it. Some names that spring to mind include Corelli, Lully, Couperin, Vivaldi, Carl Philipp Emanuel Bach, Marais, d'Anglebert, Telemann, without counting Paganini, Liszt or Rachmaninov much later. In France, it is often called Folies d'Espagne and, in the United Kingdom, Farinel's Ground after Michel Farinel (Farinelli), who was born in 1649 and worked in Grenoble at tyhe turn of the 17th and 18th centuries. Farinel was a pupil of Carissimi in Rome, then music superintendent in the court of Spain and Kapellmeister at the cathedral of Toulouse. His well-known variations on the theme were published in The Division Violin in 1684.
A live performance 2008 by Le Poème Harmonique
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- Le Poème Harmonique (Kaori Uemura, Sylvia Abramowicz, Lucas Guimaraes (viola da gamba), Françoise Enock (violone), Angélique Mauillon (triple-harp),
Joël Grare (percussion), Vincent Dumestre (conductor and baroque guitar))
- Title: Folía
- Broadcasted by AVRO radio (the Netherlands) in 'Het Middagconcert' October 15, 2008 and The Early Music Show of the BBC3 January 24, 2009
- Duration: 3'10"
- Recorded during the Festival Oude Muziek September 5, 2008 in Vredenburg Leidsche Rijn (near Utrecht), The Netherlands
This composition is dedicated to Thomas Koch. There are no particular variations (not specifically markes as variations) to distinguish in the sheet music.
Paul Fetler wrote about his composition:
If the Folia Lirica seems to be a throwback to earlier historic periods, my intention was clearly to tap the rich resources of a long-time tradition, and by doing so to search for ways to make it part of a viable personal expression. In short, the old gives rise to the new. The very opening is a broad defining statement of the principal idea combined with free flowing rhapsodic passages setting the mood of the Introduction. This is continued with a few more statements and passage work, after which the stage is set for the Exposition of the principal theme. This is then followed by a set of free variations and a development, making use of contrasting registers and moods. There is a moment of pause by means of a reflective interlude at the end of the development. After a restatement of the Exposition which contains additional development, the work ends with the theme in the bass register. This then is followed by a soft, steady ascent into the highest reaches of the instrument where the music disappears into the open.
- Ophee, Matanya edited the sheet music
- Title: Folia Lirica
- Published September 2002 by Editions Orphée, Inc., 1240 Clubview Blvd. N. Columbus, OH 43235-1226
- Score: 6 pages, 22,5 x 30 cm
- Publication No. PWYS-61
- more info about this sheet music http://www.editionsorphee.com/solos/fetler.html
- You can buy the music online at http://www.encoremusic.com/guitar/1301751.html?se=48_27101_938b115134d496e4ca90ba7913bb382d_1273519990
Preserved in the first baroque dance-book Raoul-Auger Feuillet’s Chorégraphie (Paris, 1700)Andrew Lawrence King wrote for the slipcase:
With the succession to the Spanish throne being an ever-present political concern, Iberian dances were in vogue throughout Louis’ reign. Musicians and dancers alike composed or improvised variations on les Folies d’Espagne Feuillet’s and Pécour’s contributions were published in the recueils, as were Pécour’s choreographies for Campra’s entrées espagnoles.
- Andrew Lawrence-King (baroque triple harp) 'Chorégraphie, music for Louis XIV’s dancing masters'
- Title: Les Folies d'Espagne, Feuillet 1700, improvised after D’Anglebert, Marin Marias (1656-1728) and Francesco Corbetta (1615-1681)
- Released 2007 by Harmonia Mundi compact disc HMU 907335
- Duration: 5'05"
- Recording date: March 2004 at St. Andrews Chuch, Toddington, England
- Baroque triple harp by Chris Barlow, 2004 after 17th-c. Italian models
- The Harp Consort conducted by Andrew Lawrence-King (baroque triple harp)
- Title: Les folies d'Espagne
- Broadcasting of a live concert entitled 'From the Golden Age of the Spanish Renaissance' by ABC Classic FM Australia May 2, 2007
- Duration: 4'34"
- Recording date: May 8, 2006 at a Musica Viva concert in the City Recital Hall, Angel Place, Sydney
- Sound engineer: Yossi Gabbay and producer: Ralph Lane
Johan Friederich Fibiger was employed in the Royal Chapel after F. Hartmanns death in 1703, but already in 1698 he had become employed as Guitar Master for three years, and was most likely also a lutenist. He was the teacher of Princess Charlotte Amalie, Fredrick IVs daughter, in lute and guitar playing.
- Olsen, Ingolf 'La guitare royale, Ingolf Olsen plays royal Danish guitar music'
- Title: Folie d'Espagne
- Released 2004 by Universal compact disc 986656-6
- Duration: unknown
- Recording date: unknown
- Flothuis, Marius Hendrikus
- Title: Twee stukken voor gitaar: 1 Folia 2 Habanera
- Published by Donemus, Amsterdam (copyright 1948), Publisher's number: 02642
- Duration: c. 8'00"
- A preview of the sheet music for solo guitar you can find at https://webshop.donemus.com/action/front/sheetmusic/2642/Twee+stukken+voor+gitaar
- Gallucci, Leonardo (guitar) 'KZ Musik, Vol. 7: Music Composed in Concentration Camps (1933-1945)'
- Title: Two pieces for guitar Op. 22: 1 Follia (2 Habanera)
- Published 2009 by M.A.T. Music Team/KZ Music compact disc ordernr. 237524/09L087
- Duration: 4'20" (2'35")
- Recording date: unknown
This is a rather unique Folia since not only the theme of the later Folia but also twice the theme of the early Folia is clearly entangled in this composition.
Around these two themes Foley creates a rather chaotic setting (especially in the bridges between the different parts of the composition) to express the literal meaning of the word 'folia' (madness) with tools as unusual metres (11/8, 9/4, 7/8), dissonants and rhythmical devices.
In my perception a fragment of the Emperor Waltz by Strauss at first seems to offer firm ground, but this fleeting suggestion is washed away before it offers any real grip. Or could it be the symbol of an era which gave birth to the psychoanalysis, as a good friend suggested?
In March 2000 Daniel Foley wrote about these pieces:
I presume that it is obvious that I was attracted by this theme by my surname. My 'Folia' was originally composed to celebrate the Arraymusic ensemble's 25th anniversary and was originally scored for a septet of instruments. Since that time I revised the work for violin, bass clarinet and piano and incorporated in another work, 'Hommage to Henri Rousseau', where it appears as the third (of four) movements under the title 'Un soir de carnaval'. The duration of the piece (both versions are identical) is three minutes, twenty seconds. Arraymusic has announced their intention to record all 25 miniatures although the release date is still rather uncertain. However, the 'Rousseau' version of the piece was recorded recently by the Riverdale Ensemble.
The oeuvre and biography of Daniel Charles Foley can be found at http://www.pathcom.com/~fandoley/ |
Duration: 3'20", 14 kB. |
| Opening of 'La Folia' for violin, bass clarinet and piano |
© D.C. Foley (SOCAN) reproduced with permission |
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- Foley, Daniel Charles
- The score of La Folia , as well as the version included as the third movement of the score of 'Hommage à Henri Rousseau' for violin, clarinet/bass clarinet, and piano, are available from The Canadian Music Centre, 20 St. Joseph Street, Toronto, Ontario, M4Y 1J9, tel.: 416-961-6601, fax: 416-961-7198, e-mail info@musiccentre.ca, website http://www.musiccentre.ca or www.centremusique.ca
- The score is 6 pages size 21 x 29 cm
- Arraymusic ensemble (clarinetist Robert W. Stevenson, trumpeter Michael
White, pianist Stephen Clarke, percussionists Richard Sacks and Blair
Mackay, violinist Rebecca van der Post, bassist Roberto Occhipinti and
conductor Henry Kucharzyk)
February 29, Robert Everett-Green (music critic) wrote in the Globe and Mail:Daniel Charles Foley's La Folia had room for several clever new passes at an old theme, and even for a cameo by the ghost of Johann Strauss.
- Duration 3'20"
- Performed February 24, 25 and 26, 2000 in Toronto, Canada
- Arraymusic ensemble (clarinetist Robert W. Stevenson, trumpeter Michael
White, pianist Stephen Clarke, percussionists Richard Sacks and Blair
Mackay, violinist Rebecca van der Post, bassist Roberto Occhipinti and
conductor Henry Kucharzyk) '25 miniatures'
- Title: La Folia
- Released 2001 by Artifact Music compact disc ART 025
- Duration 3'21"
- Riverdale Ensemble (Ellen Meyer piano, Daniel Kushner violin, Stephen
Fox bass clarinet) 'Foliage'
- Released 2000 by Furiant Records compact disc FMDC 4619-2
- Duration 3'20"
- Recording date: February 2000
- The disc can be ordered at http://riverdaleensemble.com/Recordings.htm
Commissioned by Michael Kieran Harvey, funded by a composer fellowship from the Music Board of the Australia Council for the Arts.Andrew Ford wrote in an e-mail 13 July 2007:
I thought you might like to know that I have recently completed Folly for solo piano, based on La Folia. It is an extremely virtuosic work which will have its first performance in Hobart, Tasmania, by Michael Kieran Harvey on 5th October 2007.
- Michael Kieran Harvey (piano)
- Premiere October 5, 2007 in Hobart, Tasmania
- Duration: circa 15'
- More about the oeuvre of Andrew Ford at: http://www.andrewford.net.au/index.html
- No published music of Folia di Spagna for banjo and piano found.
- Published in Pazdírek, Franz, The Universal Handbook of Musical Literature,VII, Wien, 1904-1910, p. 460
- Thanks to François-Emmanuel de Wasseige for detecting this item in literature
Sorry but little is known about this composition only that is was commissioned by True North Brass and the later Folia-theme
is used as the subject in a somewhat similar way (also for brass ensemble) as the variations written by Jan Bach.From the liner notes:
'Farinelli's Folly' is a sequel to Edmonton composer Malcolm Forsyth's popular brass quintet piece 'The Golyarde's Grounde,' and uses as its theme the renaissance melody "La Folia" (The Folly). This was a favourite of the celebrated and impossibly gifted castrato singer Farinelli (1705-1782), who used it as the basis for some increasingly complex and occasionally outrageous variations.
Two short remarks to avoid misunderstandings: firstly it is not the Renaissance melody (early Folia) that is the subject of this music but the Baroque theme as used by Lully, Vivaldi and Corelli amongst others (later Folia).Secondly it is more than unlikely that the castrato singer Farinelli (1705-1782) was involved. Probably the name is once more mixed up with the violinist Farinel(li)/Faronell, who made the later Folia-theme popular in England (Faronell's Division on a Ground) long before it became famous all over Europe by Marais and Corelli.
- True North Brass 'Strong & Free'
- Released 2000 by Opening Day Recordings compact disc ODR 9320
- Duration: 7'34"
- Recording date: 2000 in Burlington, Ontario, Canada
- More about the oeuvre of True North Brass at te website http://truenorthbrass.com
The original manuscript is conserved at the Kongelige Bibliotek Copenhagen
According to the Edition Orphée publication:
This work must have been composed towards the end of 1825 and the beginning of 1826. This is evident from the fact that the second variation of this set, is included in the French and Spanish editions of Aguado's Escuela of 1826, but is not included in the first edition of the Escuela of 1825.
| Theme of Fossa's Folies d'Espagne | © Edition Orphée used with permission |
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- Artzt, Alice (guitar) 'Variations, passacaglias and chaconnes'
John Duarte wrote for the slipcase:
One of the grounds that took root in the seventeenth century was known as 'Las Folias', a name reflecting the abandoned character of the triple-time dance with which it was associated. It originated in Portugal, passed to Spain, and then to Italy from whence it was 'exported' by baroque guitarists to France. During these travels it became more stately, and acquired the musical characteristics by which it is now best known - that on which De Fossa's variations are based.
How the composer [De Fossa] of such an attractive, resourceful and idiomatic work as the Variations on 'Las Folias', his opus 12 (1829), could remain in obscurity, unmentioned in all major works of reference until his 'rediscovery' in 1981 by the American musicologist Matanya Ophee, remains a mystery.- Title: Variations on 'Las Folias de Espagna op. 12'
- Released 1989 by Hyperion Records Limited, London compact disc CDH88026 and Helios chrome cassette KH88026, 1989
- Duration: 5'46"
- Recording date: April 30 & May 1, 1988
- Francisco Ortiz, J. 'François de Fossa, oeuvres pour guitare'
- Title: Cinquième fantaisie sur l'air des Folies d'Espagne, Op. 12'
- Released unknown year (it is not indicated in the slipcase or container) by Octave, compact disc OCT J90
- Duration: 5'55"
- Recording date: January 15-17, 1996 at Payral Castillet de Perpignan, France
- Guitar built by M.G. Contreras in 1979
- Martinez, Kurt (guitar) 'Folías'
- Title: Les Folies d'Espagne
- Released without indication of year (but it is 2003) by martinezkurt@cs.com without order number
- Duration: 6'34"
- Recording date: not mentioned in the slipcase
- See also the page Recommended Folia-recordings
- Noad, Frederick. editor of the sheet music in 'Solo guitar playing,
Vol 2. p. 68
- Published by Amsco Publications, a division of Music Sales Corporation, New York. US
- Publishers No. UK ISBN 0.7119.76554
- Ophee, Matanya. editor of 'Cinquième Fantaisie sur l'air des
Folies d'Espagne, Op. 12'
In June 1990 Matanya Ophee wrote as an introduction for this publication:
The theme of Les Folies d'Espagne needs no introduction. As a dance form, and a particular chord sequence, it followed the evolution of the guitar from its earliest times. At the latter half of the 18th century, the theme was used in many guitar tutors as a vehicle for teaching right-hand arpeggios, appearing with a large number of variations, each in a different r.h. formula. The practice continued well into the 19th century and one can find it in the works of Baillon, B.C.D., Doisy, Carulli and many other. The variations on the theme by Sor and Giuliani are very well-known today as examples of concert level compositions, not specifically intended for didactical purposes. The present work of de Fossa's gives us a fresh insight into the technical possibilities of the guitar, far ahead of its time.
- Published in 'Francois de Fossa: Selected Works for Guitar Solo' nr. 43221.
- Copyright by Edition Orphée (http://www.orphee.com), Inc. Columbus OH
- Ophee, Mantanya, editor of of 'Cinquième Fantaisie sur l'air
des Folies d'Espagne, Op. 12'
- Published November 1981 in 'Soundboard', Volume VIII, number 4
- p. 336
- Yamashita, Kazuhito (guitar)
Matanya Ophee wrote as an introduction in the slipcase:This work must have been composed towards the end of 1825 and the beginning of 1826. The theme of Les Follies d´Espagne needs no introduction. As a dance form, and a particular chord sequence, it followed the evolution of the guitar from its earliest times. The variations on the theme by Sor and Giuliani are very well-known today as examples of concert level compositions. The present work of de Fossa's gives us a fresh insight into the technical possibilities of the guitar, far ahead of its time.
- Title: Cinquième Fantasie sur l'air des Folies d'Espagne, Op.12
- Released 1995 by BMG BVCC-719 (74321-31734-2)
- Duration: 5'56"
- Recording date: June 2-4, 1995 at Shirakawa hall, Nagoya, Japan
- 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
John Frandsen wrote about his Folia Folle:
.”La Folia” is an old basic musical form, presumably of folkloristic origin, who found its way to the classical music during the 17th century. There is a fixed chord sequence, upon which you can create numerous melodies or improvisations – in fact you could call it the blues pattern of the baroque. It is therefore a bit of a challenge to compose a modern Folia in a musical language not entirely tonal. In ”Folia Folle” (a Foolish Folia …!) I have used partly the metric structure of the classical Folia, partly references to one of the best known Folia themes in the literature. Even the very first figure in the guitar hits the core notes of the Folia in a quick tempo. And in this way detached basic material and wreckage from the long and motley history of the Folia emerge occasionnally and disappear again.
- Borbye, Anders 'Refolia, contemporary works for guitar'
Duration: 0'43",651 kB. (128kB/s, 44100Hz)
Fragment of Folia Folle, performance by Anders Borbye
© 2008 Anders Borbye, used with permission- Title: Folia Folle
- Released October 2008 by Gateway ordernumber AB001
- Duration: 9'29"
- Recording date: August-September 2008 in the Frederikskirken, Aarhus
- World première October 13, 2008 in Aarhus Denmark during the Guitar Festival (http://www.aarhusguitarfestival.dk)
- See also the page Recommended Folia-recordings
- More about Anders Borbye at http://www.andersborbye.dk
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Duration: 4'00", 3.2 Mb. (128kB/s, 44100 Hz) |
- Galliano, Richard and the orchestra of Frank Purcel
- Performed during a tournee in 1975
- Duration: 4'00"
- Recording date: 1975 recording place unknown
Darío Moreno wrote about this composition in an e-mail 23 May 2008:
Domenico Gallo was a Venetian composer from the Italian late baroque and pre-galant period, very closely to the modern school of Galuppi (at Venice) and Pergolesi (at Naples) school. There is an important collection of sonatas by Gallo - for a long time attributed to Pergolesi - well-known as a decisive step on galant style consolidation.
Among the few details we know of Gallo's biography we know that there was an important family named Gallo on Naples although Domenico is born in Venice, where he worked as composer and violinist; we could immediately hear it in his virtuoso variations for the violins!
Dissonances (2nds) of the violins on the little 'intro' previous of the appearance of the main theme on ostinato and the walking quarters movement of the bass on the same intro reminds me powerfully of Pergolesi's Stabat Mater and other pieces of music of the middle XVIII century (walking quarters and 4ths progressions means lamento and we don't must forget ostinato in minor key has been always (from Monteverdi Lamento della Ninfa to Bachs Chaconne) a symbol for lamento, sadness, etc... (we have other examples of German and also Italian (French of course) music for the ostinato like lamento allusion).
It is curious Gallo chose g minor as key. Of course, there is little more dark affetto but, as a violinist, I think Gallo explored that in the key of g minor there are much more possibilities to do chords on some variations than in the usual d minor-setting. By the way, it is also obvious that Gallo knew Vivaldi's Follia, similarities on sonata 12 by Vivaldi and these follia are sometimes almost textual copies (variation 4).
Finally, the variation for the viola (close to the end) is amazing! I think they are not, a part of Geminiani concerto grosso, a variation for the viola solo!
We see in Gallo's Follia the confrontation between traditional forms regular treatment of the basso continuo, deep dialog between voices and Gallo's attending to ostinato; and Napolitain incipient ideas as the Stabat Mater like 'introduction' or some striking stravagant variations much more close to the Spanish Fandangos-like flavor of Scarlatti, Soler and Boccherini than to Vivaldi Corellian Sonata.
- Musica Antiqua Köln 'Internationale Barocktage Stift Melk 2005, 2006 and 2007'
- Title: La Follia
- Released 2008 by ORF compact disc
- Duration: 9'03"
- Recording date: 2005 during a live performance of the Internationale Barocktage in Melk, Austria
- Le Musiche Nove conducted by Claudio Osele
Duration: 0'53", 843 kB. (128kB/s, 44100 Hz)
Le Musiche Nove conducted by Claudio Osele during the Schwetzinger Festspiele May 15, 2008
© SWR, 2008- Title: 'La Follia' for two violins, cello and basso continuo in g-minor
- Broadcasted by SWR (German radio) as part of the Schwetzinger Festspiele May 15, 2008
- Duration: 8'38"
- Recording date: May 15, 2008 in the Rokokotheater, Schwetzingen, Germany
Published in 'Pièces de Luth composées sur differens modes par Jacques de Gallot avec les Folies d'Espagne enriches de plusieurs beaux couplet' (Ecorcheville collection (1670-1680). There is a copy at the Bibliotheque du Conservatoire National de Musique, Paris France.
In these variations bar 1 till 5 are identical to bar 9 till 13. The interesting part however, is that all variations have a total of 17 instead of the usual 16 bars, so the second half of the scheme includes nine measures.
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Duration: 5'38", 13 kB. |
| Opening of Gallot's Folies d'Espagne for lute | by Hudson Vol I, p. 91 |
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- Bailes, Anthony (lute) 'Une Douceur violente'
- Title: Pièces en la mineur: Folies d'Espagne
- Released 2011 by Ramée compact disc RAM 1104
- Duration: 5'03"
- Recording date: June 2010 in St. Apollinaire Church, Bolland, Belgium
- Liddel, Catherine (lute) 'La belle voileé, 17th century french
lute music by Jacques Gallot and others'
- Title: Folies d'Espagne from 'Pieces de Luth Composeé sur differens modes par Jacques de Gallot'
- Released 1997 by Centaur Records as compact disc CRC 2359
- Duration: 6'10"
- Recording date: May 1996 in Bigelow Chapel, Mt Auburn Cemetery, Cambridge, Massachusetts, USA
- Lindberg, Jakob (renaissance lute) ' Lutemusic from Scotland and France'
- Title: 'Folies d'Espagne' as part of 'Pièces in A minor'
- Released December 1983 by BIS as compact disc CD 201
- Duration: 6'01" (11'00" for 'Pièces in A minor')
- Recording date: unknown
- New York's Ensemble for Early Music
Frederick Renzl wrote in the slipcase:
' Le triste etat' is a sarabande as well as being constructed on a popular progrssion of harmonies having the name folia. 'L 'Altesse Royale' by by Jacques Gallot, the elder (d. 1647) is an example of 17th-century French lute music. Performed on this recording by harp and theorbo, it is based on the folia harmonic pattern and serves therefor as a complement to 'Le trite etat'.
- Title: Le triste etat / L'Altesse Royale arrangement by Frederick Renz
- Released 2001 by The Metropolitan Museum of Art, Ex Cathedra compact disc EC-9004 70070-29004-2
- Duration: 5'237"
- Recording date: May 2001 in St. James Chapel/Cathedral of St. John the Divine, New York City, USA
- Santana, Lee (lute) 'Hille Perl and Lee Santana, Marais: Les Voix Humaines'
Hille Perl wrote in the slipcase about Folies d'Espagne:
An innovative aspect of Gallot's Folies d'Espagne is the implementation of idioms native tot the baroque guitar - this feature undoubtedly intends to bring out the 'Spanish' in the Folies and also bring the Frenche lute 'up to date' with the 'guitar royal' made invincible by Francesco Corbetta.
- Title: Folies d'Espagne (pieces de luth, 1670)
- Released September 2007 by Deutsche Harmonia Mundi compact disc SACDH 88697071622
- Duration: 5'17"
- Recording date: January 3-6, 2007 in Colnrade Germany .
- Lute by Ray Nurse (Vancouver 1984)
- Satoh, Toyohiko (baroque lute) 'Chaconne, Johann Sebastian Bach, Baroque
Lute Recital'
Rineke Smilde wrote in the slipcase about
this piece of Gallot:
Final work of the 'Pièces de Luth consists of nine couplets of the famous theme of Follies d'Espagne. In Gallot's composition the register is frequently changed; the theme, the first three couplets and the superius (the high voice) is raised an octave. The variations, mostly affecting the superius, are mainly melodic (ornaments, fragments of descending scales, arpeggio's) and sometimes rhythmical (movements of quavers, introduction of syncopes and semiquavers). Gallot wrote in the vocabulary of the French musicians of his age, but especially the knowledge of Lully's music echoes in his work, as shown his grave, sometimes solemn writing constantly expressive melodic intervals (especially the diminished fourth) and his use of chromaticism. Gallot's works were still found in manuscripts of the end of the 17th and the beginning of the 18th century throughout Europe.
- Released 1990 by Channel Classics compact disc CCS 0490
- Duration: 5'21"
- Recording date: February 1990 in Bethaniënklooster, Amsterdam
- Serdoura, Miguel (baroque lute) 'Les Baricades Mistérieuses'
Jean-Marie Monod wrote in a translation by Anthony Hind:Les Folies d'Espagne in A minor
Duration:5'03" direct link to YouTube
© 2008 Miguel SerdouraThe folia is a dance originating in Portugal. Linking different variations to the same melody, it is related to the chaconne and the passacaglia. Having its roots in the 15th century (Cancioneira do Palacio), without doubt, it gave us the most popular chaconne theme for all Western Music: Les Folies d'Espagne
- Title: Les Folies d'Espagne in A minor
- Released December 2008 by Brilliant compact disc 93701
- Duration: 5'03"
- Recording date: December 11-13, 2007 in Osterfingen Protestant Church, Switzerland
- Smith, Hopkinson (baroque lute, 11 strings) 'Jacques de Gallot, piéces
de luth'
Claude Chauvel wrote for the slipcase:
In 1682, Robert de Visée also refused to deal with the hackneyed subject of the 'folies d'Espagne' (in England known as 'Farinelli's Ground'): 'There are so many going the rounds, every concert resounds with them, that I could but say the same thing as others in their folies'. Yet we know how popular the theme was, even up to Rachmaninov and beyond! The famous harmonic progression to the rhythm of a sarabande inspired Gallot to write a set of ten variations which, in their bariolages reminiscent of the theorbo, the luxuriance of their ornamentation, the battery in imitation of the guitar, and their contrasting registers seem to use all the lute's resources
- Title: Folies d'Espagne
- Released January 1994 by Astree compact disc 8528
- Duration: 4'41"
- Recording date: January 1994 in Waldenburg (Switersland)
- Baroque lute built by Joël van Lennep
Joaquim wrote about his folia:
I believe that the Folia-tune originated from Portugal (my home country) in the Middle Ages. My interpretation has a theme and 7 variations. In each variation i try to emphasize a different aspect of the flute technique. For instance variation 4 is made in multiphonics and variation 6 uses harmonics.
| The opening of Folia | © Joaquim Pedro Galvão, used with permission |
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- Galvão, Joaquim Pedro
The oeuvre of Joaquim Pedro Galvão can be found at http://www.musicalia.co.uk/joaquim.html- Not yet published
- Score 2 p., 23 cm x 28 cm
- Garcia, Anthony 'Malili dreaming'
- Title: La Folia
- Released 2007 by Manjaro Music compact disc ordernr.
- Duration: 10'18"
- Recording date: unknown
- No published music of Air des Folies d'Espagne for violin found.
- Published in Pazdírek, Franz, The Universal Handbook of Musical Literature,VIII, Wien, 1904-1910, p. 129
- Thanks to François-Emmanuel de Wasseige for detecting this item in literature
The Concerto grosso in D minor is the twelfth in a set of such works which Geminiani published in 1726 as arrangements of Corelli's Opus 5 sonatas for violin and basso continuo. Theme and 23 variations.
A live performance
by Chamber Orchestra Chaarts |
- Abbado, Michelangelo (violin) and Caruana, Riccardo (cello)
- Title: Concerti grosso La Follia
- Released by Columbia lp FCX 368
- Duration: unknown
- Recording date: unknown
- Academy of Ancient music, Manze, Andrew conductor 'Concerti Grossi (after
Corelli opus 5)'
- Title: Concerti grossi (12) after Opus 5 of Arcangelo Corelli: no 12 in D minor
- Released by Harmonia Mundi (Fra) 2000 compact disc 907261
- Academy of Ancient music, Manze, Andrew conductor 'The Grand Tour'
- Title: Concerto Grosso No. 12, in D minor, 'Follia'
- Released September 2002 by Harmonia Mundi compact disc HMU 907273
- Duration: 11'22"
- Accademia Bizantina conducted by Ottavio Dantone
- Title: 'Follia' as part of the program 'Arien für Senesino' during the Dresdner Musikfestspiele 2008
- Broadcasted by radio MDR Figaro (Germany) May 25, 2008
- Duration: 11'45"
- Recording date: May 12, 2008 in Schauspielhaus Dresden, Germany
- Akademie für Alte Musik Berlin
- Title: Concerto grosso No.12 in D minor 'La follia'
- Broadcasted by NDR (German radio) April 3 2008, courtesy of South West German Radio, Stuttgart
- Duration: 12'03"
- Recording date: performance live May 9, 2003 during Schwetzingen Festival, Schwetzingen, Germany
- Bobesco, Lola (violin and conductor) 'Albinoni adagio, Rossini, Geminiani,
Pachelbel, Ysaye'
- Title: 'La Follia'. Concerto Grosso for 2 violins, viola, cello and strings No.12
- Released by Deutsche Grammophon lp 2544 044 (Made in Holland)
- Duration: 11'02"
- Recording date: 1972
- Bobesco, Lola (violin and conductor) 'Ensemble d'Archets Eugene Ysaye plays
Rossini, Albinoni, Ysaye, Geminiani, Pachelbel'
- Title: 'La Follia' concerto grosso für zwei Violinen, Viola, Violoncello, Streicher und Basso continuo Nr. 12 d-moll
- Released by Deutsche Grammophon lp DG Stereo 2538 162
- Duration: 11'02"
- Recording date: 1972
- Bobesco, Lola (violin and conductor) and her String Ensemble 'Music of Venice'
- Title: 'La Follia'
- Released by Heliodor LP 2548 219 (made in England) original release by Deutsche Grammophon
- Duration: 11'02"
- Recording date: 1972
- Budapest Strings conducted by Bela Banfalvy
- Released by Hungaroton HCD 12995
- Recording date: 1989
- Chamber Orchestra Chaarts (Maurice Steger: recorder, Mayumi Hirasaki 1st violin, Daria Zappa: 2nd violin, Andreas Fleck: violoncello, Naoki Kitaya: harpsichord)
- Title: 'La Follia'
- Broadcasted by the chamberorchestra at YouTube October 22, 2010
- Duration: 12'07"
- Recording date: September 17, 2010 in the Martinskirche in Basel, Switscherland
- See for more information about the ensemble http://www.chaarts.ch
- Combattimento Consort Amsterdam conducted by Jan Willem de Vriend
This was a concert called "Les surprises de l'amour" broadcasted by the radio afterwards. Next to Geminiani, Graupner (Concerto for oboe, chalumeau, viola d'amore, strings and bc in B flat), J.S. Bach (BWV 1055), Telemann (TWV 53, E1) and Rameau (Les Surprises de l'Amour, ballet: suite for orchestra) were part of the program and broadcasting.- Title: 'La Follia'
- Concert broadcasted by the Dutch Radio IV in a later series
- Duration: 9'50"
- Recording date: October 7, 2004 in De Concertzaal, Tilburg, The Netherlands
- Published in the newsgroup alt.binaries.sounds.mp3 August 2005 by Sagittarius
- Concerto Copenhagen directed by Kenneth Weiss
Concerto Copenhagen plays GeminianiNov. 27 November 2011 in Copenhagen, Denmark
Duration: 11'30" direct link to YouTube
© 2011 by Concerto Copenhagen- Title: 'La Follia"
- Concert broadcasted by AVRO radio 4 "Nachtconcert" (The Netherlands), 31 October 2013
- Duration: 11'30"
- Recording date: November 27, 2011 during a live concert in Garnisons Kirke, Copenhagen, Denmark
as part of the program 'Concerti, Napoli' .
- Concerto Copenhagen directed by Lars-Ulrik Mortensen
- Title: 'La Follia. concerto grosso no 12 en re mineur'
- Concert broadcasted by Radio France, 30 October 2007
- Duration: 12'22"
- Recording date: September, 22 2007 in l'Abbatiale d'Ambronay (Festival d'Ambronay)
- Concerto Köln
Concerto Köln plays Geminiani May 10, 2013 in the cathedral of Mechelen, Belgium
Duration: 11'58" direct link to YouTube
© 2013 by Concerto Köln- Title: 'La Follia. concerto grosso no 12'
- Concert broadcasted by Klara (Belgium), 1st of July 2013
- Duration: 11'58"
- Recording date: May 10, 2013 in Sint-Rombouts cathedral in Mechelen, Belgium
- English Concert/Pinnock, Trevor conductor 'A grand concert of musick,
English Baroque Concerti'
Nicholas Anderson wrote about La Follia
for the cover:
The Concerto grosso in D minor is the twelfth in a set of such works which Geminiani published in 1726 as arrangements of Corelli's Opus 5 sonatas for violin and basso continuo. One of Geminiani's chief contributions to the concerto grosso form was the inclusion of an independent viola part in the continuo group, thus making it a four-part rather than the customary three-part texture. This feature alone gives Geminiani's concerti grossi an individuality both of artistic and historical importance; but they are also important as examples of this composer's taste for and ability at arranging an original idea into something more elaborate and sometimes more complex than its model. [...]
Geminiani's arrangement of Corelli's Variations in D minor, "La Follia" (Op. 5, No. 12), retains his master's thematical material and harmonic structure whilst extending the imaginative character of the music both by means of richer textures and by employment of newly developed string technique. It has been said that the immense popularity of the 'variation' form in the seventeenth century reflected the limited understanding of tonality and modulation at that time. Necertheless, in the present instance, we have a fine example of the flexibility of the form and the way in which it lent itself to the development of diverse instrumental idioms. Apart from this, Geminiani and other pupils of Corelli such as Veracini, Locatelli, and Somis (the teacher of Leclair), inherited from their teacher a clarity of form and an expressive technique which had a long lasting and far reaching effect on the chamber music of many European countries. The arrival of Italian and German violinists in England, moreover, was largely responsible for bringing to the attention of English musicians the true potential of the violin- Title: Concerto grosso in D minor (arrangement of Corelli's La Follia Variations, Op. 5, 12)
- Released 1979 by Archiv LP 2533 423
- Recording date: February 26 - March 2, 1979
- English Concert/Pinnock, Trevor conductor 'radio broadcasting AVRO-radio'
- Title: Concerto grosso in D minor (arrangement of Corelli's La Follia Variations, Op. 5, 12)
- Recorded by the AVRO (dutch radio) and broadcasted February 8, 2002 in a program entitled 'Ochtendconcert'
- Duration: unknown
- Recording date: January 28, 2002 in Muziekcentrum Vredenburg, Utrecht The Netherlands
- Ensemble 415, Banchini, Chiara conductor 'Geminiani, 12 concenrti grossi'
Chiara Banchini wrote for the slipcase:
[...] I made a point of working on the so-called sonate da camera tht make up the second part of op. V. Their apparent simplicity does not prevent ech movement from being a perfect little tableau: several styles of composition, a variety of dances (sarabande, gigue courante, gavotte) alternating with contrapuntal movements, never a moment too long, a subtle texture in which the bass takes on a concertante role and abandons its continuo function. The da camera half of opus V concludes with that incredible Follia which has come down over centuries, a brave piece intended to show off the technical prowess of every virtuoso. And here I was discovering it anew, amazed to find I was being asked to perform a 'folly' restored to its initial simplicity and purity. Here, Corelli goes right to the heart of things: not a note too many, not a note too few.
And Dottore Enrico wrote for the slipcase:In selecting Corelli's op. V Geminiani must have taken account, not only of its being one of the most important works to emerge from the Roman school, but also of the fact that the final sonata in the set - the Follia - was one of the best-known compositions of the early eighteenth century, and in itself a guarantee of success. A success that - if Hawkins (John Hawkins, the music historian who is quoted in the slipcase for finishing work of Corelli by Geminiani) is to be believed - initially proved elusive, but which has finally been confirmed in the past few decades, thanks to the recent rediscovery of the works of Corelli's pupil and transcriber Geminiani
- Title: Concerto No. 12 in D minor "Follia"
- Released 2004 by ZigZag Harmonia Mundi compact disc ZZ 040301
- Duration: 11'33"
- Recording date: February 2-7, 2003 Bon Secours church, Paris, France
- Ensemble 415, Banchini, Chiara conductor 'Bononcini and Geminiani'
- Title: Concerto Grosso No. 12 "La Follia" in d minor
- Chiara Banchini, violin solo
- A gift recording from Société Générale Group, not for sale
- Released 2003 by ZigZag Territoires compact disc without order number
- Duration: 11'32"
- Recording date: February 2-7, 2003 Bon Secours church, Paris, France
- Ensemble d'archets Eugene Ysaye/Bobesco, Lola conductor 'Seiten fur
Saiten'
- Title: La Follia
- Released 1972 by Deutsche Grammophon LP 2538 162
- Duration: 11'03"
- Europa Galante/Biondi, Fabio conductor. 'Geminiani Concerti grossi,
Op. 3 La Follia'
Enrico Careri wrote for the slipcase:La Follia, both in its original version for violin and continuo (published in Rome in 1700) and in Geminiani's concerto version, is now among the most frequently performed of all instrumental works of the early eighteenth century. It consists of an adagio melody of the greatest simplicity and twenty-three extraordinary variations that provided a point of reference for violinists and composers alike throughout the eighteenth century and beyond.
- Title: La Follia, trascrizione per concerto della sonata op. 5 n. 12 di Arcangelo Corelli
- Released 1997 by Opus 111 compact disc OPS30-172
- Duration: 12'44"
- Recording date: September 1996 in Oratorio di Santa Croce, Mondovì, Italy
- Europa Galante/Biondi, Fabio conductor
Europa Galante plays Geminiani March 31, 2013 in Krakow, Poland
Duration: 11'28" direct link to YouTube
© 2013 by Europa Galante- Title: La Follia, trascrizione per concerto della sonata
op. 5 n. 12 di Arcangelo Corelli
- Broadcasted by ORF1 (Austria) May 8, 2014 in the program Konzert am Vormittag (presentation Bernhard Trebuch),
- Duration: 11'28"
- Recording date: March 31, 2013 during the Festival Misteria Passchalia in the Karol Szymanowski Philharmonie in Krakow, Polan
- Title: La Follia, trascrizione per concerto della sonata
op. 5 n. 12 di Arcangelo Corelli
- Europa Galante/Biondi, Fabio conductor
- Title: La Follia, trascrizione per concerto della sonata op. 5 n. 12 di Arcangelo Corelli
- Recorded and broadcasted live BBC 3 Radio.
- Duration: 12'09"
- Recording- and broadcastings date: July 5, 1999 in St. Johns Square, London as part of the Early Music Lufthansa Festival
- Europa Galante/Biondi, Fabio conductor
- Title: Concerto Grosso für Streicher und Basso continuo Nr. 12 d-moll 'la follia'
- Recorded 23 May 2006 at the Schwetzinger Festspiele, Schwetzingen, Baden, Germany for Radio and television by SWR2, Germany.
- Duration: 11'32"
- Broadcasted by BBC 3 Radio in the program 'Sunday Gala' July 30, 2006
- Broadcasted by Arte Television November 5, 2006
- Europa Galante/Biondi, Fabio conductor
- Title: Concerto La Follia
- Recorded during the concert 'Francia, Italia, Inghilterra - legami e scambi (France, Italy, England - connections and influences) 2 March 2007 at Vredenburg, Utrecht, The Netherlands.
- Duration: 11'16"
- Broadcasted live by TROS Radio, The Netherlands in the program 'Avondconcert' 2 March 2007
- European Union Baroque Orchestra/Banchini, Chiara conductor
In the programme was written:
This extraordinary youth orchestra performs with period instruments and for this concert has tripled its usual size, boasting 60 players. They are directed from the violin by Chiara Banchini, one of baroque music's most admired interpreters.
Here they perform a programme of music by contemporaries Corelli, Muffat, Geminiani and Handel who met in Rome in the late 1600s and early 1700s. Muffat's music is immediate and powerful, Corelli's coolly elegant, while Geminiani's La Follia, a reworking of Corelli's set of virtuoso variations, highlights his talent as one of the greatest violinists of his time.- Title: Concerto grosso No 5 in d minor (after Corelli's Opus 5) 'Folia'
- Recorded during the Edinburgh International Festival 2009, August 25 in Usher Hall , Edinburgh, Scotland.
- Duration: 10'34"
- Broadcasted live by BBC Radio 3’s 'Performance on 3' programme at 7:00pm, 16 September 2009 (thanks to Sagittarius for posting at Usenet)
- European Union Baroque Orchestra/Mortensen, Lars Ulrich conductor and harpsichordist
A live performance by the European Union Baroque Orchestra
Duration: 11'08" direct link to YouTube
© 2013 by the European Union Baroque Orchestra- Title: Concerto grosso Nr. 12 d-Moll, "La Follia" after Arcangelo Corelli
- Recorded during the "Festival de Música Antiga dels Pirineus" 27 July 2013 in Església Parroquial de Sant Feliu in Sort, Catalunya LLeida in Spain
- Duration: 11'08"
- Broadcasted live by ORF1 (Austria) "Konzert am Vormittag", broadcasted 3 October 2013
- Freiburger Barockorchester conductor Gottfried von der Goltz '
Telemann, Platti, Vivaldi & Geminiani: Concerti all'arrabbiata'
Katharina Eickhoff wrote for the slipcase:
The history of the "Follia" is ancient - the "rowdy amusement" as this phenomenon was referred to in Germany with a pinch of annoyance, probably spread as early as the Middle Ages. It was originally a dance with a particular theme and rhythm originating from Spain or Portugal already used for secret gatherings by 13th century dance addicts.
Playing and dancing the follia in public was soon strictly forbidden by decree, generating of course a secretive aura which only increased its erotic charge. The character of these "follia" dances, with their constant repetition of a rhythmic motif. relies on the same hypnotic principle that animates dancers at Berlin's "Berghain" nightclub and brings them into altered states of consciousness.
Mind you, at that time, the "follia" meetings seem to have been pretty hot events, even without crystal meth thrown in the mix: you arrived masked but after increasingly wilder improvisations all masks and inhibitions were dropped. Naturally, religious authorities of all confessions became a bit "irritated under the cassock" as a result. In 16th century Seville, a commission was created with the aim of uprooting this evil but nothing came of it because the commission's chairman himself was caught dancing. The Inquisition lovingly took care of him with a few thumb-screwing sessions, after which he begged to be executed and finally redeemed from his terrible follia-addiction. What remains after all these clandestine activities is a single and surprisingly harmless theme. A simple dotted melodic line which has inspired the most beautiful flourishes from all possible composers. Clearly, the 18th century Franceseo Geminiani, with his Concerto Grosso in D minor on "La Follia", was a member of this sect. Like most interesting composers, Geminiani -no doubt called "11 Furibondo" for a good reason was obsessed with rhythm. This preference must have shaped his violin playing, learned
from Arcangelo Corelli in Rome and praised throughout Europe.
Corelli's Concerto Grosso on the follia is also the basis for Geminiani's concerto but Geminiani spices it up much more than his teacher, adding not one but two solo violins as well as a solo cel lo for good measure! For Geminiani, ru les were predictability boring and meant to be disregarded. His treatment of the ~follia', beyond the una ltered basic motif, is a bag full of surprises ...- Title: Concerto Grosso in D Minor for 2 Violins, Cello, Strings and Continuo, "La Follia" arr. after Arcangelo Corelli's Sonata No 12, op. 5: Adagio, Allegro, Adagio, Vivace, Allegro, Andante, Allegro, Adagio, Allegro, Adagio, Allegro
- Released 2021 by Aparté AP262
- Duration: 11'23"
- Recorded 26-28 October 2020 in Ensemblehaus Freiburg, Freiburg (Germany)
- Harmonie Universelle/Florian Deuter conductor and violinist (Florian Deuter: solo violin and conductor, Mónica Waisman: solo violin II, Joseph Tan, Martyna Pastuszka, Frauke Pöhl, Gudrum Höbold, Lucia Giraudo, Annegret Hoffmann: violin, Aino Hildebrandt, Stefan Schmidt: viola, Johannes Berger: cello, Christopher Scotney: bass, Michael Dücker: theorbo, Francesco Corti: harpsichord
A live performance by Harmonie Universelle
Duration: 11'20" direct link to YouTube
© 2013 by Harmonie Universelle- Title: Concerto grosso Nr. 12 d-Moll, "La Follia" after Arcangelo Corelli
- Recorded in Vredenburg Leische Rijn as part of the program Corellimania 15 November 2013 in Vredenburg Leidsche Rijn, Utrecht, The Netherlands
- Duration: 11'20"
- Broadcasted live 15 November 2013 by AVRO radio 4 as part of the program "De Vrijdag van Vredenburg" (The Netherlands)
- Holland Baroque Society (violin: Lidewij van der Voort, Judith Steenbrink,
David Wish, George Crawford, Maite Larburu, Aira Maria Lehtipuu, Zefira Valova, Stefano Rossi;
viola: Esther van der Eijk, Jan Willem Vis; cello: Tomasz Pokrzywinski, Diana Vinagre; violone: James Munro;
harpsichord: Tineke Steenbrink, theorbo: Daniele Caminiti) conducted by Azzolini, Sergio
- Title: Concerto grosso No 5 in d minor (after Corelli's Opus 5) 'Folia'
- Recorded during a live concert Sep 3, 2009 in the Geertekerk, Utrecht, The Netherlands during Festival Early Music Utrecht 2009
- featuring Sergio Azzolini bassoon
- Broadcasted by AVRO radio Netherlands September 9, 2009
- Duration: 10'33"
- Recording date: Sep 3, 2009 in the Geertekerk, Utrecht, The Netherlands during Festival Early Music Utrecht 2009
- Il Giardino Armonico/ Antonini, Giovanni conductor
- Title: Concerto Grosso pour cordes et basse continue op.5 no 12 en ré mineur "La Follia"
- Recorded during a live concert January 2, 2009
- Broadcasted by Radio France program 'Le concert de l'après-midi par Alain Pâris' January 27, 2009
- Duration: 11'23"
- Recording date::January 12, 2009 in Théâtre des Champs-Elysées in Paris, France
- I Musici 'Concerti e Follie al tempo di G. B. Pergolesi'
- Title: Concerto grosso n. 12 “La follia” per archi e cembalo
- Released 2009 by Audiophile Productions compact disc (super audio cd)
- Duration: 11'22"
- Recording date: August 12-14, 2009, Caprarola (VT) Casa di Spiritualità S.Teresa - Padri Carmelitani Scalzi, Italy
- I Musici (Roberto Michelucci, violin I Walter Gallozzi, violin II Aldo
Bennici, viola Mario Centurione, cello Maria Teresa Garatti, harpsichord)
'12 Concerti grossi after Corelli's Sonatas for Violin and Continuo, Op.5
(rev. Franz Giegling)'
Nicholas Anderson wrote for
the slipcase:
Geminiani's arrangements of his teacher's violin sonatas are both sensitive and technically skilled. Throughout the set he retains Corelli's thematic material and basic harmonic structure while extending the imaginative character of the music by means of richer textures and the employment of newly developed string techniques. Here, as in all his subsequent concertos, we find a "concertino" group of quartet as opposed to trio texture, while the ripieno consists of violins in two parts, cello and bass. Corelli's formal clarity, however, and his simply expressive idiom are carefully preserved.
In the 'Gramophone' review was stated:What, in fact, is far more original, is Geminiani's inclusion of an independent viola part in the concertino group, as opposed to the customary three-part texture of two violins and a cello. These were not Geminiani's only compositions based on those of other composers and, whilst it does, perhaps, seem curious that he spent so much energy in adaptations of this kind, we can admire him both for knowing his market and for the valuable impact he made on eighteenth-century English musical life.
The Op. 5 Concertos retain Corelli's thematic material and harmonic structure whilst extending the character of the music by means of richer textures and newly developed string technique. The great respect and understanding which Geminiani shows towards the basic material of his former teacher is, in a sense, a touching act of homage, for we are never allowed to forget that this is Corelli speaking through his pupil rather than the pupil improving upon his master.- Re-released by Philips 1993 compact disc 438 766-2 (2 CDs)[ADD]
- Duration: 13'45"
- Recording date: September 1969 in Switzerland
- I Musici '12 Concerti Grossi after Corelli's sonatas for violin and
continuo op. 5'
- Title: Concerto Nr. 12 d-moll 'La Follia'
- Released 1970 by Philips lp-set (2x) 6768 179
- Duration: 13'52"
- Recording date: not indicated
- I Solisti Italiani 'Bonporti, Galuppi, Geminiani, Pachelbel'
- Title: Concerti Grossi (12) after Op 5 of Arcangelo Corelli No 12 in D minor 'La Follia'
- Released 1989 by Denon compact disc 73335
- Duration: unknown
- Recording date: unknown
- Indiana University Baroque Orchestra
- Recorded by Indiana University, School of Music in Bloomington
- Sound tape reel, 1984-1985 no. 635
- Duration: 10'56"
- Recording date: March 3, 1985
- Irish Baroque Orchestra conducted by Peter Whelan 'Rachel Baptist'
Michael Lee wrote for the slipcase:The violinist and composer Francesco Geminiani was the most famous of
the many Italian musicians who spent time in Dublin during the mid-eighteenth
century. His twelve concerti grossi, arrangements of Arcangelo Corelli's Op. 5
sonatas, appeared in London in two volumes during the 1720s. The final work
of this collection is the Concerto grosso No. 12 in D minor, a fine arrangement
of Corelli's celebrated variations on 'La Folia'. .- Title: Concierto Grosso in D minor 'La Folia' Op. 5, No. 12
- Released 2024 by Linn Records 6 91062 07402 5
- Duration: 11'42"
- Recording date:
Recorded in St Peter's Church of Ireland, Drogheda, Ireland,
on 1–3 February 2023
- Manze, Andrew 'Andrew Manze, portrait'
- Title: Concerti grossi (12) after Opus 5 of Arcangelo Corelli: no 12 in D minor
- released by Harmonia Mundi (Fra) 2000 compact disc 2907278
- Mercury Baroque
- Broadcasted by Houston Public Radio program 'Front Row'
- Duration: 06'00"
- Recording date: August 31, 2007, Houston, USA
- Moscou Chamber Academy, Tatjana Grindenko (violin)
- Released by Ondine compact disc ODE 7352
- Recording date: May 1989
- Les Muffatti, Peter Van Heyghen conductor
- Title: Concerto grosso en ré mineur d'après l'opus VI no12 de Corelli
- Broadcasted by RTBF (Belgium radio) February 23, 2009
- Duration: 11'30"
- Recording date: July 19. 2008 at the Festival de Wallonie 2008 in Eglise Saint-Remacle of Saint-Hubert, Belgium
- Orchestre Philharmonie de Chambre de Toulouse conductend and violon Gilles Colliard 'La Follia, Italie Baroque'
- Title: Concerto Grosso La Follia, thème et variations
- Released 2010 by compact disc
- Duration: 10'02"
- Can be ordered by oct@orchestredechambredetoulouse.fr
- Recording date: unknown
- Orchestra of the Age of Enlightenment 'Italian Baroque concertos'
From the slipcase:
Geminiani's orchestration of his teacher Corelli's famous Violin Sonata 'La Follia' deserves to be more widely known. The arrangement is both sensitive and technically accomplished. Corelli's thematic material and basic harmonic structure remain in place, but Geminiani extends the imaginative character of the music by means of richer textures and a more advanced string technique. The concerto falls into a single movement, consisting of the 'Follia' theme, introduced at the outset, followed by 25 variations on it. Geminiani assures essential textural contrasts by juxtaposing his smaller concertino group with that of the full band. In this warm tribute to his master, Geminiani offers us a piece full of brilliant gestures and string virtuosity, yet retaining the essence of a work which Corelli himself is said to have regarded highly.
- Title: Concerto grosso No. 12 in D minor, La Follia
- Released 2001 by BBC Music Magazine in corporation with Linn Records compact disc Music Media Center CD 7961
- Duration: 11'10"
- Recording date: 2001
- Orquesta Nacional de España/antonini, Giovanni Antonini conductor
Concertino: Joan Espina & Laura Salcedo, violins - Lorena Otero, viola - Miguel Jiménez, cello
Orquesta Nacional de España plays all variations by Francesco Geminiani
Duration: 12'02" direct link to YouTube
© 2012 by Orquesta Nacional de España- Title: Concerto Grosso op 5 nº 12 in d, "La Follia"
- Released 2013 by Orquesta Nacional de España on YouTube from a live performance
- Duration: 12'02"
- Recording date: December 2nd, 2012 in Auditorio Nacional de Música, Madrid, Spain
- La Petite Bande/Kuijken, Sigiswald conductor 'Geminiani: Concerti grossi'
- Concerto grosso No. 6 D minor according to Variations on La Follia op. 5 No. 12 from A. Corelli
- Released 1987 by Editio Classica Deutsche Harmonia Mundi compact disc GD77010
- The Purcell Quartet (Purcell Band) 'La Folia and other concertos and
sonatas'
The Purcell Quartet plays all variations by Francesco Geminiani
Duration: 10'52" direct link to YouTube
© 1987 by The Purcell Quartet- Released 1988 by Hyperion compact disc CDA66264
- Duration: 10'52"
- Recording date: June 4/5 & 12, 1987
- The Purcell Quartet (Purcell Band) '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 CDA66264
- Duration: 10'52"
- Recording date June 4/5 & 12, 1987
- The Rare Fruit Council
The Rare Fruit Council recorded live in Utrecht
Duration: 4'29" direct link to YouTube
© 2011 by The Rare Fruit Council- Title: Concerto Grosso op 5 nº 12 in d, "La Follia"
- Released 2011 by Radio4 (the Netherlands) for YouTube. Only the first part is published.
- Duration: 4'29"
- Recording date: September 4, 2011 in The Geertekerk, Utrecht as part of the Festival of Early Music
- Scottish Ensemble conducted by Jonathan Morton
In the program was written:'La Follia' – musical madness. Sometimes you just can't fight it when music gets in your head and just goes round and round – this can be uplifting, maddening, or both! Should you succumb to 'La Follia' at this concert, you'll be guaranteed plenty of musical 'ear-worms', not least in Holst's St. Paul Suite and Britten's Simple Symphony, making sure that the Ensemble experience stays with your long after the concert.
- Title: Concerto grosso in D, "La Follia"
- Broadcasted by ORF (Austra) radio May 29, 2013 in the program Konzert am Vormittag
- Duration: 11'42"
- Recording date: February 21 in The Wigmore Hall, London, England during a live concert with the program La Follia
- Societa Corelli '17th and 18th Century Italian music'
- Title: La Follia, tempo con 23 Variazione transcribed by Geminiani
- Released 1955 by RCA Victor (Camden, N.J.) LP LM1880
- Recording date: unknown in Italy
- Program notes by James Lyons on slipcase
- Maurice Steger, recorder with The English Concert / Laurence Cummings: Mr. Corelli in London
From the slipcase:The theme from La Follia, the twelfth of Corelli's sonatas, with its twenty-five variations, became the most popular and famous of the set. In our recording, the English Concert performs the concerto grosso in the original version by Geminiani with interpolations for solo strings.
- Title: Concerto grosso after Corelli's 'La Follia' in d minor / ré mineur / d-moll | theme & 25 Variations upon the sarabanda
- Released 2010 by harmonia mundi HMU 907523
- Duration: 11'14"
- Recording date: July, 2009 at All Hallows' Church, Gospel Oak, London, England
- Tafelmusik Baroque Orchestra/Lamon, Jeanne 'Italian Concerti Grossi'
Jeanne Lamon: violin I, Stephen Marvin: violin II, Christina Mahler: violoncelle,
Paul O'Dette: lute, Charlotte Nediger: harpsichord.
- Released 1991 by Canadian Broadcasting Corporation/Societe Radio-Canada SMCD 5099
- Duration: 9'13" all variations indexed
- Recorded in St. Mary Magdalene Church, Toronto.
- Taylor-Corbett, Lynne (choreography) 'Chiaroscuro'
- Premiere: may 21, 1994 as part of the Diamond Project
- Danced by New York City Ballet
- New York State Theater
- Toulouse Chamber Orchestra/ Armand, George conductor/violin and Brosse,
Jean Patrice (harpsichord)
- Title: Sonata No 12 in D minor 'La Folia'
- Released by EMI 1C 065-16201 Q
- Les Violons du Roy conducted by Bernard Labadie 'Bonbons'
In the slipcase Irène Brisson (translated by Sean McCutcheon) wrote:
Arcangelo Corelli (1653-1713), an unsurpassed violin master, composed 12 concerti for strings, including the famous Christmas Concerto; 48 trio sonatas (opus 1 to 4); and 12 sonatas for violin and basso continuo (opus 5), published in 1700. The latter collection ends with a sonata in a single movement based on a ground-bass motif known as the folia (follia, or folie(s) d’Espagne). Variations on this ground-bass were written throughout the 17th and 18th centuries, and, later, not only by Franz Liszt (Rhapsodie espagnole) but also by Sergei Rachmaninoff (Variations on a theme by Corelli). The harmonic progression of the folia inspired Corelli to write some of the most brilliant violin music of his time. The sonata that ends his opus 5 is in a single movement, and comprises the theme followed by 23 variations in various tempi. Francesco Geminiani (1687-1762), one of the master’s students, transcribed this folia for string orchestra and, in 1726 and in 1729, refashioned all of Corelli’s opus 5 as concerti grossiArcangelo Corelli (1653-1713), an unsurpassed violin master, composed 12 concerti for strings, including the famous Christmas Concerto; 48 trio sonatas (opus 1 to 4); and 12 sonatas for violin and basso continuo (opus 5), published in 1700. The latter collection ends with a sonata in a single movement based on a ground-bass motif known as the folia (follia, or folie(s) d’Espagne). Variations on this ground-bass were written throughout the 17th and 18th centuries, and, later, not only by Franz Liszt (Rhapsodie espagnole) but also by Sergei Rachmaninoff (Variations on a theme by Corelli). The harmonic progression of the folia inspired Corelli to write some of the most brilliant violin music of his time. The sonata that ends his opus 5 is in a single movement, and comprises the theme followed by 23 variations in various tempi. Francesco Geminiani (1687-1762), one of the master’s students, transcribed this folia for string orchestra and, in 1726 and in 1729, refashioned all of Corelli’s opus 5 as concerti grossi
- Title: Concerto grosso «La Follia » d'après | after Corelli, OP. 5 No 12
- Released 2010 by ATMA Classics compact disc ACD2 2600
- Duration: 10'48"
- Recording date: February 2010 in Salle Raoul-Jobin, Palais Montcalm, Québec, Canada.
- Venice Baroque Orchestra directed by Andrea Marcon
(harpsichord: Andrea Marcon, Violin I: Gianpiero Zanocco, Stefano Zanchetta, Matteo Marzaro, Anna Fusek, Violin II: Giorgio Baldan, David Mazzacan, Francesco Lovato, Giuseppe Cabrio, Viola: Alessandra Di Vincenzo, Meri Skejic, Cello: Francesco Galligioni, Federico Toffano, Bass: Alessandro Pivelll, Lute: Ivano Zanenghl, Traverso: Karel Valter, Alberto Crivelletto, Oboe: Andrea Mion, MIchele Favaro, Bassoon: Stefano Meloni, French horn: Alessandro Denabian, Elisa Bognetti)
Venice Baroque Orchestra plays Geminiani October 20, 2013 in the Concertgebouw, Amsterdam, The Netherlands
Duration: 10'58" direct link to YouTube
© 2013 by Venice Baroque Orchestra- Title: Concerto grosso op.5 n.12. (La Folia)
- Concert direct broadcasted by Radio 4, The Netherlands
- Duration: 10'58"
- Recording date: October 20, 2013 in the Concertgebouw, Amsterdam, The Netherlands
- Anisimova, Tanya (cello)
Duration: 6'08" direct link to YouTube
Direct link to YouTube
© 2012 by Tanya Anisimova- Title: La Folia
- Published 2012 at YouTube by Blue House Productions Blue House
- Duration: 6'06"
- Recording date: unknown
- Geraerdts, Jaap
- Title: La foli´a perpetua per violino solo, variaties op een thema van Michel Farinel(li) of - volgens andere bronnen - Giovanni Stefani (on a theme by Michel Farinel(li) or by Giovanni Stefani as mentioned by other sources)
- Commissioned by De Adama Zijlstra Stichting (foundation) for the Scheveningen Internationaal Vioolconcours 1996
- Published 1995 by Donemus
- Duration: approx. 7'44"
- Dedicated to Lorenzo Pappolo (alias of Jan Bom)
This composition does not follow the familiar 16 bar structure of the Folia. The first 4 bars are conform the structure, easily recognizable and repeated over and over after a somewhat hazy middlepart and ending of the variations. The premiere played by Noel Mewton-Wood (piano) and the Aldeburgh Festival Orchestra, directed by Norman del Mar was at June 16, 1951 in Aldeburgh Parish Church, England.
- Attenelle, Albert and the Orquestra simfònica de Barcelona i
nacional de Catalunya/conductor Foster, Lawrence In 1998 Malcolm MacDonald
wrote for the slipcase:
The finale, 'Folia' refers to the popular Spanish dance of that title (actually it seems of medieval Portuguese origin) and its associated tune 'Folies d'Espagne', used by Corelli in his 'La Folia' variations, by Liszt in his 'Rhapsodie Espagnole and by countless other composers besides. In portuguese 'Folia' means both a fool's dance and jollification. in Catalan it connotes madness, lunacy, in a non-literal, figurative sense. Gehrard has reffered to the lighter side of this title in the 'Follia' movement of his cantata 'l'alta naixença del rei en Jaume (Auvidis / Montaigne MO 782106). In the Concerto he evokes the darker associations in a finale of hectic, slippery moto perpetuo figuration, invaded ever and anon by severe quotations of 'La Folia' which Gerhard described as 'menacing' (and marked, in the score, 'minaccioso'). On one level these episodes are perhaps like the Brethen of the Deadly Sin in his opera 'The Duenna', exhorting us to repent, as we hurry heedless towards death. On another, they may represent the inescapability of the past. At all events, they suggest that a reckoning will eventually have to be paid for folly in Spain.
- Title: 'Concerto for piano and strings': 1 Tiento: allegro, 2 Diferencias: adagio, 3 Folia: molto mosso
- Released 1999 by Auvidis Montaigne Ltd compact disc MO 782107
- Duration: Tiento 7'28", Diferencias 11'48", Folia 5'57"
- Recording date: not indicated at all in the slipcase or container
- Donohoe, Peter and Northern Symfonia 'Ferguson, Gerhard, Rowley, Darnton: Piano Concertos'
Andrew Burn wrote about this piece:
Gerhard's Piano Concerto, first performed by Noel Mewton-Wood at the 1951 Aldeburgh Festival, with the Festival Orchestra conducted by Norman Del Mar, was the first of Gerhard's works composed with serial techniques. Each movement is headed with a title that refers to Renaissance Spanish keyboard music. Tiento refers to the name used by sixteenth-century Spanish organists for toccata and the movement has a whirlwind energy in which the soloist barely pauses for breath. Diferencias is the Spanish equivalent of the English divisions or variations and Gerhard suggested that the "theme and diferencias here may be taken as seven different visions of the same face". Based on a Catalan religious song, the movement is among Gerhard's most powerful utterances, a dark lament for his country under the yoke of dictatorship into which the Dies irae is also woven. Folias was a fantasy-like form on ground bass line. It was associated with a popular seventeenthcentury melody which was widely used in keyboard and string music. Gerhard makes prominent use of the first three notes of the Folia tune in his finale which he described as having "a frenzied carnival-folly atmosphere" reminiscent of Goya's Burial of the Sardine.
- Title: 'Concerto for piano and strings': 1 Tiento: allegro, 2 Diferencias: adagio, 3 Folia: molto mosso
- Released by Naxos compact disc 8.557290
- Duration: Tiento 6'11", Diferencias 10'09", Folia 5'57"
- Recording date: unknown
- Tozer, Geoffrey and BBC Symphony Orchestra/conductor Bamert, Matthias
'Symphony No 3 'Collages', Epithalamion, Piano Concerto.
Bernard Benoliel wrote for the slipcase:
Gerhard's use of the term 'Folia' for the last movement carries an association of meanings. It refers to a chord sequence with a corresponding melodic pattern which originated in Spain in the late Middle Ages. 'Folia' in Portuguese means a 'fools dance' but in Catalan it is a euphemism for the sexual climax. Gerhard first used this term ironically in the third movement of his cantata 'L'alta naixença del rei en jaume' (1932), which also refers to the 'Goig del roser'. Rather mysteriously, in his own programme note to the concerto, he speaks of the menancing references to the 'Folia', which, as the listener will recognize, is also the first three notes of 'God save the King'. For the republican exile, writing in the Festival of Britain year, these ponderous allusions within a fleeting lightfooted moto perpetuo appear deeply subversive. Such musical satire would have been impossible in his own country, still in the grip of fascism.
- Title: 'Concerto for piano and strings': 1 Tiento: allegro, 2 Diferencias: adagio, 3 Folia: molto mosso
- Released 1997 (premier recording of piano concerto) by Chandos Records Ltd compact disc Chan 9556
- Duration: Tiento 7'19", Diferencias 11'19", Folia 6'04"
- Recording date: February 28 - March 1, 1997 in Blackheath Concert Hall
This is an relatively easy piece as part of an electronic organ method in Italian
- Giaconni, Dogrey 'Invito all'organo elettronico, Volume 1'
- Title: La Follia, tema popolare portoghese
- Published by Edizioni Musicali Berbèn, Italy BRM 1215
- Size 21 x 29 cm, pages 57 and 58
'Studi da Francisco Goya' means literally 'studies after Francisco Goya', one of the greatest Spanish painters (1746-1828) who loved the guitar. The subtitle was added to indicate that the composer was inspired by the paintings and the world of Goya for his composition.
Gilardino said about the development in variation technique of La Folia:
From the viewpoint of a composer, the variation that makes a direct use of the theme, with only some sort of ornamental treatment of either the melody or the harmony or both, is considered nowadays more a school exercise than a true creative work. The true variation is more elaborated, taking the theme as a background reference, and creating entirely new structures after it. In my "Variazioni sulla Follía", for instance, I have created completely new musical paths that have almost nothing to see with the themes, except that, from time to time, they pass through memories of the themes, and then they live them again....
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Duration: 1'10", 02 kB. |
| The opening of Variazioni sulla Follía | Reproduced by permission of Edizioni Musicali Bèrben |
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- Attademo, Luigi 'Folías; Sanz, Giuliani, Ponce, Gilardino, Sor,
Ohana'
Luigi Attademo wrote for the slipcase (translation
by Maya Bodo):
Angelo Gilardino's work rides Follía through hallucination. It is only through hallucination that the world can be revealed in its true sense. Without giving up the traditional way of composing with its counterpoint, its interrupted and repeated themes, and its opposite dynamics, Gilardino works out Follía again, and dives into it, as an ancient alchemist, to develop diverse and unknown sounds. This process transforms Follía into something that does not belong to the author, into something that can be, at the same time, both alienated and alienator. It is impossible to accomplish completely such a kind of alchemistic process, and this is the reason why it ends up with the quotation of Sor, another great guitarist who has chosen to render and preserve the deepness and the torture of his thoughts by means of a specific sound.
- Released 2001 by the Magazine 'Guitart' compact disc GUIT 2026
- Duration: 1 Lento e pensoso 1'13", 2 Risoluto, ma non troppo mosso 0'59", 3 Andantino scorrevole e sommesso 0'59", 4 Allegro non troppo, ma assai energico 0'53", 5 Andantino appena mosso 1'56", 6 Allegretto 0'51", 7 Andante piuttosto lento 1'22", 8 Agitato 1'00" 9 Non troppo lento, con forte scansione 2'25", 10 Rapido e lieve 1'15", 11 Mosso, legato 1'22" 12 Liberamente, come preludiando F. Sor: Les Folies d'Espagne: Thème 1'21"
- Recording date: March 25 and 29 2001 at Quality Audio, Vercelli, Italy
- Guitar by Carlo Raspagni, 1996
- See also the page Recommended Folia-recordings
- Gilardino, Angelo
- Published by Edizioni Musicali Bèrben © 1990, Ancona Italy.
- Score 23 p., 32 cm
- Duration: approx. 12'00"
- Publisher No. E.3182 B.
It was first published in Vienna by Artaria et Compag. as publication No. 2278. The original manuscript is conserved at Biblioteca Privata Terzi Bergamo, Italy
First edition in Artaria 1814 Pl. no. 2278 Vienne.
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Published in the public domain |
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9 pages in pdf-format with fingersetting of theme and
first variation, 700 kB |
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Duration: 4'02", 16 kB. |
| Opening of Giuliani's Variazioni sul tema della Follia di Spagna | |
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- Attademo, Luigi 'Folías; Sanz, Giuliani, Ponce, Gilardino, Sor,
Ohana'
- Released 2001 by the Magazine 'Guitart' compact disc GUIT 2026
- Duration: 1 Tema: Andantino 0'45", 2 Variazione I 0'29", 3 Variazione II 0'22" 4 Variazione III 0'57", 5 Variazione IV 0'23", 6 Variazione V: un poco più adagio, Variazione VI 2'50"
- Recording date: March 25 and 29 2001 at Quality Audio, Vercelli, Italy
- Guitar by Carlo Raspagni, 1996
- See also the page Recommended Folia-recordings
- Barone, Carlo (guitar) 'Mauro Giuliani - Luigi Moretti, Carlo Barone
chitarra dell'800'
Ivan Epicoco wrote for the slipcase:The six 'Variations sur les Folies d'Espagne' op 45, published by Artaria in Vienna in 1814 represent the umpteenth attempt of a great musician on a theme which has been considered as a difficult field of competition since the Rennaissance. Once the theme has been announced, in the first variation Giuliani still lingers to elicit the cantability of the melody spreading it with a sort of echo effect between the upper tones and the bass. It is with the three subsequent variations that some of the most effective virtuoso solutions that the classical technique has developed are detected. In the fifth variation, 'un poco più adagio' is in major tonality, and has two functions: it is the arrival point for what precedes it, but above all it is the starting point for the sixth variation in a Spanish mood, that concludes the cycle and is a synthesis of style and technique united to a deep rhythmical dramaticity similar to 'flamenco'.
- Title: Variazioni Op. 45 Sulla Follia di Spagna
- Released 1994 by Gruppo Accornero, Rugginenti Editori, via Cuore Immacolato di Maria, 4 - 20141 Milan RUS 552053.2
- Duration: 5'13"
- Recording date: August 1-20, 1994 in Casa Paolo, Brezzo di Bedero (VA) during the twelfth edition of the international festival 'Estate chitarristica sul Lago Maggiore'.
- Guitar built by Gaetano Guadagnini in 1837 (six string guitar)
- Barrueco, Manuel (guitar) 'Italienische Gitarrenmusik'
- Title: Sechs Variationen über Les Folies d'Espagne op. 45
- Released 1981 by Fono Schallplatten-GmbH, LP FSM 53 045
- Duration: 4'14"
- Recording date: May 1980
- Barrueco, Manuel (guitar) 'Manuel Barrueco spielt Gitarrenmusik aus
Italien, Spanien und Brsasilien'
- Title: Sechs Variationen über 'Les Folies d'Espagne' Op. 45
- Released 1992 by FSM 2-set compact disc
- Duration: 4'14"
- Recording date: 1980
- Barrueco, Manuel (guitar) '300 years of guitar masterpieces'
- Released 2004 by Vox Box Englewood Cliffs, N.J., 3 compact discs 3X-3007(?)
- Duration: 4'14"
- Recording date: 1980
- Bracken, Michael (guitar) 'Mauro Giuliani, works for guitar'
- Title: Variations on La Folia Opus 45
- Released 2005 by unknown Canadian label compact disc XXI-CD 2 1519
- Duration: unknown
- Recording date: unknown
- Buhl-Mortensen, Kristian (guitar) 'Mauro Giuliani, the last rose of
summer'
- Title: Folies d'Espagne (Opus 45) (Vienna 1814)
- Released 2002 by Scandinavian Classics TIM, The International Music Company AG compact disc and as a compilation at the 4 compact disc-set by Membran released 2004
- Duration: 5'42"
- Recording date: 2000
- Chiesa, Ruggero edited the music
Ruggero Chiesa wrote as an introduction:The theme of the 'Spanish follies' (actually a bass ostinato in minor mode with the progression I-V-I-VIIb-III-VIIb-I-V, sometimes slightly modified at the conclusion) is encountered in the instrumental repertory as early as the sixteenth century. The first version for guitar was written by Alonso Mudarra, in a Pavana that appeared in 1546. From that time on, variations on this theme were very common, as is evident from the uninterrupted stream of works by numerous composers up to the present day. The long list of guitar variations on this theme includes works by such composers as Corbetta, Carulli, Sor, Ponce and R. Malipiero.
- Published by Zerboni, Milano 1975
- Score 9 p., 32 cm
- Publisher No. S 7887 Z
- Gallén, Ricardo (guitar) 'Mauro Giuliani, Guitar Works Vol.
1 Variations'
Richard Long wrote for the slipcase:
The folies d'Espagne or folias was not so much a theme as a chord progression, probably of Iberian origin, and dating at least to the sixteenth century. It became a standard in the repertory of the Baroque guitarists and lutenists and found its way into the music of the masters such as Handel, Corelli, Vivaldi, and Boccherini. Guitarists from the seventeenth century onwards seem to have favoured the chord progression to teach arpeggio patterns and as the basis for improvisations, and so the "theme" became firmly rooted in guitar culture. While easy variations on the Folias were well known throughout Europe, Giuliani's Six Variations sur les Folies d'Espagne, Op. 45, (Vienna: Artaria, 1814) was perhaps the most ambitious and virtuosic elaboration for the guitar to that date (Fernando Sor's famous variations, Op. 15, date to the early 1820s).
- Title: Variations on Folies d'Espagne op. 45
- Released 2002 by Naxos Guitar Collection, compact disc 8.555284
- Duration: 4'42"
- Recording date: August 18-23, 1999 in The Green Room, Offord Hall Aurora, Ontario, Canada
- Heuwekemeijer, A.J. edited the music
- Published as facsimile of original by Musica revindicata 179 Amsterdam in 1970.
- Score 5 p., 32 cm
- Facsimile of ed. published by Artaria, Vienna, 18--.
- Kavanagh, Dale (guitar) 'Classical-Romantic Music for Guitar'
- Title: Variations on Folia di Spagna, Op. 45
- Released by Hänssler compact disc CD98.400
- Duration: 4'21"
- Recording date: unknown
- Martinez, Kurt (guitar) 'Folías'
- Title: Variazioni Sulla Follia
- Released without indication of year (but it is 2003) by martinezkurt@cs.com without order number
- Duration: 5'49"
- Recording date: not mentioned in the slipcase
- See also the page Recommended Folia-recordings
- Savino, Richard (guitar) 'The Essential Giuliani, Vol. I'
- Title: Six Variations on La Folia for solo guitar, Op. 45
- Released 2006 by Koch 2 cd-set 7591
- Duration: 5'13"
- Recording date: unknown
- Scheit, Karl edited the music
- Title: 6 Variationen über 'Folies d'Espagne' opus 45
- Published by Universal Edition
- Score 12 p., 23,2 x 30,5 cm
- Publisher No. UE16704
- ISMN M-008-00561-9
- Schroth, Andreas
- Published as facsimile of original by Andreas Schroth, Berlin c.1978
- Score 5 p., 31 cm
- Publisher No. ES 3 Edition Schroth 2278
- Facsim. reprint. Originally published: Vienne : Artaria, 1814
- Tampalini, Giulio (guitar) 'Mauro Giuliani, Sei Rossiniane op. 119-124, Variazioni op. 45, op. 107, Grand Ouverture op. 61'
- Title: Variations on Folies d'Espagne, Op. 45
- Released 2007 by Concerto 2 cd-set CD2034 2
- Duration: 4'55"
- Recording date: 2007 in Bartok Studio, Bernareggio, Milan, Italy
- Volta, Sandro (guitar) 'Mauro Giuliani, Opere per Chitarra'
- Title: Six variations our la Guitarre sur les folies d'Espagne Op. 45
- Released 2005 by Tactus compact disc TC 780701
- Duration: 5'20"
- Recording date: 2004
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Duration: 0'37", 02 kB, just the fragment |
- Edition Schott, editor unknown
- Released by Edition Schott, Klassiker der Gitarre Band 5
- Publisher's No. ED 6962
Composed in 1977 for flute and organ
- Björn Grönberg and Gunnar Nordenfors, SMIC ID-number 178949
- Title: Ricordo III (La folia)
- Published by SMIC (Swedish Music Information Center)
- Duration: ca. 16'
- Premiered : 1979-10-06 [yyyy-mm-dd] in Västeras domkyrka by performers Björn Grönberg and Gunnar Nordenfors, SMIC ID-number 178949
- For more information about the sheet music http://www.mic.se/avd/mic/prod/micv6eng.nsf/DocsByCodename/single_object%21opendocument&external=http://www.mic.se/avd/mic/prod/personer.nsf/WebV6BiografierAOEng/5AA1EFA709D52C6441256492002D2449
Great set of Folia-variations consisting of theme, 5 variations and ending with the theme once more (reprise). Because of the very different styles and the dark tonal color of some of these variations they would fit perfectly into the set of variations as written by Manuel Ponce in my perception.
Anthony Glise currently lives and teaches part-time in the US (at Missouri Western State University, St. Joseph, Missouri, USA) and part-time in a small village in the Flanders region of Northern France.
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- Glise, Anthony (guitar) 'Dream Scenes, Original Compositions of Anthony
Glise for Classical Guitar (with guest artist, Ken Sugita of the French
National Orchestra-Lille)'
Anthony Glise wrote for the slipcase:
Variations on "Folias de España" were sketched on Pieve di Teco (Italy) and finished in Milan in the fall of 1990. Written on commission from the "Accademia di Studi Superiori L'Ottocento" (Italy), the work develops from the "Folias" theme (slightly altered), through a series of variations which not only expand the thematic material, but also the formal structure of the original.
I am very glad that Anthony wrote down his thoughts about his Folia (2 June, 2005).
From that standpoint, this work is a true synthesis of styles: while still retaining the inherent Renaissance theme, the variations progress in 19th-Century fashion, but using contemporary harmonic and rhythmic elements.
© 2005 by A. Glise, used with permission:
THEME AND VARIATIONS ON THE FOLIAS D'ESPANA, Op. 15 (for solo guitar)
A BRIEF HISTORICAL, SOCIAL, PHILOSOPHICAL AND RELIGIOUS VIEW OF THE FOLIA
ORIGIN OF MY THEME AND VARIATIONS ON THE FOLIA
The story of my variations on the Folia is rather bizarre.
For the last 18 years, I have periodically taught at the 'Accademia degli Studi Ottocento' (Academy for the Study of 19th-Century Music) which is based in Vigevano, Italy (outside of Milan), directed by the 19th-Century expert, Maestro Carlo Barone. During an Academy tour in 1990 (just prior to my winning First Prize at the International Toscanini Competition), most of the faculty was performing one or more of the many variation sets on the Folia theme (esp. those for guitar by 19th-Century guitarists / composers, Mauro Giuliani [Op. 45] and by Fernando Sor [Op. 15]).
In the midst of that tour, the entire academy was in residence at a monastery in Pieve de Teco, Italy - a beautiful site in the Ligurian mountains that once housed over 200 monks - which, in the last 500 years, has been reduced to 2 brothers.
In Pieve di Teco (when we weren't having parties with the 2 monks... and trust me, monks KNOW how to party...) I secretly composed my Folias Variations surrounded by glorious olive and almond groves, the scorpions that shared our toilet space and the single, ice-cold "shower" (a garden hose on a balcony) which was a true legacy to Musolini's Fascist regime.
I composed my Variations on Folias d'Espagna in 6 days at that monastery (the final version, written in Milan)
The next to last stop on the tour was a large concert at the famed church, Santa Maria degli Angeli in Rome and, being somewhat of an anarchist, I wanted to do a surprise piece, decidedly NOT 19th-Century... As I had planned, at that concert I announced a change in my concert program and simply said I was going to play 'The Variations on Folias de Espana...'
Following the sighs of '...bloody hell, not again!' the audience and faculty were shocked, amused and ultimately thrilled to hear a different set of variations on the Folia that was FAR from the ubiquitous versions from the 19th-Century.
THE FOLIA AS A THEME FOR VARIATIONS - A COMPOSER'S VIEW
In my opinion, the Folia represents a near-perfect harmonic progression for writing variations in a quasi-conservative yet virtuostic format. The original theme is fairly simple, but because of the phrase structure, it is possible for a composer to explore harmonic and melodic variants as well as the rhythmic structure of the original ground.
This also brings up an interesting concept that I personally hold as a composer (echoed by the brilliant writer, Milan Kundera, in his novel, The Book of Laughter and Forgetting):
As a composer, I consider the normal compositional process to be one of EXPANSION. A composer takes a theme, expands it, pulls it and develops it into something new. However, composing variations is backwards.
In composing variations, we take a theme and go INSIDE. We go smaller and smaller and try to find a 'thin red thread' which will connect the different variations with the theme. 'Mois est plus!'
In short, traditional western composition addresses the Macrocosm: 'GO BIG!'
Writing variations is an eastern approach which demands that the composer examine the Microcosm: 'GO SMALL!'
For that very reason, writing variations, I believe, forces a composer (and performer) to examine the subjective interior. On a more eclectic level, it is a reflection of our religious Archetyptical Past (if the reader will excuse my gentle reference to Plato's brilliant dialogue, 'Ion'), rather than our Future as I'll discuss briefly in the following section.
VARIATIONS AS A REFLECTION OF RELIGIOUS DEVELOPMENT IN OUR GENETIC MEMORY
RELIGION IN THE MODERN 'WEST' - A VERTICAL PERCEPTION
In the view of most modern western and near eastern religions, individual believers have a more direct and personal access to God through, Jesus, Mohammed and a few other primary intermediary sources. Per that assumption, a relationship to God is 'one-on-one' which is 'vertical' (from the earth-bound believer to heaven). Especially in the west, this belief was further propagated by the European 'Age of Enlightenment' which assumed such a heightened sense of self.
In the west, the INDIVIDUAL became increasingly important per that personal link to God but it required that the individual take responsibility for initiation of that relationship. In effect, the western search for truth goes OUTWARDS (or 'upwards') from the single individual directly to God in the same way that western composers traditionally develop 'outwards' (and 'upwards' with regards to VERTICAL harmonic structure) from the thematic material. A brief look at the 19th-Century sonata-allegro form will confirm this attitude of expansion from a compositional standpoint.
In fact, from the beginning of the 20th-Century, the individual has become so ultra-important to a such a Narcissistic level, that even one single death is cause for war (consider Prince Rudolph's assassination at the hands of a Serbian dissident and the resultant World War I).
This attitudinal difference between the east and west could be further supported if we consider the shift of the Papacy from Constantinople (eastern) to Avignon (western) then finally to Rome (as a compromise between the two), but that is subject better left to theologians...
RELIGION IN THE ANCIENT EAST (Our original 'Roots') - A LINEAR PERCEPTION
In the view of most eastern religions, individual believers have an indirect and less personal access to God through Moses, Buddha and a few other primary intermediary sources.
If we consider earlier religious maxims, an attitude of individual spiritual exclusivity is foreign and in many cases, non-existent. In virtually all historical eastern religions (including many contemporary eastern religions) the individual is ostensibly irrelevant; an attitude which certainly helps explain the current trend of suicide bombings in the middle east.
The ultimate concern is for the 'whole' whether it be the country, region or the village community. It is a concern that goes from one individual to the next within the community in a linear fashion, then - and only then - to God.
The musical parallel, of course, is that in the West, one individually extends upwards to God (which implies an harmonic, vertical structure) while in the East, one extends outwards (which implies a linear structure).
Additionally, in nearly all eastern religions (which we MUST remember is the source of Christianity), one goes INWARD to discover 'truth'. This profound search and arrival has been called 'Satori, 'The Still Point,'Enlightenment,' 'Kether,' etc. while western goes OUTWARDS.
As I said above, as opposed to the western 'vertical' concept, eastern attitudes assume a search that is 'linear'. Additionally, in the east, the individual is infinitely less critical (per no direct access to God as in the west) and in that same manner, composers traditionally develop INWARDS when writing variations on a theme. *
CONCLUSION
For all these reasons, I sincerely consider writing variations a profound, eastern-oriented, subjective venture into the composer's soul... and even into our genetic / spiritual memory. It is a compositional medium that demands MUCH more self-awareness, a command of the thematic material and an approach that requires a compositional maturity of which few composers can boast.
This opinion is evidenced in the careers of many cherished western composers in their more mature works, in particular, Beethoven, who in his latter years was obsessively committed to working in the variation form.
I would strongly urge composers, as they mature, to seriously consider the theme and variation form as a profound medium to express their more serious concepts and the Folia, as a theme, is one of the most accessible and adaptable motives imaginable for experimenting with this severe journey to the soul.
* FOOTNOTE
While I know of no one else who has dared address this subject, in my opinion, I consider it hardly coincidence that historical dance (like music) has exhibited a similar regression with regards to the social interests of the 'communal' vs. the 'individual'.
When we look at primary sources of early dance manuals, the earliest (including manuscripts and incunabula through Arbeau [ca. 1588]) all give dance choreographies which are highly 'communal'. I.e. the entire village dances together, indiscriminate of age, social standing, etc.
This documented attitude, in my opinion, further verifies an historical concern with propagation (thus survival) of the village populace - supported by the fact that early dances were INFINITELY more seductive and erotic - than later historical dances. The goal (conscious or otherwise) of this eroticism, I believe, was to excite the senses (or at least the loins) to insure future generations of the local inhabitants.
I.e. 'Dance... get excited... go breed for the survival of the village'.
By the 17th-Century (particularly as documented in the dance manuals of the two leading Renaissance Dancing Masters, Caroso [1600] and Negri [1604]) dances were more oriented to smaller groups and exhibit less concern over small-scale ('village') communal survival via indiscriminate propagation.
This more conservative attitude is especially prominent in the Renaissance Italian courts where prodigious procreation was, in fact, a terrifying disadvantage which led to the murderous hobbies of the Borgia, et al. in order to 'thin out the competition' for noble title.
Following the Renaissance, we find a majority of dances through and beyond the Baroque focusing on couple or solo dances such as those choreographed by Rameau and, to take one fascinating historical 'step' (no dancing-pun intended) further to the modern disco / dance clubs of today, one simply 'dances' (with or without a partner) and we can only assume that the dancer is even aware that anyone else is on the dance floor!
This self-absorbed 'progress' in the history of dance, presents a strong parallel to musical and social situations and documents a logical progression (regression?) toward a total lack of consideration for anything but the individual.- Released 1998 by Éclipse Recordings France compact disc ECL 1982
- Duration: 7'12"
- Recording date: 1998 at Ransomed Studios, Kansas City, USA. Produced by Thomas Ransom
- The oeuvre and activities of this composer and performer can be found at http://www.anthonyglise.com/index.html
- Glise, Anthony 'Variations on "Folias de España"' (solo
guitar-seven movements)
- Published by Anthony Glise
- ? pages, size 29 x 21 cm
- Publisher's No. AG1015
- Guitarists interested in receiving a complimentary copy of Glise's Theme and Variations on the Folias d'Espana, Op.15, may contact the composer directly at: glisea@aol.com
It is no coincidence that Gianluigi Trovesi
is playing in the band because he already had recorded the Folia theme twice
before this session and in 2000 once again.
- Godard, Michel and band 'Castel del Monte'
Jean-Louis Matinier, accordian. Gianluigi Trovesi, clarine. Michel Godard, tuba.- Released 2000 by Enja compact disc ENJ 9362-2
- Duration: 5'18"
- Recording date: September 1998 in Castel del Monte near Ruvo di Puglia, Southern Italy
In the slipcase is written:
This set of six variations was commissioned by the Newbury Spring Festival, and first performed by
Christopher Herrick in May 1984. The Portuguese dance on which the variations are based must rank
among the most popular subjects for variation treatment, second only perhaps to Paganini's famous
Caprice; and, like that tune, 'La Folia' derives its attraction to composers from its basic simplicity.
After a straightforward version of the theme and a re-inforcement of its distinctive chord sequence in the first
variation, a twelve-note-row appears, firstly in the bass and, in the subsequent section, as the melody.
After 'scherzo' and 'cantilena' movements, the note-row appears with a vengeance to confront the folia theme,
bringing the work to a thunderous close.
- Herrick, Christopher 'Organ Colours'
- Commissioned for the organist Christopher Herrick
- Released 1985 by Priory LP PR 163 and Priory LP Archive Series Volume 6 released 2005 double compact disc Priory PRCD 918
- Duration: 7'53"
- Recording date: January 19, 1985 at the Peter Collins organ at St. Peter Mancroft, Norwich, England
- Premiere at the Newbury Festival 1985 and broadcasted on Radio 3 BBC
Duration: 5'32" direct link to YouTube
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This is a jazz improvisation upon the 'Folies d'Espagne' harmonic pattern.
Before, I have never recorded this theme but played it in different concerts.
Why I choose to do a jazz version? Because the method of improvising in the 17th century was basically
the same as in most styles of jazz: variations upon a harmonic scheme. So the use of this theme as well
as of some other 16th and 17th-century 'standards' (see my other recordings on Youtube) seems rather
organic in jazz 'clothes' (see 'Greensleeves' by Coltrane). Of course this is no more 'baroque' music but
modern music upon an old theme.
- Goldobine, Dimitri
- Not released by any record company or radio broadcasting (yet)
- Duration: 5'32"
- Recorded: the first of December, 2007 in 'Baroque Bar' Nice, France
Variations on 'La Folia' (theme and 6 variations) was not only influenced by the Baroque (for example the triads in the 6th variation), but especially the piano-part takes care for the mixture with the later Romanticism. In every variation the accent is given to the first beat (while lots of Folias do stress the second beat of each bar). In the end of the 3th variation the 16th bar is omitted to slip right into the new and slower variation where it isn't expected.
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Duration: 3'32", 17 kB. |
- Gomes, Miguel Andrade
The oeuvre of the composer can be found at http://miguel.gomes.com
- Released 2000 by mp3.com and can be downloaded (3.3 MB) and/or ordered at http://artists.mp3s.com/artists/69/miguel_dandrade_gomes.html
- Duration: 3'32"
- Recorded 1997 in Portugal
In the genre: Gothic/Industrial/Classical a very short folía
La folia
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- GPKISM 'Sanguis Rosa'
- Title: La folia
- Released 2010 by Darkest Labyrinth mini-album (cd) ordernr. DLKK-4
- Duration: 1'27"
- Recording date: September 12, 2010 at the live house
It contains 13 variations on an old Spanish theme Folia
- Gorjanc, Jan
- Title: Trece Variaciones sobre la Folia de España is orchestral music in classical style
- Released August 2010 by The HarpPlayer at YouTube
- Duration: 8'30"
- Recording date: 2010 published on YouTube http://youtu.be/RlXUwysGcPU
David Charlton wrote in 'Grétry and the growth of Opera-Comique' (Cambridge
University Press 1986) in the opera explanation that Grétry has used
the Folia to characterize the Spanish nationality of Lopez (one of the characters)
in Act 2, 'Le mariage est une envie' :
'L' amant jaloux has a sombre, impetuous character: there
is nothing comparable in its successor. L'amant jaloux is set in Spain,
the characters had to take a Romantic tint inspired by the customs, nocturnal
amours and the novels of that nation.
Character in nationality determined the French menuet for Florival in scene
10. More calculated still was the use of the 'Folia'-bass in 'Le mariage
est une envie', though Grétry claimed that 'the reference was appreciated
immediately'. Lopez is given a text in which he inveighs against mariage.
To set this 'musical dictum' as he called it, the composer had recourse
to a kind of a pun that depended on local colour: the formula known as 'Les
folies d'Espagne'. This bass-line, known at the time everywhere for its
fifteenth- and sixteenth-century Iberian associations, was associated by
Grétry with Corelli, i.e. the violin sonata Op. 5 no. 12. But its
use as the basis of song had occurred earlier in eighteenth-century Parisian
opéra-comique.
- Doneux, Edgard Director/Chef d'orchestre, Charles Burles Tenor, Michel
Trempont Bariton, Mady Mesple Soprano, Danièle Perriers Soprano,
Jean van Gorp Bariton, Jacqueline Sternotte Soprano, Ludovic de San Bariton,
Monique Bost Soprano, Jules Bastin Basse, Bruce Brewer Tenor, Christiane
Chateau Soprano, Chambre RTBF Orchestre de chambre. Jules Bastin plays
the character of Lopez.
- Title: Le mariage est une envie from 'L'Amant Jaloux opéra-comique en 3 actes'
- Released 1978 by EMI LP-set together with the opera 'Richard Coeur de Lion' CC 21 2. ref. 2C 167 - 16.237 Q B
- Duration: 0'55"
- Recording date: not indicated but since this recording was released again in 2002 with the same orchestra and singers as a release of the older recording with all the facs the recording date: May 16-26, 1977 in Salle de la Madeleine, Brussels (Bruxelles), Belgium is very likely.
- Doneux, Edgard Director/Chef d'orchestre, Jules Bastin Basse, Christiane
Chateau Soprano, Chambre RTBF Orchestre de chambre. Jules Bastin plays
the character of Lopez and Christiane Chateau the servant of Léonore
'L'Amant Jaloux'.
- Title: Le mariage est une envie from 'L'Amant Jaloux opéra-comique en 3 actes'
- re-released 2002 by EMI compact disc 7243 5 75263 2
- Duration: 0'55"
- Recording date: May 16-26, 1977 in Salle de la Madeleine, Brussels (Bruxelles), Belgium
In 1874 the Danish publisher asked Grieg to prepare a collection of folk tunes for the
piano to be published under the name ' Melodies
of Norway'. Because of the simple nature of the collection, Grieg was not inclined to
be associated with the pieces
and so the copyright was sold to Wilhelm Hanssen in 1877. Towards the end of his life, Grieg got a more positive
attitude towards the collection of folk tunes.As Francesco Ricci pointed out about this piece in an e-mail the 19th of August 2011:
The second thing I found (don't know if it can be of any interest) is that the piece of Grieg "In Rosenlund etc..", taken from Norway Melodies, sounds really close (but really a bit too close) to the Swedish song "Sinclairs Visan"; so probably is meant to be the same theme. On the other hand I wouldn't be surprised if a Swedish melody could be taken for a Norwegian melody, or vice versa...
- Steen Nokleberg, Einar 'Grieg, Complete piano music Volume 5'
- Title: In Rosenlund
- Released 2004 by Naxos 14 compact discs, Volume 5, 8.501 401
- Duration: 1'22"
- Recording date: March 6-7, 1994 at Lindeman Hall, Norwegian State Academy of Music-Oslo
The piece was written for the recorder player Drora Brook.
- Bruck, Drora (recorder)
and ensemble
- Title: La Folia
- Released as a broadcasting Galey Zahal, the IDF broadcasting authority
- Duration: unknown
- Recording date: October 18, 1992
In total 16 melodies, each hour in full, on the half hour an introduction air. On the dial are eight melodies indicated: 1-8. Titles: Folies d'Espagne by J.H.d'Anglebert; Menuet by Locatelli; March by Corelli; March of Paris; Schoon dat ik onder 't groenThe music is played on 18 bells by 32 hammers (see picture).
- John Georg Grüning
- Title: Folies d'Espagne inspired by d'Anglebert
- Built circa 1770-1780
- Duration Folies d'Espagne: 1'02"
- You can see the clock and hear the carillon at http://www.antiques4yu.com/Staande%20klok%20met%20carillon.htm
- Photos by H. Ming G. Yu
- The clock is part of the Ming Yu collection, used with permission
- Grupo de Música barroca La Folia conducted by Pedro Bonet 'Música De La Guerra De Sucessió Espanyola'
- Title: Folías De Espanya Ab Mudansas Biblioteca de Cataluña M. 1452
- Released 2007 by Columna Música 2 cd-setcompact disc
- Duration: 6'10"
- Recording date: unknown
A live performance during the Festival in Morelia
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- Grupo Segrel (Vladimir Bendixen: fÍdula y voz, Liamna Pestana: guitarra barroca y voz,
Jorge Morenos: guitarrilla y quinta huapanguera, José Pablo Jiménez: viola da gamba, Casilda Madrazo: danza y castañuelas, Manuel Mejía Armijo: laùd y guitarrilla)
- Title: Folías: Recercada cuarta de Diego Ortiz, "Serrana, si vuestros ojos" de Luis de Briceño, Folía de Gaspar Sanz / Grupo Segrel
- Broadcasted at YouTube by Mariscofresco July 6, 2011
- Duration: 11'28"
- Recording date: 2010 in Templo de las Rosas, Morelia, Mexico at the Festival de Música de Morelia Miguel Bernal Jiménez
Bo Gunge wrote about his 'A Devil behind the mask':
The piece ”A Devil Behind the Mask”, dedicated to Anders Borbye, was written for electric guitar, and exploits extensively this instruments ability to change character. At the same time, the concept of Anders' CD, collecting pieces that refer to the old ”La Folia” theme, is well suited to work with the tension in holding on to something while it is changing. In my piece the Folia-theme is the little devil that roams underneath, hiding in different pleasant disguises, that are only step by step revealed by Anders. At last we actually reach the core, and the theme appears to us in a way we could never have imagined this old theme would sound! When we find our own ”core” I hope it is in the same way crude, fascinating and frightening. But it probably isn't. If it is there.
- Borbye, Anders 'Refolia, contemporary works for guitar'
Duration: 1'01", 951 kB. (128kB/s, 44100Hz)
Fragment of Devil behind the mask, performance by Anders Borbye
© 2008 Anders Borbye, used with permission- Title: A devil behind the mask
- Released October 2008 by Gateway ordernumber AB001
- Duration: 8'56"
- Recording date: August-September 2008 in the Frederikskirken, Aarhus
- World première October 13, 2008 in Aarhus Denmark during the Guitar Festival (http://www.aarhusguitarfestival.dk)
- See also the page Recommended Folia-recordings
- More about Anders Borbye at http://www.andersborbye.dk
In this 'later' Folia standard chord progression the folia-theme is actually never played
Published in Poema harmónico compuesto de varias cifras por el temple no. 11, 1694.
Donald Sauter published the tablature of this piece at http://www.donaldsauter.com/fg37.htm
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Duration: 0'59", 02 kB. |
| First of Doze diferencias de Folías | by Hudson Vol I, p. 118 |
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- Armoniosi Concerti 'Zarambeques, Música Española de los
Siglos XVII y XVIII en torno a la Guitarra'
In the slipcase is stated:The Folia is a danza of Portuguese origin with an extensive history in Spain - there being references to it as far back as the fifteenth century. During the course of the seventeenth century the harmonic pattern known as the folías de España became widely used (the three that we include here follow that pattern). [...] From Guerau there are twelve diferencias on folías of a poised beauty, profuse with ornaments and with melodic ideas cleverly interwoven between all te voices.
- Title: Folías
- Instrumentation: Juan Carlos Rivera (Baroque guitar in e)
- Released 2002 by Harmonia Mundi compact disc HMI 987030
- Duration: 5'25"
- Recording date: May 29 and 30, June 1 and 2, 2002 in Sala de Cámara del Conservatorio Superior de Música de Sevilla, Spain
- More about the oeuvre of Juan Carlos Rivera at http://www.juancarlosrivera.com
- 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
- Díaz-Latorre, Xavier
Xavier DÃaz-Latorre plays FolÃas by Guerau
Duration: 5'45" direct link to YouTube
© 2013 by Xavier DÃaz-Latorre- Title: Folias
- Published December 2013 by Xavier diaz-latorre for YouTube
- Duration: 5'45"
- Recording date:December 21, 2013 in Baarn, the Netherlands
- The website of Xavier Díaz-Latorre http://www.xavierdiazlatorre.com
- Díaz-Latorre, Xavier 'Francisco Guerau, complete works'
- Title: Doze diferencias de Folias
- Released by Passacaille 3-cd box order number 998
- Duration: 6'30"
- Recording date: unknown
- The website of Xavier Díaz-Latorre http://www.xavierdiazlatorre.com
- Extempore Ensemble (William Thorp: violin, guitar, Rosemary Thorndycraft: bass viol, harp
Sally Owen: spinet, tenor viol, tambourine, Robin Jeffrey: guitar, theorbo, George Weigand (director): bandurrias, lutes, vandola, harp 'Spanish Music of the Golden Age, 1600-1700'
The entire suite: I. Hachas (anonymous) II. Folias (Guerau) III. El Villano (anonymous) IV. Matachin (Guerau)
Duration: 7'42" direct link to YouTube
© 1988 by Hyperion- Title: Folias, theme and 5 variations on the later folia chord progression and melody
- Released 1988 by Hyperion compact disc CDH55098 and released at October 1, 1996 by Hyperion compact disc 66327
- Arrangement by George Wiegand and Rosemary Thorndycraft, instrumentation: violin, spinet, lute, bass violin and bandurria
- Source: mentioned in the slipcase that the tunes by Guerau came from a manuscript dated 1684, Madrid.
- Duration: 3'15"
- Recording date: September 16, 17 and 18, 1988
- Ferries, Gordon (baroque guitar) 'Marionas'
In the slipcase Gordon Ferries wrote:
The word folias is Portuguese in origin meaning mad or empty headed. References in relation to music and dancing go back as far as the fifteenth century. The term describes two forms; an early and later variant which became known under the French name 'La folia' or 'Folie d'Espagne', whose emphasis on the second beat is closely related to the French Sarabande. The folia was also sung as well as danced with an example of a text again given by Brinçeño. Guerau's twelve variations generally stick to the older form but with some rhythmic elements of the new. He gives no hint of the madness implied by the title and instead offers us a serene interplay among the parts, greatly enhanced by his preferred use of octave stringing.
- Title: Folias
- Released 2008 by Delphian Records compact disc DCD34046
- Duration: 8'03"
- Recording date: April 9-10, 2007 in Crichton Collegiate Church, Edinburgh. Scotland
- Instrument built by Martin Haycock built after various 17th century Venetian models, principally after Sellas
- Jeffery, Brian edited the music of Poema harmónico compuesto de
varias cifras por el temple (1694)
- Published 1977, reprinted with minor changes 1998 by Tecla
- Reprint of the original edition in guitar tablature, with an introduction by Brian Jeffery and an English translation of Guerau's own dedication, prologue and technical instructions.
- Publisher No. TECLA 0374
- Koch, Hans Michael (guitar) 'La Guitarra Española: 1546-1732'
- Released 1999 by Musikproduktion Dabringhaus und Grimm DG compact disc 605-06102
- Duration: 5'30"
- Recording date: June 1994 in the Orienburg of Schloss Nordkirchen
- The instrument used is either a four-course guitar after iconographic sources by Winfried Heitland, Grevenbroich 1980 (a1 = 440 Hz) or a five-course guitar after Alexandre Voboam, Pris 1676 by Hendrik Hasenfuss, Kürten 1994 (a1 = 415 Hz). Unfortunately the booklet does not give any detail which guitar is used for this special piece.
- Long, R.M.
- Published in Soundboard (journal of the Guitar Foundation of America), Vol. XXX, No 2, October 2004
- With minimal finger settings
- pages 19/21
- Private Musicke: Pitzl, Pierre (Guitar) Sandlands, Hugh (Guitar) 'Tonos
humanos'
- Released 2005 by Accent compact disc ACC 24160
- Duration: 6'00"
- Recording date: unknown
- Pujol, Emilio
- Folías: air de danse / Francisco Guerau, transcription de Emilio Pujol
- Published by M. Eschig, Paris
- 4 pages for solo guitar
- Year of publication 1957
- Storms, Yves (guitar) 'Variations Folia de España'
Peter Pieters wrote as introduction to Folies d'Espagne on the inside
of the cover:
In Baroque times, no melody or chord schema was more often used in variations than the Folly from Spain. Incontestably, Corelli's «La Folia» is the most famous, but even ].S. Bach used the theme' in his «Peasant Cantata».
Originally, the Folly was a wild dance, in which men in carnival costume often ~eached a state of hysterical trance. The Church did not approve and as a result the Folly was gradually transformed into the slow, solemn melody we know today
The Folly was extremely popular among baroque guitar players, to the point that Robert de Visee - almost alone in not publishing one - felt it necessary to write in his introduction: «Neither will one find here the Spanish Folly. So many of these are now to be
heard, that I could only repeat the follie of others».
There is not the space here to list all the Follies written for the Baroque Guitar, but the three collected on this record are among the most beautiful: that of the Spaniard F. Gereau, the Brussels-born F. Le Cocq and the ltalian A.M.B. whose works have been neglect to this day.
In later times as well, guitar players have shown their partiality for the Spanish Folly and the two greatest guitar composers of the 19th Century, Fernando Sor and M. Giuliani, wrote variations on these themes. In our own times the Mexican Manuel Ponce, who wrote principally for the guitar, also composed some Follies; indeed, his most important work comprises no less than 20 variations followed by a majestic fugue.- Title: Doze diferencias de folias from Poema Harmonico (1694)
- Released 1983 by EMI Belgium 1A 065 1651791
- Duration: 4'20"
- Recording date not mentioned in the documentation
- See also the page Recommended Folia-recordings
Theme and 12 variations for two violins
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Published in the public domain |
- Guignon, Jean-Pierre "Nouvelles variations de divers airs et Les Folioes d'Espagne amplifiés par J.P. Guignon. Roy de violins dédi&eactute;s a Monseignieur le Dauphin.
- Title: Nouvelles variations de divers airs et les Folies d'Espagne, Op.9
- Published first edition, Madame Bovin, Paris
- 8 pages
- Year of first publication 1736
The instruments: piccolo, flute, oboes, clarinets, bassoons, contrabassoon, horns, trumpets, trombones, tuba, timpani, percussion, harp, strings
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Published in the IMSLP under restrictions |
- Gutiérrez-MartÃnez, Arturo
- Title: XXIV Variacioni e una Fantasia sull'La Folia di Spagna
- Typeset by the composer
- 69 pages
- Year of composition 2008, first publication 2012
Händel did not write any variations on the la Folia-theme but often people are referring to the Sarabande in D Minor from harpsichord suite nr. 11, Book II (1727) as Händel's Folia because the structure and treatment of the piece is quite similar to the La Folia-variations.
Bengt Hallberg in his Folia interpretation
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- Hallberg, Bengt (jazzy-piano) ' Hallberg's Surprise or not even the
old masters can feel safe'
Carl-Gunnar Ahlen wrote for the cover:
Among Swedish piano players there are few with such rich experience of improvisational playing as Bengt Hallberg. Although no person with normal general knowledge can have failed to hear him in some of the different constellations in which he has taken part during almost 40 years, it is not every day that he is giving a piano recital of his own, although of course only on his own special terms ....
- Released 1987 by Phontastic LP PHONT 7581
- Duration: 6'00"
- Recording date: March 25 and 26 and May 18, 1987 at the Royal Academy of Music, Stockholm, Sweden
This is kind of a hard-rock version for electric guitar and ment as a teaching device.
- Harms, Wieland 'Paganini & Co. für E-Gitarre, 13 klassische Stücke für E-Gitarristen'
- Released by Gerig Verlag as a compact disc and sheet music with tablatures (92 pages in format 21 x 29 cm).
- Duration: 3'04"
- Recording date: unknown
- The Harp Consort (Andrew Lawrence-King: director and harp, Rodrigo del Pozo: guitar,
Steve Player: dance and guitar, Hille Perl: viola da gamba, lirone and guitar, Lee Santana: theorbe and guitar, Pedro Estevan: percussion) 'IX. Internationales Bodensee-Festival '97: Kultur aus Spanien'
- Released 1997 by Bodensee Festival 3 cd-box BSF 97/1-3 (CD 1: Spanische Musik des Mittelalters und der Renaissance)
- Duration: 3'44"
- Recording date: Mai 14, 1997 in Lindau, Stadttheater (a live recording) Herluf Donslund, Keld Nørgaard, Else Madsen, Poul Lendal and Ole Stripp.
As in many Scandinavian Folias consists this tune of two parts. The first part is following the chord progression of the Folia although not all the chords have the same duration. - Harpens Kraft (Herluf Donslund - Nøgleharpe (nyckelharpa), violin and hardingfele
Keld Nørgaard - Sækkepiber (bagpipes), guitar, violin, keyboards, humell, lerkrukke, mundspil (Jew's harp) and keyboard,
Else Madsen - accordion , kirkeorgel and bjælder
Poul Lendal - Lire, skovtromme, guitar, mundspil, kantele and slagtøj (flute),
Ole Stripp - Bass and slaghumle)
- Released May 2001 by CD-Roots compact disc ordernr. 16.99
- Duration: 4'15"
- Recording date: unknown
Although the Folía is in the chord progression of the later Folía as classified by Richard Hudson, all ingredients of the early Folía are present (instrumentation and rhythm).
- Ensemble Oni Wytars 'La Follia, the triumph of Folly'
- Released 2013 by Deutsche Harmonia Mundi compact disc 88765449782
- Duration: 2'08"
- Recording date: October 1-3, 2011 in Kurtheater, Bad Kissingen, Germany
- See also recommended recordings
Some Folias are composed without the awareness that the Folia theme is involved. The mind is spinning a web of smooth chords and melody lines to find out later that a familiar theme is involved. A fascinating process in itself.
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Duration: 1'55", 9 kB. |
It's funny how this theme and harmony gets into one's head; it got into mine and started to generate variations before I even knew its name.
I must have heard it somewhere because I asked a friend who knows about early music if she knew La Follia and she gave me some sheet music that
matched the tune in my head. The well-defined harmonic structure made it possible for me to write variations with only a very basic knowledge of harmony.
I was also inspired by Benjamin Britten's 'Noye's Fludde', which builds up rich musical textures from very simple elements so that everyone can join in.
A light-hearted and very amateur group of friends played my variations for descant recorder, flute, cello and piano at our Arts Festival in Derby (England) in
May 2004. I have also arranged it for a slightly larger ensemble to play in August 2008, and it is intended to be adaptable for any smallish group.
- Elizabeth Heaton and the Borrowed Din Quartet
- Released by Elizabeth Heaton in midi format by Capella (music-writing software)
- Duration: 1'55"
- Recording date: April 2004
- More about Elizabeth Heaton and the score of la Follia you can find at http://myweb.tiscali.co.uk/epheaton/music/musicindex.html
Commissioned by the Minnesota Chamber Orchestra
- Henze, Hans Werner
- Published by B. Schott's Sohne c.1978
- Duration: c.22'00"
- Score 100 p., 33 cm
- Publisher No. ED 6841 ('Studien- und Dirigierpartitur ohne soloinstrument')
- ISMN: M-001-07248-9
- l'Orchestre Philharmonique de Strasbourg , conductor Latham-König, Jan
- Broadcasted by WDR radio in the program 'Musikpassagen' (Germany) November 27, 1999
- WDR Eigenproduktion
- Duration: c.19'36"
Yevheny Hepliuk wrote about his Folia:
"The first reason of choosing the Folia theme was the impression of Rachmaninov`s Corelli Variations. I wanted to compose something with more optimistic ending. Then I became interested in history of the Folia and was impressed that so many composers of baroque music used it. In the beginning of my Variations the Folia theme approaches us from depth of centuries to our time. So, in my composition I was inspired by Rachmaninov, Liszt and Handel. I also used another ancient popular theme - Dies irae."
- Hepliuk, Yevheny (piano)
- Title: Variations on a Folies d'Espagne theme for piano.
- Pubished at YouTube in 2015 by the composer.
- Recorded for YouTube by the composer in 2012
- Duration: 13'17"
- At YouTube https://www.youtube.com/watch?v=Ul6AdwdKdkU
- Barrios Guitar Quartet
An arrangement for four guitars of an extract of Vivaldi's Follia.Live concert of the ensemble
Duration: 4'17" direct link to YouTube
© 2014 by Barrios Guitar Quartet- Title: Sonata op. 1 Nr. 12 "La Follia" RV 63
- Arrangement by Stefan Hladek
- Published by Barrios Guitar Quartet at YouTube January 2014
- Duration: 4'17"
- Recording date: unknown
- The website of Barrios Guitar Quartet http://www.bgq.de/index_e.html
Jan Hruby (violin, organ, keyboards, percussion) Andrea Hruba (flute) Rudolf Halek (accordion).Kind of synthesizer Folia based upon the version of Corelli.
- Hrubý, Jan 'Cesty...'
- Released 2001 by Indies Records
- Duration: 2'35"
- Recording date: 2001 location unknown
This Folia starts like a mandolin concert by Vivaldi, but before you realize it you are way up in the Andes.Jürgen Hübscher wrote about this Folia in an e-mail January 2006:
On behalf of the Follia I can give you the following informations:
It is an arrangement of mine. I used some parts of the
"Folias de Espagna" for Salterio which is
described at your website (Manuscript Barcelona, 1764).
The Edition of Karl-Heinz Schickhaus was used as "basic source" for my arrangement
and I added about 10 "new" Variations of my own invention in the style of Sanz/Corelli
and named it La Follia.
It was arranged for my Ensemble LA VOLTA for two concertizing
soprano-instruments: Baroque Mandolin ( 6-course mandoline)
and Charango (sic!), a small guitar (played in some Lateinamerican
countries) My tuning is the same G.Sanz demands in his Instructions.
As instruments for the Basso Continuo I used a bass-cittern (Pandora)
and a small cittern. The bass-part is executed by a mexican Guitarron,
an acoustic 6 string "double-bass-guitar", tuned on octave lower
than the normal guitar. So my arrangement demands 5 musicians.
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Duration: 1'08", 1109 kB. (128kB/s, 44100 Hz) |
- La Volta Ensemble directed by Jürgen Hübscher 'Hermes' Invention'
- Released 2005 by Doberman-Yppan compact disc DO 540
- Duration: 07'35"
- Recording date: May 2005 (not indicated in the documentation) in Tonstudio EDT ('Adullam Kapelle'), Basel, Switzerland
- More about La Volta at the website http://www.la-volta.com
- Distribution for USA/ Canada: www.dobermaneditions.com
A live performance of La Volta including a poem by Heine
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- La Volta Ensemble directed by Jürgen Hübscher
- Title: La Follia, version 2012, anonymous, 18th Century, Italy
- Released by Jürgen Hübscher at YouTube July 9, 2012
- Duration: 9'04" (including the poem by Heinrich Heine "Don Henriques")
- Instruments: 6 course Baroque Mandolin, "Baroque"- Charango, Pandora, Cuatro Puertorricense, Mexican Guitarron
- Recording date: June 16, 2012 in Basel, Schwitzerland
In the documentation is stated that the manuscript was used from an Italian private collection.Jürgen Hübscher wrote about this Folia in an e-mail January 2006:
I recorded another Folia for baroque guitar solo for the Label Open Windows. I simply forgot that I recorded it for this production. This Folia is a result of my "improvising exercises" on the subject. Finally I wrote it down in tabulatur; but changed it constantly, when I performed it in concerts. I did'nt want to use my name as "composer", so I atributed it to the "famous" Anonymous. A slightly different version I recorded for the Leonarda-Label in New York, Title "La Musica" which is already listed on your website.
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Duration: 1'10", 1126 kB. (128kB/s, 44100 Hz) |
- Hübscher, Jürgen (baroque guitar) 'Italienische Musik für Laute / Barockgitarre und Cembalo / Tischorgel 1550 - 1760'
- Title: Anonym La Folia
- Released 1988 by Edition Open Windows vinyl OW 0.03 and compact disc OW 003
- Duration: 06'30"
- Recording date: May 1988 in St. Martin-Kirche, Trochtelfingen
Unfortunately no detailed source is mentioned for this piece in the documentation of the vinyl recording.
There is a theme and 12 variations which all follow closely the later Folia-structure. The two different playing styles 'rasgueado' or strumming style (variations 3, 10 and 12)
and 'punteado' or plucking style are featured in a virtuoso way.Carol Plantamura and Jürgen Hübscher wrote about the Folia-composition:
La Folia is an anonymous seventeenth-century piece for Spanish guitar from a private Italian manuscript.
- Hübscher, Jürgen (baroque guitar) 'La Musica, 16th and 17th Century Music'
- Released 1985 by Leonarda LP LPI 123, re-released 2005 by Leonarda compact disc LE 350
- Duration: 6'08"
- Recording date: July 1984 at Congregation Eman-EL of Westchester, Westchester County, New York, USA.
A rather straight forward Folia for recorder and piano.Hans-Jürgen Hufeisen plays a variety of different recorders from piccolo to sub-bass. He has a classical background and his music features traditional pop and jazz elements.
- Hufeisen, Hans-Jürgen 'Die neue Flöte'
- Released 1987 by Boulevard Records Hammer Musik GmbH compact disc BLDCD 514
- Duration: 05'03"
- Recording date: not mentioned in the slipcase, recorded in recording studio Ebony in Wohlen, Switserland and Tonstudio Leonberg in Leonberg, Germany
- Hufeisen, Hans-Jürgen 'Zauber der Flöte'
- Released 1999 by Bell compact disc ordernumber unknown
- Duration: 05'03"
- Recording date: unknown in recording studio Ebony in Wohlen, Switserland and Tonstudio Leonberg in Leonberg, Germany
The Folia theme can be heard in a traditional fashion from 12'03"
till 13'24"
Derek Carew for the slipcase in 2007:Ballet suite 'Das Zauberschloss'
Unlike Sappho, this work was not published in any form and even less is known about it. There is no mention of a performance, although since it too was written for Viganò, it seems likely that it received at least one.
[...] A final, longer try still fails, but after a short return to the rustic style, the music changes to a slow, stately rendering of the then well-known tune 'La Follia'(or 'Folies d'espagnol') which, already centuries old and featuring in countless variation-sets during that time, is here subjected to Hummel's varying.
It appears first on strings alone, then on oboe accompanied by a countermelody on violins, with all the strings playingquite a tricky pizzicato. A bassoon joins the oboe and the section comes to a decisive end.
- London Mozart Players directed by Howard Shelley 'Hummel, premiere recordings'
- Released 2007 by Chandos Records compact disc Chan 10415
- Duration: 19'13"
- Recording date: July 3 and 4, 2006 in St. Silas the Martyr church, Kenrish Town
Donald Heller wrote in an e-mail 23 March 2011:
The music of La Follia is the soundtrack of my life.
We have used several different sources of inspiration for our "anonymous" follia: Nicholas Chedeville's Follia for two hurdy-gurdies, the anonymous Faronel's Ground, an anonymous Italian Follia, as well as inspirations from the usual gang: Corelli, Marais, Vivaldi, etc.
You are right in that the arrangement is ours: in fact, this recorded version of my wife Anicet and I on Hurdy-Gurdies and our son Julien, on violin, is an improvisation (based on the works mentioned) and as such, is a bit different whenever we play it together. In fact, I've been working hard since we made that recording and have in my Follia bag of tricks many other couplets, esp. from the Chedeville.
La Follia, also known as Les Follies d'Espagne and Faronel's Ground, is a proud and anguished melody that is played above a pulsing bass line, and is then followed by sets of variations, or couplets. More than three hundred composers have created their own interpretation of La Follia, a tradition that began four hundred years ago and continues to this day.
The last track is a Follia and gives the CD its name:
La Follia Itinerante: the itinerant madness, der Fahrende Wahnsinn. It is that moment in time and place when the soul catches a slow motion glimpse of itself traveling willy-nilly through the maelstrom of the great vortex. At once noble and base, it is coloured in a chromatic blue melancholy and dry red pathos. There too is the peace that comes with acceptance of one’s fate…and the anguished impossibility of not struggling against this same fate…la Follia Itinerante holds up a mirror that we may see our selves as we really are: beggars naked before God. And makes us laugh at our own pitiful and ludicrous condition. A true Follia is unique at each playing. It exists for a moment and then vanishes. This one was caught on a warm and sunny afternoon in a garden house on the southern slopes of the Schwarzwald. It takes as inspiration the Follias of Nicholas Chédeville, Corelli, Vivaldi, Marais and the many other composers, known and unknown, who have added
- The Hurdy-Gurdy Band: Anicét Heller (hurdy-gurdy), Julien Heller (violin) and Donald Heller (hurdy-gurdy)
'La Follia Itinerante: Baroque Street Music for Two Hurdy-Gurdies & Violin Vol. I"
- Released 2009 by Gurdybuskers compact disc
- Duration: 8'28"
- Recording date: 2009 in the Black Forest in Germany
- More about the Hurdy-Gurdy Band at their website http://www.hurdygurdyband.com/HGB-On-the-Road/musicpages/music3.html
- Idenstam, Gunnar
Improvisation on La Folia
Duration: 7'04" direct link to YouTube
© 2012 by Gunnar Idenstam- Published November 25, 2012 at YouTube by idenstam
- Duration: 7'04"
- Recording date:19 November 2012 in Oscar´s Church, Stockholm, Sweden
- More about the composer/performer at his homepage http://www.idenstam.org/
Emmanuel Istace wrote about his composition April 6th, 2014:
I've been introduced to baroque music with this particular theme, more precisely the variations composed by Marin Marais, when I was around 10 years old. From there I've first listen to most of the Marin Marais work and then extended it to a lot of other baroque composers, then other periods of classical music and other composers, and so on. The first time I've listened to the Jordi Savall interpretation it was like the first time you make love. You don't really understand everything of what's going on, you certainly not appreciate it at its right value and you don't even know that it could be better but what you're sure about is that it is amazing.
In fact this piece is also the first time I've written orchestral music. Around 14 years old with a really bad midi based software, inputting the notes without any theoretical knowledge excepted what I was learing on my classical guitar.
This piece was also responsible for my acceptance at the music academy. Due to my lack of theoretical background they were pretty sceptic about me. Then they asked if I was composing and I played them one of the guitar variation I've written some weeks ago. This was pretty basic, but they trusted me based on the result I get at composing without any theorical knowledge. It was a kind of jazzy version with lot of 7th chords added etc. Then some months later, the big drama, no more little finger at the left hand. The show is over.
I totally stopped music for some years, but decided to get over that stupid little finger by focusing only on composing some weeks ago. But I've never stopped to listen to and read about music. Even theoretically or historically. I also falled deeply in love with J.S. Bach and Chopin.
What's really funny it's that, in the end, I've never analyzed or even read any folia score. But I'm sure I can sing the 18 minutes of the Marin Marais variation by heart. And, opposed to many other piece, I think I don't want to analyze it. A bit like staying "ignorant". I just appreciate the experience without trying to understanding it.
So as this piece is really something for me, I think this mass will grow over time, in fact I've already changed some few things and started to write another variation.
- Istace, Emmanuel
Theme of Messe pour chorale sur le thème de "La Folia"
Duration: 2'10" direct link to YouTube
© 2014 by Istace Emmanuel- Published April 5, 2014 at YouTube by Istace Emmanuel
- Duration: 2'10"
- Recording date: March 2014
Written for Rubén Riera in 1995, a commission from Proyecto Cultural Mavesa for the first "Concurso International de composición para guitarra clásica Rodrigo Riera" in Caracas, Venezuela.
- Borbye, Anders 'Refolia, contemporary works for guitar'
Marisela González wrote in 2007 for the slipcase:"Folías de España is an old and new work, full of vigour and virtuosity. Izarra uses the Marin Marais version of the Folia theme and confronts it with an introduction of her own creation. The variations are full of rhythmic displacements, shifting odd meters and harmonic tension based on the use of semitones and Venezuelan rhythms. This confrontation produces an inner tension between the highly virtuosic and expressive variations, embedding baroque elements reflecting the originsof the theme.
The texture of the work is generally monodic, with changes in register that create dynamics and contrasts.
After taking us through several recreations of the theme of the Folia it is only at the end we hear the original form of the theme by Marais, which imposes itself over the use of semitones, which characterizes the work from its introduction."- Title: Folías de Espanã, Sobre las Folias de Marina Marais de 1701 (1995)
- Released October 2008 by Gateway ordernumber AB001
- Duration: Introducción 0'38" Rápido 1'10" Muy rápido 1'25" Rápido, misterioso 2'19" Veloz 2'08" Lenta 5'08" Ansiosa, muy rápida 2'06" Final 2'02"
- Recording date: August-September 2008 in the Frederikskirken, Aarhus, Denmark
- See also the page Recommended Folia recordings
- More about Anders Borbye at http://www.andersborbye.dk
- Izarra, Adina 'Desde una ventana con loros musica para solistas'
Paul Fowles wrote March 1999 in the magazine Classical Guitar:
Particularly memorable is the relatively brief Luvina, in which Toro creates a particularly spooky sounscape...the delicate imagery of the former ('Desde una ventanta con Loros' for solo guitar) and the virtuosity of Folías de España provide ample rewards to those who allow them a second innings. A significant contemporary release.
Duration: 2'06", 493 kB.( 24kB/s, 11KHz)
Veloz, as a part of Folías de España
© Adina Izarra 1995, used with permission- Released 1996 by Equinoccio, Colección Armonia compact disc
- Duration: Introducción y tema 1'29", Rápida 1'41", Misteriosa 1'53", Veloz 2'06", Lenta 3'27", Ansiosa 2'24", Final 2'44"
- More about the oeuvre of Adina Izarra at http://prof.usb.ve/aizarra
- The part Introducción y tema (1'29") of Folías de España you can find in mp3-format at http://prof.usb.ve/aizarra/guitarra.html
- The entire sheet music with finger-indication of Folías de España you can find in pdf-format at http://prof.usb.ve/aizarra/guitarra.html
- Izarra, Adina
Paul Fowles wrote December 1998 in the magazine Classical Guitar about the sheet music:Impressive set of Variations on a familiar theme...The work as a whole is a demanding schedule both technically and musically, but there is nothing here which can´t be made to work well. A demanding yet by no means unapproachable work by a time served composer with a natural feel for the guitar.
- Published 1995 by Edicion Rubén Riera
- Score 17 p., 22 x 33 cm
- Jeay, Grégoire (traverso solo)
Grégoire Jeay wrote in an e-mail 12 March 2011:Duration: 6'17" direct link to YouTube
Excerpt of Variations sur "La Folia " as played by Grégoire Jeay
© 2010 Grégoire Jeay, used with permissionI wroteVariations sur "La Folia" only as a challenge and of course inspired by the great master Marin Marais Folies d'Espagne. On the video at YouTube I only played an excerpt of the 17 variations. The music is not yet publisshed and in fact I am looking for a publisher yet. I will record the omposition on the Fidelio label coming May. Although I was born in .Bordeaux, France, nowadays I live close to Montreal, Quebec, Canada.
Let's mention that the March 8th, two days ago, there was a concert of contemporary music on the La Folia theme. Three musicians asked 11 composers to write on La Folia. The trio name "Les Folles Alliees" : Cléo Palacio-Quintin, hyper-flûte et électronique, Elin Söderström, viole de gambe Artiste invitée : Katelyn Clark, clavecin.
Elin Söderström who asked me to write a piece for solo gamba. The tiltle : "La Violia" The other composers are :
Martin Arnold ,Marie-Pierre Brasset, Stacey Brown, Eric Clark, Emily Doolittle, Grégoire Jeay, Chantale Laplante, Analía Llugdar, Tawnie Olson, Cléo Palacio-Quintin et Marie-Claire Saindon.
- Recorded as an excerpt of the variations for YouTube December 2010
- Duration: 6'17" (total duration ca. 20 minutes)
- The music is still to be published and will be recorded May 2011 for the Fidelio label
- Released at YouTube February 23, 2011.
- Jeay, Grégoire (traverso solo)
- Title: Variations (15) on the theme of La Folia, for flute & lute
- Released 2011 by Fidelio in mp3-format ordernumber MQ0001917749
- Duration: 11'41".
- Recording date: May 18-19, 2010 and August 28, 2011 in the Church of Ste. Madeleine, Outremont, Montreal, Canada
- More about the oeuvre of the performer/composer Grégoire Jeay can be found at http://www.myspace.com/gregoirejeay
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| Detail of the program March 5, 2005 |
Karl Jenkins started playing the oboe and saxophone and was a member of the popgroup Softmachine before he became a composer for television and commercials. His successful Adiemus project 'got off the ground' initially due to a television commercial for an airline. Lately his work is frequently performed as a crossroad between popular and concert music.
La Folia is the second piece (in 2002 'Metallum' was written) Jenkins wrote for Evelyn Glennie. It is based upon the Folia-variations by Arcangelo Corelli for violin and basso continuo.
The score was commissioned by IMG Artists (UK) Ltd and Glennie gave the first performance at the Corn Exchange in Ipswich November 23, 2004
Andrew Giddings was at the concert of January 17, 2005 in Southend, UK.:
If I recall correctly, the marimba started fairly simply, and as the piece progressed
(it was quite long) slowly got more aggressive and the Sinfonia played less; the last couple of variations were
almost cadenza-like.
It's hard to judge the piece alone, though. The concert started and ended with ensemble pieces (Brandenburg 3, and a Vivaldi Concerto for 4 violins) by
the Northern Sinfonia, a fairly small ensemble who were absolutely excellent -- played with real drama and feeling for the period, absolutely together,
and with virtuoso skill and lots of enthusiasm. We enjoyed those immensely, and so the works in between -- concertos featuring Evelyn Glennie and/or cellist
Julian Lloyd Webber -- seemed a bit flat by comparison.
And although Glennie is a superb player, I didn't feel that her instruments really suited any of the music.
She played an ottavino concerto on vibraphone, which sustained far too much, and her marimba also took the part of a
cello in a Vivaldi double cello concerto, which didn't really balance properly against
either cello or strings. My other nit-pic was that both soloists seemed to play as if they were in romantic works -- a bit too much rubato and change of mood
and dynamic for baroque works; and the Sinfonia had to play too quietly to give them the necessary space. An interesting experiment, and well worth hearing,
but not as enjoyable as the Sinfonia alone.
Still, the Folia in particular was amazing to watch. She used four mallets at once (two in each hand), flourishing great chords and rolls and semiquaver runs
in a very impressive manner. So in short, yes, it was worth hearing; a little odd, but very well played.
The marimba gives the tune a melancholic and 'native' quality.
And Mrs Resida wrote about the same concert (March 5, 2005):The strings were playing in a low register probably to meet the timbre of the marimba and
that is why the opening of the piece sounded a bit 'Unheimisch' and dramatical compared to the version of
Corelli for violin and b.c.
Fortunately there were some virtuoso soloparts for the marimba because the string section was too massive for a nice balance with the marimba.
The full sound of the marimba simply drowned into all that bowing. Rather striking, because in the other pieces by Vivaldi the quality of the individual
percussion instruments (marimba and vibes) stood out well.
- Jenkins, Karl 'Quirk'
In the slipcase was written about the composition La Folia:
La Folia (The Leaf, 2004) for marimba and strings, was commissioned by IMG Artists for, and premiered by, Dame Evelyn Glennie. It is based on a violin sonata by Arcangelo Corelli and is in one movement.
- Title: La Folia (the Leaf, 2004)
- Released 2008 by EMI Classics compact disc 50999 5 00235 2 3
- Duration: 10'39"
- Recording date: 2008 in Abbey Road Studios, London, England
- London Symphony Orchestra leader Carmine Lauri. Soloist marimba: Neil Percy
- City of London Sinfonia (founded in 1971 by Richard Hickox), conducted by Nicholas Ward with Evelyn Glennie playing the marimba with six octaves
Detail of ticket March 5, 2005
- Concert tour 24 February 2005 (UK), and March 5 and 6, 2005 in the Netherlands
- Duration: ca. 12'00"
- Recording not (yet?) released
- Manchester Camarata with Evelyn Glennie playing the marimba with six octaves
- Concert 22 January 2005 in Hailfax, UK
- Duration: ca. 12'00"
- Recording not (yet?) released
- Northern Sinfonia with Evelyn Glennie playing the marimba with six octaves
- Concert tour January 11-21, 2005 in the UK
- Duration: ca. 12'00"
- Recording not (yet?) released
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Duration: 0'58", 933 kB. (128kB/s, 44100Hz) |
Alex Stroud plays the entire piece in a live performance
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La Folia Folio was commissioned by Canadian guitarist Harold Micay. He wanted a work that he could splash around in. The result is a set of variations based on the chord progression from the famous theme La Folia d'Espagna. That work has a rich and long history of attracting composers. There are sets of varations by A. Scarlatti, C.P.E. Bach, Vivaldi, Corelli, Liszt, Nielsen and Rachmaninoff, not to mention dozens of sets by guitar guys like Sanz, Corbetta, Sor and Giuliani. I have tried to stress the dance nature of the theme by using only the harmonic progression, omitting the melody altogether, though there is a weird paraphrase of it about halfway through. The work is a blast to play and I enjoy splashing in it as often as I can.
David Tanenbaum played 'La Folia Folio' as part of his concert tour in the USA, Canada and Germany, January-April 1998 (source: Tom Welsh, New Albion Records)- Borbye, Anders 'Refolia, contemporary works for guitar'
- Title: La Folia Folio (1995)
- Released October 2008 by Gateway ordernumber AB001
- Duration: 10'44"
- Recording date: August-September 2008 in the Frederikskirken, Aarhus
- See also the page Recommended Folia recordings
- More about Anders Borbye at http://www.andersborbye.dk
- Brown, Elizabeth C.D. (modern classical guitar) 'La Folía de España'
Elizabeth Brown wrote for the slipcase:
Bryan Johanson is a native of Portland, Oregon, and is a Professor of Music and founder of the guitar studies program at Portland State University. His catalogue of over eighty compositions reflects a wide variety of interests that extends far beyond the guitar. He has written several substantial works for solo guitar, and in recent years has focused a major portion of his energy on writing chamber music for the guitar.
The emphasis on the harmonic progression is most similar to the folía settings by Corbetta and Sor, where the inherently chordal and rhythmic nature of the guitar is showcased. Although La Folia Folio is clearly in a modern idiom, the faster tempo and many special effects evoke the wildness of the earliest folías.- Title: La Folia Folio
- Released 2005 by Rosewood Recordings compact disc ROSE 1007-CD
- Duration: 11'40"
- Recording date: Fall 2004, at Queen Anne Christian Church, Seattle, Washington, USA
- Johanson, Bryan (guitar) 'Folio, music for guitar alone by Bryan Johanson'
- Title: La Folia Folio
- Released 1996 by Gagliano Recordings compact disc GR 602-CD
- Duration: 10'35"
- Recording date: March 24/25, 1996 in Lincoln Performance Hall, Portland State University, Portland, Oregon.
- Partington, Michael (modern classical guitar) '20th Century Guitar Volume II'
Paul Fowles wrote in the Classical Guitar Magazine:
Bryan Johanson's ten-minute exploration of Las Folias... remains a worthy vehicle for Partington's considerable technical powers...
- Title: La Folia Folio
- Released 2000 by Rosewood Recordings compact disc ROSE 1004-CD
- Duration: 10'22"
- Recording date: unknown
- Stroud, Alex (guitar)
- Title: La Folia Folio
- Published at YouTube 15 February 2012 by dnworks
- Duration: 10'22"
- Recording date: February 2012 in a Master Class with Johannes Moller, South Bay Guitar Society
I have been told that the 'Sinclairs Visan' originally is a Swedish drinking
song or a political song derived from La Folia note for note. There are more
than 60 different local variations of this tune with all sorts of texts. More
information (unfortunately only in the Swedish languague) is to be found at
http://www.abc.se/~gor/musik/folia.htmlJan Johansson had a fine reputation for his ability to arrange jazz interpretations for Swedish folk songs.
The vinyl version of the original performance
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- Jan Johansson 'Musik genom Fyra sekler' (Music from the past four centuries).
- Title: Sinclairsvisan
- Arrangement for jazz-piano, bass, guitar, flute and tin wistle
- Released 1969 3-LP-set Megafon MFLP S12-14, re-released by Heptagon double compact disc HECD-002
- Duration: 5'18"
- Recording date: September 24 till October 9, 1968 in the studio of the Broadcasting-house in Stockholm.
Commissioned by Keri McCarthy for the International Double Reed Society 36th Annual Conference.
- Mercer Chamber Players 'Glances from a Two-Gallon Aquarium'
- Title: La Folia
- Released 2009 by ACA Digital Recording Inc. compact disc
- Duration: 10'06"
- Recording date: unknown
Commissioned by Fay S. Carter for the Minnesota Woodwind Quintet
- Dorian Wind Quintet (Mann, Elizabeth [flute], Reuter, Gerard [oboe],
Kirkbride, Jerry [clarinet], Taylor, Jane [bassoon], Rose, Steward [horn]
'American premieres'
Wallace Rave wrote for the slipcase:The Variations on the Spanish La Folia by Conrad De Jong rests within a tradition of extraordinary durability. The Portugese - Spanish Renaissance dance music pattern, La Folia, was said to reflect madness of an empty head, doubtless a reflection of the dance style. The version which emerged in late seventeenth century France was an isomatric harmonic progression accompanying a melody marked by sarabande-like dotted rhythm. De Jong's contribution to the form demands soloistic virtuosity from each instrument in variations three through seven. The theme in its traditional harmonic garb first appears in its entirety only within the second variation, where it is complemented by obligato figures. Supplementing the motivic material supplied by the theme is a derived motive heard in the brief introduction, which is a permutation of the initial three pitches of the original melody. In the eighth variation, the motive initiates a gradual reversion to the Folia melody which concludes the work
Robert S. Howe wrote in an oboe review:This quintet presents an introduction, 8 variations on La Folia, and a final statement of that theme. It is in an appropriately modern idiom (being completed in 1985) and requires good players, but is always approachable for both players and audience. Each member of the quintet takes a turn as soloist, but the real star of this piece is the bassoon; variation 6 has three extended bassoon cadenzas, presenting the bassoonist as a jazz soloist a la Coltrane. Scoring is effective and the horn, often a sticky point in woodwind quintet music, is very well handled, adding weight by intelligent use of its middle register without being overbearing. The parts are of moderate difficulty, the oboe never goes above F and the bassoon, above Bb. The Variations will be best suited for established quintets that wish to expand their repertoire to include an effective and somewhat modern work.
- Released 1990 by Summit Records distributed by Koch International compact disc DCD 117
- Duration: 12'06"
- Jong, Conrad de
- Published by Josef Marx Music, 236 W. 26th Street 11 S., New York, NY 10001-6736 c. 1988
- Score 41 p. and 5 parts, 34 cm
Improvisation is not a skill often associated with the Folia theme for performance practice in front of an audience or a recording. However the Folia theme is a most favorable subject for students to play together since most classical music students will be familiair with the theme. Improvisation needs skill and a mind setting, which is not often learned at conservatories nowadays. Perhaps it is quite a different approach to music.
Karst de Jong wrote in an e-mail March 10, 2013:
The two performances of improvisation based upon the Folia theme which are available at the web differ completely. Not a single note is written down and I use the theme as a vehicle for the instant improvisation
My inspiration to pick the Folia theme of all music is that originally it is considered as a musical framework consisting of bass, melody, harmony and rhythm suitable to improvise upon. I try to take this practice a step further and use the theme as inspiration of my improvisations. It comes and goes whenever it is convenient or spontanuously my mindset leads that way during a concert. The version on YouTube was created at the spot and got its shape without any planning. It is quite impossible to play it once more without writing down all the notes. The Folia improvisation I recorded for Improdisiac had a similar treatment. It was recorded in one take and it is a different approach and atmosphere.
- Jong, Karst de (piano)
Karst de Jong improvises on the Folia theme, Vila-seca Music Festival 2011
Duration: 9'13" direct link to YouTube
© 2011 by Karst de Jong, used with permission- Title: Improvisation on the theme of 'La Folia d'España'
- Published at YouTube September 23. 2011 by Karst de Jong
- Duration: 9'13"
- Recording date: September 8, 2011 during the Vila-seca Music Festival 2011 in the Auditori Josep Carreras Vila-seca, Tarragona, Spain
- Grand piano: Steinway D.
- Jong, Karst de (piano) 'Improdisiac'
- Title: La Folia (a different version due to the technique of improvisation than the one mentioned above)
- Released 2012 by Karst de Jong compact disc order number 885767171695
- Duration: 6'29"
- Improvisation by Karst de Jong
- Recording date: February 21, 2012 near Tarragona, Spain on a Steinway D grand piano
- Available at http://www.cdbaby.com/cd/karstdejong
The Lampaan Polska is a traditional Finnish folktune consisting of 32 bars. The opening 16 bars are absolutely similar to the Folia melody- and chord progression. The only way to determine if the Lampaan polska is involved, is listening to the following 16 bars, which are standard and a kind of response to the Folia theme. You can get an impression of the scheme of the polka by listening to the midi of the sheet music by Toivo Kuula, who made a complicated (full of dissonants) arrangement for piano of the Lampaan polska.
JPP starts off in a slow pace repeating the Folia-theme, before the 16 ending bars of the polka are played only once. Now the full polka is played, the rhythm is stirred up and all violins participate in a a folky way of playing the Folia-theme, turning it in a fancy dance tune, which brings it almost back to its original function in the 17th century.
- JPP 'Pirun Polska, new Finnish folk fiddling'
- Title: Lampaan Polska
- Released 1992 by Olarin Musiikki Oy, Finland cd OMCD 37
- Duration: 2'52"
- Recording date: Febuary and April 1991 in Salonkylä
- 5 fiddles, upright bass and harmonium
- JPP 'Devil's Polska, new Finnish folk fiddling'
Although the facts are missing to confirm it, I guess this recording is
a re-release of the album mentioned above.
- Title: Lampaan Polska (= sheep's polka)
- Released by Green Linnet (USA) compact disc 1993
- Duration: 2'52"
- arranged by Timo Alakotila and Arto Järvelä
- Recording date: not indicated
- JPP 'History'
Although the facts are missing to confirm it, I guess the track of lampaan polska mentioned above is included in this compilation
- Title: Lampaan Polska (= sheep's polka)
- Released 1999 by Northside compact disc NSD 6026
- Duration: 2'52"
- arranged by Timo Alakotila and Arto Järvelä
- Recording date: not indicated
This a cappella tune starts at 2'43" with the Folia-bass in unison, followed
by a variation with contrapunt and the second variation includes a third voice,
before continuing to another melody.
- Jubilee Shouters, Gianna Grazzim director 'Black & Blue'
- Released 1997 by Radio Popolare Sensible SSB 009, Arpa 7
- Arranged by Bruno Tommaso
- Duration: 5'39"
- Rundfunk-Sinfonieorchester Saarbrücken, conductor: Mauricio Kagel
Mauricio Kagel wrote for the slipcase:
This composition in three parts [I:1. Entrée 2. Folie d'Espagne 3. Trionfo di Bacco 4. Il Dolzor 5. Novelle Fantastiche 6. Sarabande 7. Cogi 8. Turco con tamburino, II: 9. Scaramuzza...e Donna 10. Riguadon/Rigadon 11. Galiarda 12. Galiardo 13. Disegno Furia, Satyro, Cicona 14. Fenochio 15. Scotin/Scapin 16. Rackett- und Hexentanz 17. Statue & Figure, III: 18. Finale] is based on Gregorio Lambranzi's treatise Neue und curieuse theatralische Tantz-Schul, first published 1716 in Nuremberg, with engravings by Johann Georg Puschner. The Venetian dance-master presents about 70 ballet scenes or scenarios, with commentaries supplemented by illustrations and the relevant melody. […]
One of the most amusing aspects of Lambranzi's book is the countless errors in his musical orthography.
[…] So what did I actually do with the single-line melody? To start with, I embedded them in a harmonic context that I had to invent. This in itself gave me a good opportunity to regard the notational mistakes in the original as characteristics component of a new musical environment. Since I have no interest in sentimentalising, historicist aesthetics, but mainly quite the opposite, namely fearless confrontations between present and past, I didn't attempt to complete or continue the melodies in a stylistically correct way. […] Sometimes these melodies appear incomplete, like fragmentary recollections, and not always as the beginning of the piece, but also towards the end, like a reconstruction. And polyphony was created from transpositions of the same melody. […]
detail of engraving from Lambranzi's 'Nueva e curiosa scuolade balli theatrali' (1716)
Thanks to Dell Hollingsworth, artistic director of La Follia Austin Baroque for using the image- Title: Folie d'Espagne
- Released 2003 by Winter & Winter, A Recording of Saarländischer Rundfunk compact disc 910 099-2
- Duration: 3'08"
- Recording date: 2003 at Saarländischer Rundfunk, Germany
Mehmet Refik Kaya wrote about the instrument the rebab (in a translation by Bob Beer):
The European 'viola d'amore' (violin) replaced the rebab during the reign of Mahmut II, just as the ground was being laid for the the Ottoman Tanzimat (reforms) movement. With its advantages that included a stronger sound than the rebab, its wide range, and ease of playing due to its well-developed technique, the violin came into widespread use in Turkish music. The 'westernization' movement imposed by the Tanzimat influenced Turkish music as well. One of the most visible aspects of this movement was the increased interest in western instruments. As Ottoman composers began learning towards compositions with broad ranges, the old instruments began to fall from favor. Instead of being improved technically and adapted to the times, they were abandoned.
- Mehmet Refik Kaya (rebab, rebab nisfiyesi), Celil Refik Kaya (rebab nisfiyesi, classical guitar), Özata Ayan (tanbur),
Günay Uysal (cello), Serdar Bisiren (percussion)
- Released 2005 by Kalan Müzik Yapim compact disc CD 350
- Duration: Folia 2'20" in total 8'19"
- Recording date: not indicated in the documentation recorded in studio Metropol (Instanbul?) without further location
- Akademie für Alte Musik Berlin 'Ouvertüren, Music from the Hamburg Opera'
Bernard Schrammek wrote for the slipcase:
Der lächerliche Prinz Jodelet (The ridiculous Prince Jodelet) dates from Keiser's later period; it was given its first performance at the Gänsemarkt in 1726. In it the composer followed the then frequent practice of pasticcio: only the ouverture and the plot-driven sections were newly composed, then interspersed with existing musical numbers
- Title: Sinfonia from 'Le Ridicule Prince Jodelet'
- Released 2005 by Harmonia Mundi compact disc HMC 901852
- Duration: 4'15"
- Recording date: February 2004 in the Teldex Studio, Berlin, Germany
- Philharmonisches Staatsorchester Hamburg conducted by Alessandro de Marchi 'Der lächerliche Prinz Jodelet'
The Folia-theme appears several times in the Opera. In the end of act I (Ouverture), in act IV some variations of Corelli are literally quoted starting in adagio tempo (fragment 1) and in act V the bare Folia-theme without any ornamentation is quoted twice very stately between the lines of the opera (fragment 2).A live performance of the première 22 February 2004 in Hamburg
Duration: 5'21" direct link to YouTube
© 2004 by Philharmonisches Staatsorchester Hamburg conducted by Alessandro de Marchi- Title: Act I (Ouverture), act IV and act V 'Le Ridicule Prince Jodelet'
- Première February 22, 2004 in the Staatsoper in Hamburg, Germany
- Duration: in act IV 3'42" and in act V 1'16"
- Recording date: February 22, 2004 in the Staatsoper in Hamburg, Germany and recorded and broadcasted by NDR (Norddeutscher Rundfunk). Also broadcasted in France (France-Musique March 12, 2005) and in Belgium (Klara in the program 'Scala' September 3, 2005)
- See also the website of the Staatsoper Hamburg http://www.hamburgische-staatsoper.de/_auffuehrungen/presse.php?event=39955
- Kellerman, Wouter
"Two voices":
Folies d'Espagne by Wouter Kellerman and Ensemble
Duration: 6'10" direct link to YouTube
© 2010 by Wouter Kellerman- Title: Folies d'Espagne
- Released 2010 by Kellerman Music
- Duration: 6'09"
- Recording date: 2010 at Joe’s Garage by JB Arthur Additional recording done at Sunset studios in Stellenbosch, Kellerman’s in Johannesburg, Mastermax studios in Midrand, Singsing studios in Melbourne, Sunset studios in Los Angeles and Studio Le Roy, Amsterdam
Baudime Jam wrote for the slipcase (translation by Michael Pochna):
To conclude this tribute to the virtuosity of the violin, Anastasia Khitruk presents her own variations on Corelli's 'La Follia'. After introducing the theme in its original form, the young performer offers her vision in a series of virtuoso variations, inspired by the works of Paganini, as if this 'Folia' was being transmitted through the generations.
- Khitruk, Anastasia 'La Folia'
- Title: La Folia
- Released 1999 by Suoniecolori compact disc SC 253312
- Duration: 7'52"
- Recording date: 1999 in La Maison de la Musique de Nanterre
- Kíla 'Handels Fantasy'
- Handel's Fancy consists of 4 tunes: a. La Folia - Corelli, arr. Kíla, b. Handel's Fancy - Colm O Snodaigh, c. Mulhaires Reel - trad. arr. Kíla, d. Clumsy Lovers - Neil Dickie, arr. Kíla
- Released by Kíla Records, remixed 1999, premastered 2000 compact disc KRCD 003
- Duration: 4'07"
- Recording date: 1992 in Stiúdó a 7. Cearnóg Mhuirfean, Baile Atha Cliath 2.
Bill performed these four instrumental Folia-variations in a guitar-like style on the charango. The voicing reminds me somehow to 'Hotel California' with the sustained notes in the upper voice while the basses follow the folia chord progression. It gives a nice sort of tension to the music although it is played in a relaxed and smooth way.
- Kilpatrick, Bill (charango)
- Title: la folia
- Duration: 1'14"
- Recorded for YouTube May 2008, Italy
- More about Bill Kilpatrick at http://earlymusiccharango.blogspot.com/
La folia
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'La folia' and its variations suit me very well - tempo and rhythm of any given piece may vary
(along with its mood) but it's always fascinating.
The video was recorded just a few days ago. I'm crazy about small chordaphone instruments - charango and mandolin,
in particular - and own a rather battered looking canary island timple.
Sweet memories about a stay at the Greek island of Lipsos.
- Kilpatrick, Bill (charango and voice)
- Title: la folia dodecanese (lipsos)
- Duration: 1'10"
- Recorded for YouTube May 2008, Italy
la folia dodecanese (lipsos)
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Text:
sun-cast shadows, scented sheets, lavender and us, touch of skin, the day begins, sounds of being joyus
A reflection on life in this song with the subtitle 'reflections of a weed-whacking parent'. Inspired by
the concluding paragraph to 'Candide, ou l'Optimisme': 'Il faut cultiver notre jardin' by Voltaire
(settle down for the restless traveller in the hope to produce a better world to live in) who actually
wrote some text to the Folia theme himself.
- Kilpatrick, Bill (charango and voice)
- Title: la folia voltaire
- Duration: 0'52"
- Recorded for YouTube May 2008, Italy
la folia voltaire
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Bill Kilpatrick wrote about this arrangement in October 2008:
the beautiful, hypnotic la folia chord progression - Dm/A7/Dm/C/F/C/Dm/A7/Dm (in this instance) played on mandolin. there are variants as well - equally beautiful - many of which have lyrics; pithy, poignant little poems expressing love, mostly. my particular favorite is "de los alamos vengo madre" - by juan vasquez (1500-1560)
- Kilpatrick, Bill (mandoline)
- Title: la folia (for mandolin)
- Duration: 0'40"
- Recorded for YouTube October 2008, Italy
la folia for mandolin
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- Kilpatrick, Bill (voice and charango)
- Title: la folia witchcraft
- Duration: 0'40"
- Recorded for YouTube October 2008, Italy
Sarah Palin is the running mate of John McCain on the Republican presidential ticket, and I thought that it could not be worse than Bush Jr.
Bill Kilpatrick wrote about this song:
there's a video on youtube in which a minister in gov. palin's church blesses her with protection against witchcraft - absolutely beggars belief ... prompted me to write the following:
collusion with a priest
in protection from the witch
presupposes belief that they exist
if we all give the power to palin
will we get the horror of salem?
la folia witchcraft
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| The opening of La Folia Variations | © Castle Enterprises, used with permission |
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- Kimber, Michael
The oeuvre of Michael Kimber can be found at http://members.tripod.com/~m_kimber/mk.html- Published 1997 by Castle Enterprises, Home-based publisher of music for orchestra, string orchestra, orchestra/chorus, chamber music (string quartet, viola quartet, violin/viola, flute/viola) and solo music for various (primarily stringed) instruments. Located at: 3478 B Pleasantbrook Village Ln, Atlanta GA 30340-5661, USA. Phone/fax: 770.414.9832; e-mail: stos@mindspring.com
- Publisher No. CE014
- Score 4 parts (2 p. each), 28 cm
- The Umase Viola Ensemble
A live performance of the Umass Viola Ensemble, Kathryn Lockwood
Duration: 6'23" direct link to YouTube
© 2007 by the Umass Viola Ensemble- Title: La Folia Variations
- Released at YouTube 2007 by Nicolas Gold
- Duration: 6'24"
- Recording date unlknown
- Kithara: Wilson, Christopher (5 course baroque guitar in E, built by
Robert Eyland 1974) and Miller, David (14 course theorbo in A built by
Stephen Barber 1982), Musica Mediterranea, Music of the Italian &
Spanish Renaissance
The seven variations of the Folia are attributed to an anonymous composer. However two variations are obviously arrangements of two variations by Caspar Sanz (variation 4 and 5). The other variations might be improvisations regarding the quote of Dinko Fabris comment
Dinko Fabris wrote for the slipcase:We are presented with the joyful use of variation, and free improvisation by the musicians on the most popular themes of the day. This is a freedom which, for several centuries, European musicians seemed to forgot.
- Title: Folias
- Released by Chandos August 1994 compact disc Chan 0562
- Duration: 3'38"
- Recording date: November 17-19, 1993 in Orford Church, Suffolk England
Petri Vähätälo wrote about the Folia improvisation on La Follia:
Kalevi is a gifted improvisateur. I asked him about this improvisation; he says it is a 'real' improvisation, i.e. he adjusts it to the occasion (instrument, space, mood). I heard him play this 'Improvisation on La Follia' here in Lahti this summer at the Sibelius Hall, where we have a new organ, and Kalevi did certainly show the possibilities of the organ's tone colours. This improvisation he has not recorded, nor has it been written on paper. Kalevi says he chose the Follia theme since it is well-known to the public, and of course it is great 'tune' too! Kalevi has been making quite a numer of recordings in the past few years, both early music and more modern repertory. Yet no Follia, yet...
- Kiviniemi, Kalevi
- Title: Improvisatie over 'La Follia' for organ
- Performing date: 1 September 2007 at the Metzler-orgel in the Grote Kerk, The Hague, The Netherlands
- Duration: unknown
- The concert was not recorded by any radiostation unfortunately
Ian Peaston wrote about this Folía-performance as a violinist
I’ve always loved the theme and its various “classic” classical pieces. As such, I wanted to do some pieces based on the theme for my project for electric violin and live electronics called Violin Variations. www.violinvariations.com
- Peaston, Ian recorded live performance for electric violin and computer 'Evocations, Stefan Klaverdal'
Ian Peaston in a live recording
Duration: 8'49" direct link to YouTube
© 2014 by Ian Peaston, used with permission- Title: There Will Be Earthquakes: Variations on La Folia
- Released 2014 by Stefan Klaverdal & Dynamik compact disc order number dy1401
- Duration: 8'28"
- Recording date: 3rd of June 2014 in Dublin, Ireland during a live session
- André Klenes' string quintet (Nicolas Stevens violin 1, Françoise
Gilliquet violin 2, Eric Gerstmans viola, Jean-François Assy cello,
André Klenes bass) 'Adam's dream'
Klenes wrote about his Folia composition:Duration: 0'55", 875 kB.( 128kB/s, 44100Hz)
The last half of Folia played by the string quintet of André Klenes
© André Klenes 2001, used with permission
I wrote a suite of music for a poetry recital about Federico Garcia-Lorca in 1998.
The magazine Double Bass wrote in the issue of Spring 2002 (number 20):
The String Quintet suite "Folia-Habanera-Salsa-Blues" was inspired by Romancero Gitano and Poeta en Nueva York, and also a suite for cello and double bass : "Hommage à Federico Garcia-Lorca" inspired by differents landscape of Granada. The Folia theme is an evocation of the 18th century in Jerez de la Frontera (ciudad de los gitanos)
Klenes sets the popular 'Folia' theme in a contemporary context, and he uses his ensemble effectively to reproduce the infectious interlocking rhythmic ostinatos and jazz-rock influences of Salsa.
- Title: Folia, as part of a suite together with Habenera, Salsa, Blues
- Released September 2001 by Chamber compact disc CHCD303
- Music published by Bayard-Nizet (http://www.bayard-nizet.com)
- Duration: 2'04"
- Recording date: April 2001, in Brussels, Belgium
- More about André Klenes at the website http://www.andreklenes.com
- 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'
I do not know if it is correct to call this a 'new' folia-composition because as modestly indicated in the container Liz Knowles is indicated as the arranger of the music by Marais and Corelli. In fact the music is not that new. The opening with the Marais variations starts with the Viola da Gamba to remind the listener that the Marais-variations are involved and most variations are taken from this composer. The third and fifth variation with the oboe has done before and the percussion involvement is an old idea by Paniagua. Actually I have not heard any new variation. However the wide variety of instruments and the combination of it makes it very enjoyable. How about that nice sense of humour when the massive sound of the gamba is playing the lead, accompanied by the discant and light sound of the harp? Only very few Corelli-variations are introduced in the middle of the piece. The celtic harp in variation 14 sounds great with those high arpeggios but the waiting for the obvious Scottish small pipes will be in vain.- 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
I never heard the tune but the band was known as progressive with Swedish Communist texts
- Knutna Nävar 'Internationalen Andra Revolutionära Arbetarsånger'
- Title: Sång om Kina (Sinclairvisan) (Arbetare & Soldater)
- Released 1971 by Proletärkultur LP PROLP 171
- Duration: 1'28"
- Recording date: 1971 in Göteborg, Sweden
- Koch, Kurt
- Published together with an arrangement of Greensleeves for 4 guitars
- Published 1982 by Tonos Musikverlags GmbH
- Score: 3 pages size 23 x 31 cm and 4 parts of one page DIN A4
- Koenig, Carole (hammered dulcimer), Lerman, Candy (violin, viola), Magnussen, John (keyboards),
Shulman, Robert (flute) 'Encore! Renaissance and Baroque Music on the hammered
dulcimer'
- Instrumentation: hammered dulcimer, organ, flute and viola
- Released 1988 Kokomo cd CCD-1006
- Duration: 1'29"
- Recording date: 1988, engineered and digitally mixed at Scott Fraser tudio, Los Angeles, USA
- Ton Koopman (harpsichord) Jorma Katrama (bass), Arne Domnerus (clarinet) Rune Gustafsson (guitar)
- Television program: 'Bach-1985' (total duration 24'29")
- Broadcasted by NOS (dutch television)
- Duration: 0'57" (10:23:45 - 10:24:42)
- Broadcasting date: May 29, 1985
- Korhonen, Mikko (clavichord) 'Swedish Clavichords, Mikko Korhonen plays
instant music'
We can presume that the Folia-improvisation was played in a style to feature the sound of the particular clavichord, built by Woytzig in 1688 (several times restored). So the Folia-improvisation
is used as a vehicle and not so much as an attempt to create a new kind
of composition. The aim of the recording was to present the sound of 4
different famous clavichords. Little is said about the compositions, apart
from te fact that 10 hours of documentary recordings of the instruments
have been made and a selection of the recorded music is presented on this
cd. The music on this cd is conceived the very moment it is played, but
it has been fashioned according to the stylistic and formal idioms belonging
to the epoch of each instrument. In this way these recordings strive recreate
a way of making music which once was very common in European art music
but is very unusual today.
Mikko Korhonen was picked as performer because of his ability to improvise musical pieces with the true colouring of different eras. This way of making music makes it possible to adapt to the properties of each single clavichord.- Title: La Folia
- Released 1997 by SVEA fonogram compact disc SVCD 8
- Duration: 6'28"
- Recording date: June 13-16, 1995 in the Arched Room of Musikmuseet, Stockholm Sweden
- Produced in cooperation with the Sibelius-Academy in Kuopio and the society Friends of the Musikmuseet
- Recorded with the microphone at a height of 1,2 meters and a distance of 1.5 meters from te instrument in order to provide an impression of the relative largeness and sound volume.
On April 23 at 7 pm, concert The Art of Touching was been held at Sausti manor in Harjumaa, where harpsichordist Irèn Lill performed besides the music by old masters like Jean-Henri d'Anglebert, Louis Couperin, François Couperin and Jean-Philippe Rameau, the program also included the premiere of La folia for harpsichord by Tõnu Kõrvits
There was also a worldpremiere at July 31, 2009 of this piece for oboe and stringed instruments performed by Kalev Kuljus and the Narden Festival Orchestra in Naissaar, Omari barn
- Lill, Irèn (harpsichord)
A live performance by Irèn Lill
Duration: 5'09" direct link to YouTube
© 2013 by Iren Lill- Title: La Folia
- Released 2013 by EMTAVIDEO at YouTube
- Duration: 5'09"
- Recording date: April 23, 2013
A popularized extracted version of Corelli's Folia including drums and bass guitar. The lines of the solo violin follow the complete Corelli-texture. Probably intended to get kids more interested in classical music as Emerson, Lake and Palmer did in the past. She compares herself with an artist as Vanessa Mae who popularized classical music. How about André Rieu or Berdien Stenberg?
- Kränzlein, Anna Katharina (violin) Ende, Michael (Bass) Specki T.D. (Percussion) 'Neuland'
La Follia recorded live in Illipse in the city Illingen, Germany
Duration: 4'24" direct link to YouTube
Recording date: March 1, 2008 'Mittelalter Rock Festival'- Title La Follia
- Released 2007 by F.A.M.E. recordings compact disc 0177022FAM
- Duration: 8'17"
- Recording date unknown
Krouse wrote about his Folias in 1993:
My version is set in the usual form of variations, but with two twists. First, the theme itself is not presented until almost halfway through the piece and-even then-it is stated in several forms. Second, the variations start out quite long and gradually become shorter ... they continue to accelerate until they move so fast that each takes only a few beats to complete. The piece concludes with a festive series of variations based on a form of the folia which was popular in the late Renaissance.
Scott Tennant wrote May 8, 1996 in the newsgroup 'rec.music.classical.guitar':I'm a good friend of Ian Krouse. He told me that he had arranged, or 'recomposed' the Folias for orchestra. However, I don't think it's recorded yet. And, yes, it has been performed in Japan.
- The Helios Guitar Quartet (Jack Cimo, Albert Diaz, Michael Kudirka, and Adam Pettit)
The Helios Guitar Quartet
Duration: 15'28" direct link to YouTube
© 2011 by The Helios Guitar Quartet- Released by gfavideo at YouTube August 1, 2011
- Duration: 18'44"
- Recording date: June 30, 2011 in the Legacy Hall Columbus State University for the 2011 Guitar Foundation of America as Ensemble Showcase Concert
- L.A. Guitar Quartet 'Evening in Granada'
Neil Stannard wrote about Folias in the slipcase:
The compositional style of Krouse's Folias is an eclectic circle. It is described by the composer as a kind of 'time travel', beginning with improvisatory, neo-minimalist murmurings reminiscent of flamenco style. The music develops backward in time, stylistically, to a statement of the theme in Baroque style, then back further to neo-Renaissance style, and finally comes full circle back to the present. One hears the theme emerging gradually untils its full statement at the gravitational center of the piece, designated by the composer 'Follia after Corelli' [at 8'25"]. Shortly thereafter [at 10'31"] the theme is stated in minor, this time quoting the 'Folias of Sanz'. As the variations draw to a close, the score indicates that the players should, each in turn, leave the stage, in an elaborate visual, as well as aural, diminuendo.
- Requested and premiered by the Los Angeles Guitar Quartet, John Dearman, William Kanengiser, Scott Tennant, Andrew York, St. Louis, Missouri, October 4, 1992.
- Released 1993 by Delos compact disc DE 3144
- Duration: total 15'34" (Foliatheme recognizable approx. 3'50" but right from the kick-off it starts with the Folia-chord-progression in a highly repetitive figure)
- Recording date: December 1-3 & 9, 1992 at the First Congregational Church of Los Angeles
- The Miscelanea Guitar Quartet
The Miscelanea Guitar Quartet
Duration: 15'28" direct link to YouTube
© 2013 by The Miscelanea Guitar Quartet- Released by the Miscelanea Guitar Quartet at YouTube January 29, 2013
- Duration: 15'28"
- Recording date: unknown date in Salzburg, Austria
Comedy with music in five acts, first performance 6 November 1828, Royal Opera house, Copenhagen.
This is the melody as used in the standard Swedish Sinclairvisan tune. An extension of the Folia theme.
- The Danish National Radio Symphony Orchestra conducted by John Frandsen "Elverhøj"
The Danish National Radio Symphony Orchestra
Duration: 4'24" direct link to YouTube
© 1997 by Marco Polo Dacapo- Title: Menuetto
- Released 1997 by Marco Polo Dacapo compact disc order number 8224053
- Duration: 4'24"
- Recording date: 1996
'Lampaanpolska' is considered to be a traditional tune of Finnish/Swedish origins. This arrangement for piano by Kuula is an effort to take the tune into a more classical context.
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The sheet music of 1917 Fazer Musiikki Oy, n.d. |
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Duration: 1'10", 03 kB. |
| Opening of Lampaanpolska | © Edition Fazer, Helsinki, 1916 |
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- Gothóni, Ralf (piano) 'Pianostalgia'
- Title: Lampaanpolska
- Released 1977 by Finnlevy LP sflp 8577
- Duration: unknown
- Recording date: November 01, 1977
- Lagerspetz, Juhani (Steinway grand piano) 'HIFI Testi-CD' (there is
a Hi-Fi magazine in Finland called 'HIFI-lehti', thus the name means Hi-Fi
Test CD).
- Released by Sanomaprint Erikoislehdet Tecnopress, Helsinki, Finland, compact disc HIFICD-1 (This CD has a couple of more music examples and many 'test sounds').
- Duration: 4'57"
- Recording date: June, 24 1992 at the Concert Hall of the Sibelius Academy in Helsinki
- Lauriala, Risto (piano) 'Suomalaisia Klassisia Suosikkisavalmia Pianolle'('Finnish Classical Favourites for Piano')
- Title: Lampaanpolska (Lamb Polska)
- Released 1997 by Naxos compact dic 8.551047
- Duration: 4'46"
- Recording date: June 9-10, at Kuhmo-talo, Kuhmo Finland (Kuhmo is a little town in the North in the middle of nowhere, but there's a famous festival there every summer: The Kuhmo Chamber Music Festival)
- Panula, Jorma and Camerata Finlandia-ensemble 'Klassisia Suosikkisavelmia, Vol 2'
- Arrangement by Jorma Panula for orchestra for orchestra
- Title: Lampaanpolska (Lamb Polska)
- Released Naxos compact dic 8.570839
- Duration: 5'05"
- Recording date: unknown
- Panula, Jorma and Camerata Finlandia-ensemble 'Early One Morning, Finnish Orchestral Favourites'
Lampaanpolska in an arrangement for orchestra by Jorma Panula
Duration: 5'05" direct link to YouTube
© 2010 by- Arrangement by Jorma Panula for orchestra
- Title: The Sheep’s Polska
- Released 2010 by Naxos 2-cd box 8.578143-44
- Duration: 5'05"
- Recording date: unknown
- Pyrhönen, Tuomas (organ) 'CRISANTEMI - A Selection of Organ Transcriptions'
- Title: Lampaan Polska
- Released 2007 by Omfalos compact disc OMF002 2007
- Duration: 5'30"
- Recording date: 2006 at the St Michael’s church in Turku, Finland
- More about Tuomas Pyrhönen at his website http://www.tuomaspyrhonen.net/en/index.htm
- Raekallio, Matti (piano: Bösendorfer 275) 'Toivo Kuula: the complete
piano & organ works'
- Released 1989 by MILS (small Finnish label) compact disc mils 8923
- Duration: 4'46"
- Recording date: January 28, 1989 at Solemnity Hall of the Old Academy of Turku, Turku Finland
- Siirala, Seppo (guitar) 'Souvenir, Finnish Romantic Miniatures for Guitar'
A collection of some of the best-loved romantic Finnish miniatures arranged for the guitar. Many of the pieces were written for the piano but sound, in these arrangements, like guitar originals- Title: Toivo Kuula: Lampaanpolska (The Sheep’s Polska)
- Published 1998 by Fennica Gehrman , sheet music with compact disc Chorus CHCD 8702/042-08839-5
- Sheet music 30 cm
- Somero, Jouni (piano) 'An Anthology of Finnish Piano Music
Volume 2: Morceaux de salon'
- Title: Lampaanpolska (Lamb Polska)
- Released 2005 by FC Records compact disc FCRCD-9713
- Duration: 5'22"
- Recording date: January 23-24, 2005
- Tateno, Izumi (piano) 'Romantic Finnish Piano'
Paavo Helistö (the former Head of the Music Department of the Finnish Broadcasting Corporation YLE) says in the liner notes for the Finlandia CD:Toivo Kuula (1883-1918) was an important National Romantic composer who died tragically young. His piano work The Sheep's Polska is in fact an arrangement, though as such measured an original one. The tune appears in the notebook of a Finnish folk musician Samuel Ranta-Nikkola, dated 1809; it is a Finnish version of the Folia melody which had attained wide currency in Europe during the 17th and 18th centuries.
- Released 1988(?) by Finlandia compact disc FACD 923 (and re-released by Warner Brothers)
- Duration: 4'25"
- Recording date: February 1988 at Järvenpää
- Tateno, Izumi (piano) 'Finlandia 5, A festival of Finnish Classics'
- Released by Finlandia compact disc 8573 8037 52
- Vásquez, José Eduardo(piano)
A live performance of the Lampaanpolska
Duration: 5'20" direct link to YouTube
© 2013 by José; Eduardo Vásquez- Title: Lampaanpolska
- Released 2013 on YouTube by Elnagrabahamv
- Duration: 5'20"
- Recording date: May 28, 2013 in the conservatory ofTampere, Finland
- Vol 7. of the collection Finlandia - Finnish Piano Pieces
- Published by Edition Fazer, Helsinki in the year 1916
- Score 3 p.
- Publisher No. F. M. 02562-7.
- Tateno, Izumi (piano) 'Finlandia Sound Souvenir'
- Released by Fazer Records/Finlandia compact disc
- Duration: 5'04"
- Recording date: unknown
In the slipcase was written:
Lamb polska is based on a Portuguese melody called La folia (absurdity in Portuguese). The same melody has also been used by Arcangelo Corelli and Serge Rachmaninoff in their works. Kuula´s slightly organ-like variations for the piano were written in 1915, three years before his tragic death.
In the two verses the first 16 bars of the Folia (ending in the dominant seventh chord) is repeated. The refrain shows no resemblances with the folia melody or chord progression. Note that the literal meaning of the word 'Folia' (madness) is somewhat expressed in the text of this disturbed relationship
Text of the
first verse and refrain:
Shall I pretend to be grateful for your touch
Shall I be careful and not say too much
Shall I be good and allow you to wound me
Shall I believe that your head too could bless me
And the day it was young and the sand it was milde
And my happiness sung and the feeling was wilde
But you came with your darkness and closed me inside
See my spirit was clear till you left me be guile
- Kwame, 'Volatile'
- Intrumentation: voice, classical guitar and violin
- Released May 3, 1999 in Sweden by V2-Records Music Worldwide
- Duration: 3'04"
- Produced by Magnus Frykberg and Pontus Olsson
| Variations des Folies d'Espagne | Pierre de La Garde (1717-179?) |
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- La Garde, Pierre de (1717-179?)
- Title: Variations des Folies d'Espagne in Receuil d'Airs avec accompagnement de guittare
- Published between 1775-1790
- Size 23,5 x 33,5 mm
- Score: 3 pages, page 1-3
- Source: Bibliotheque National de France RES VM7-374 https://gallica.bnf.fr/ark:/12148/btv1b105217767/f9.image
La Ninfea live in Bremen
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the Follias were a mix from Corelli, Vivaldi, Bellinzani, Martin y Coll but also a lot of improvised and adapted variations.
- La Ninfea (Barbara Heindlmeier: recorder, Christian Heim: recorder and viola da gamba, Marthe Perl: viola da gamba, Simon Linné: lute, Alina Rotaru: harpsichord and organ
- Broadcasted July 22, 2012 by Radio Bremen (Germany)
- Duration: 8'52"
- Recording date: November 2nd, 2011 during a live performance of the program 'Tutta fiamme' as part of Tage für Alte Musik (Musicvadia 2011) in the Sendesaal, Bremen, Germany
- Lacrimae Ensemble 'Celeste Giglio, flowers of the 16th Century Italian Dance Music'
Dorothée Wortelboer wrote in 1999 about the recording at the website: http://www.classic-cd.nl/186.shtm:
Dance music, however, does not survive through choreographic sources alone, but often proves to be based on well-known songs. Prior to the recording, in a period of intensive cooperation between Dorothée Wortelboer, the musicologist Dirkjan Horringa and the Lacrimae Ensemble, the dances were analyzed, played and danced in order to achieve an optimal result.
On the particular piece 'Improvisations on la Folia' is said at the same page:We have no surviving 16th-century choreography for the Folia melody, which was widely known and popular for almost three centuries. Dancers may improvise, as musicians love to do, to the haunting little strain or simply to its bass.
You do not have to be a musicologist or a great analyser of 16th Century dances to recognize instantly in 'improvisations on la Folia' the later Folia-theme which was introduced (ok, i make an exception for Falconieri) by Lully in 1672. The subtitle 'flowers of the 16th Century Italian Dance Music' is absolutely incorrect. I wonder what kind of dance is picked for this Baroque music pur sang and clearly intended for a listening audience the delicate way it is played. However the Folia theme (a nice blending of the Gallot and Ruiz de Ribayaz) sounds great on the Chitaronne.- This piece is played solo for the Chitaronne by Fred Jacobs, one of the members of Lacrimae Ensemble
- Released by Erasmus (1996) compact disc WVH 186
- Duration: 5'20"
- Recording date: January 1996 in Studio Karpa Euregio, Enschede The Netherlands
- Lacrimae Ensemble (Ronald Moelker: baroque recorders, Sarah Walder: bass and viola da gamba, Regina Albanez: renaissance lute, baroque guitar and theorbo) 'Flow my tears'
- Title: Folia improvisation
- Released 2005 by Skarster Music Investment compact disc (SACD) ACD HL 005-2
- Duration: 5'16"
- Recording date: August 2-4, 2005 at the Nederlands Hervormde Kerk Kolham, The Netherlands
- Lalonde, Alain
- Commissioned by the Société Radio-Canada, Montréal, for 'La Folia' Day.
- Published for bagpipes, oboe and English horn, clarinets, trumpet, trombone, violin, viola, violoncello, 2 percussion.
- Duration: ca. 5'00"
- Premiere: September 27, 1984, 'Musique en fête', CBF-FM, Salle Claude-Champagne, Montréal, produced by Johanne Goyette.
- No published music of Folies d'Espagne found.
- Published in Pazdírek, Franz, The Universal Handbook of Musical Literature, XI, Wien, 1904-1910, p. 96
- Thanks to François-Emmanuel de Wasseige for detecting this item in literature
The arrangement is so adapted for the Harp Consort and the soprano Clara Sanabras that it can be seen as a new composition although based upon an old Folia.
- The Harp Consort conducted by Andrew Lawrence-King (baroque triple harp) with soprano Clara Sanabras (also baroque guitar)
- Title: Anonymous (Cancioneiro de Paris) Folía: Não tragais borzeguis pretos
- Broadcasting of a live concert entitled 'From the Golden Age of the Spanish Renaissance' by ABC Classic FM Australia May 2, 2007
- Duration: 2'30"
- Recording date: May 8, 2006 at a Musica Viva concert in the City Recital Hall, Angel Place, Sydney
- Sound engineer: Yossi Gabbay and producer: Ralph Lane
Both compositions are for electronic devices. La Folia and Variations is a straightforward performance of the Folia theme for a percussion-like instrument as an electronic marimba.
The Bell Jar Majesty (La Folia No. 2) is more like a syncopated melody line with lots of embellishment and and a steady beat in the bass line. The must hear for any house party.
- LeConte, Lyman (electronic devices)
- Both composition for electronic devices
- Duration: 2'47" (The Bell Jar Majesty) and 2'24" (La Folia and Variations)
- Recording date: Septemebr and November 2011
- You can hear the tune at http://soundcloud.com/lymanjackson/the-bell-jar-majesty-la-folia and http://soundcloud.com/lymanjackson/la-folia-and-variations
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- Title: Fantaisie sur le thème de « La Follia », op. 7/bis (1961) for clarinet & piano
- Duration: 07’30"
- CeBeDeM et ses compositeurs affiliés, I, Bruxelles, 1977, p. 181
- Thanks to François-Emmanuel de Wasseige for detecting this item in literature
- Ligoratti, Stefano (organ)
- Title: Variazioni sul tema de 'La follia' (prima esecuzione assoluta) or 12 Variazioni sulla Follia
- Duration: 11'47"
- Recording date: unknown in Copreno, Italy
- Video of the live performance at Copreno, Italy http://www.youtube.com/watch?v=7Igbt0TXnV8
The Folia theme is treated in the perspective of the different schools from the Renaissance-Baroque era without a chronological order but purely based upon esthetics. The opening Sarabande is an exact copy of Händels piece. The other variations bears features of famous composers. Although not mentioned as such, the seventh variation is absolutely in the dark style of Rachmaninoff. The 11th variation is a lovely folia-fuga
Steffano Ligoratti wrote about the piece:
Ther seventh variation differs from the other variations as a modern evolution from the other variations.
From the outset there were 12 variations and the last variation was called 'A la manière de Max Reger' which is left out of this registration and substituted
by the opening of the introducing sarabande by Händel.
Every variation can be tracked down to the name of a composer representing a specific style
Tema – Sir Händel
Prima Variazione – Signor Corelli
Seconda Variazione – Herr Pachelbel
l
Terza Variazione – Der junge Bach
Quarta Variazione – Sweelincks Tanz
Quinta Variazione – Les tierces coulées de Couperin
Sesta Variazione – Kapellmeister Buxtehude
Settima Variazione – Ligoratti in 'durezze et ligature'
Ottava Variazione - Arpeggio del Signor Scarlatti
i
Nona Variazione – Le baston de Lully
Decima Variazione – Duel Rameau-Rousseau
Undicesima Variazione – Fughetta finale
Tema – Haendel’s good-bye
- Ligoratti, Stefano (harpsichord)
- Title: 11 Variazioni sul tema de 'La Follia'
- Released 2007 by Classico Viva (http://www.classicoviva.com/SteffanoLigoratti.com
- Duration: 11'03"
- Recording date: unknown in Italy
- Harpsichord built by Colzani & Vismara
The movements are:
1 Tema, 2 Ornamenti, 3 Danza in stile quasi antico, 4 Sfumato, 5 Passeggio comodo, 6 Discussione agitata e quieta, 7 Ricercare, 8 Humoresca, 9 Canto Semplice
- Linde, Hans-Martin
Aldo Bernasconi wrote about this piece:There is no introduction, just a page with 'Performance Directions' ('Spielanweisungen') that quickly explains what those little encircled numbers mean (all different techniques that are not completely standard for recorder players - at least those like myself who are not too familiar with contemporary music. They include things like overblowing, singing while playing, chords, vibratos produced by finger or tongue movement and flutter-tonguing).
- Published by Schott 1989
- Series: Originalmusik für Blockflote
- Score: 2 p. (music starts at page 5) 29 x 21 cm
- Publisher No. OFB165
Ferruccio Busoni and Gábor Darvas made arrangements for piano and orchestra of the Rapsodie Espagnole by Liszt.
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The sheet music |
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Duration: 7'42", 56 kB (incl. the Jota aragonesa) |
Rhapsody Espagnole performed by Stephen Houg with sheet music
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- Anderson, Mark (piano solo) 'Works for piano'
- Title: Rhapsodie espagnole, S254/R90, "Folies d'Espagne et jota aragonesa"
- Released by Nimbus compact NI 5484
- Duration: 14'06"
- Recording date: Unknown
- Anderson, Mark (piano solo) 'Piano Classics, Keyboard Masterworks by Mendelssohn, Schumann, Brahms, Mozart, Beethoven, Schubert, Chopin, Liszt'
- Title: Rhapsodie espagnole, S254/R90, "Folies d'Espagne et jota aragonesa"
- Released by Nimbus 8 cd-set NI1739
- Duration: 14'06"
- Recording date: Unknown
- Arrau, Claudio (piano solo) 'The early years, the complete pre-war recordings '
Jed Distler wrote for the slipcase:
Poetry and pyrotechnics prove compatible bedfellows in Arrau’s performance of the Rhapsodie espagnole. The recording captures the pianist’s multi–dimensional timbre with remarkable fidelity for the period. Small cuts were necessary to prevent the work from spilling over to three sides.
- Rhapsodie espagnole (abridged)
- Released originally 1933 by Telefunken E 1629, re-released by Marston (2 cd-set) 2000
- Duration: 9'27"
- Recording date September 4, 1933
- Bärtschi, Werner (piano) 'La Folia'
- Title: Rhapsodie espagnole (1867)
- Released 1983 by PAN LP ordernumber 130 051
- Duration: 13'47"
- Recording date: February 2nd in Thun Switserland, 1982
- See also the page Recommended Folia-recordings
- Barer (also written as Barere), Simon (piano) 'Rhapsodie Espagnole (Folies d'Espagne et Jota Arragonesa, part 1 and 2)'
- Title: Rhapsodie Espagnole (Folies d'Espagne et Jota Arragonesa, part 1 and 2)
- Released by His Master's Voice single (12") 78 RPM D.B. 2375
- Duration: 11'53"
- Recording date: 1934
- Barer (also written as Barere), Simon (piano) 'The Piano Library: Simon Barere Vol.1, Recordings from 1934 to 1946'
Rhapsody Espagnole part 1 performed by Simon Barer(e)
Duration: 6'44" direct link to YouTube
© by Mangora ClassicalRhapsody Espagnole part 2 performed by Simon Barer(e)
Duration: 5'12" direct link to YouTube
© by Mangora Classical- Title: Rhapsodie Espagnole (Folies d'Espagne et Jota Arragonesa, part 1 and 2) S254
- Re-released 2012 by Mangora Classical compact disc
- Duration: 11'53"
- Recording date: 1934
- Berman, Lazar (piano solo) 'Lazar Berman plays Franz Liszt'
- Released 1976 by Melodia (original recording of the USSR) LP 150 047
- Duration: The Rapsodie Espagnole 12'55"
- Recording date not mentioned
- Berman, Lazar (piano solo) 'Historic Russian Archives, Lazar Berman'
In the slipcase is written:
Rhapsodie Espagnole (Folies d'Espagne et jota aragonesa, c.1863) Appropriated from Gilels, an adrenalin-racing Berman warhorse - from the early fifties to his US debut in Cleveland, 14 January 1976.
- Released 2006 by Brilliant Classics 7 compact disc-set 93006/1
- Duration: The Rapsodie Espagnole 12'54"
- Recording date: March 3, 1952
- Berman, Lazar (piano solo) 'Franz Lisz, Live recording, May 3rd 1974 in Brescia'
- Title: Rhapsodie Espagnole, S254/R90
- Released by Dynamic 2 cd-set IDIS6470-71
- Duration: 13'16"
- Recording date: May3, 1974 in Brescia
- Berman, Lazar (piano solo) 'Lazar Berman'
- Title: Rhapsodie espagnole, S254/R90, "Folies d'Espagne et jota aragonesa"
- Released by Hungaroton compact disc HCD31685
- Duration: 12'15"
- Recording date: 1956
- Berman, Lazar (piano solo) 'Liszt: 12 Transcedental etudes, Hungarian Rhapsody No 3 and Spanish Rhapsody'
- Released 1976 by Columbia, USA (originally Melodiya) LP M2 33928
- Beus, Stephen (piano) 'Van Cliburn International Piano Competition 2009 - Preliminary Round: Stephen'
- Title: Rhapsodie espagnole, S254/R90, Folies d'Espagne et jota aragonesa
- Released 2009 by Cliburn Classics compact disc VCF090522B
- Duration: 13'34"
- Recording date: May 22, 2009
- Bolet, Jorge (piano) 'Bolet rediscovered: Liszt Recital'
- Title: Rhapsodie espagnole from Folies d'Espagne et Jota aragonesa for piano, S 254
- Released 2001 by RCA compact disc (remastered in 2001)
- Duration: 13'54"
- Recording date: August 22nd-24th, 1972 and July 16th, 1973 in RCA Studio A, New York, USA
- Bonn, James (Erard piano) 'Klavier Variations on La Follia'
Rhapsody Espagnole performed by James Bonn
Duration: 8'42" direct link to YouTube
© 1982 by James Bonn
Maurice Hinson wrote for the Viny recording:
Liszt was both the first and the greatest virtuoso pianist to tour (in 1844-45) the Spanish peninsula. One work for piano that came from this period was the Grosse Konzertfantasie uber Spanische Weisen of 1845. Couriously enough, this work was never printed during Liszt's lifetime. This work and the Rhapsodie espagnole (Spanish Rhapsody) shared common thematic material but the Spanish Rhapsody was not composed until 1863 in Rome and then published in 1867. Certainly the Iberian tour made impressions on Liszt although he stated in an undated letter to Felix von Lichnowsky written about September 1, 1845 that he never once heard the folies d'Espagne during the whole time he was there. See Bayreuther Blatter deutsche Zeitschrift im Geiste Richard Wagner, XXX/1-3 (1907), 35: "As you know, (folies d'Espagne) is the title of a song perfectly familiar abroad, but one that I never heard while in Spain." Nevertheless, the Spanish experience must have had some influence on the Spanish Rhapsody that consists of a set of free variations on two Spanish themes - - La Folia and the Jota Aragonesa.
Opening with one of Liszt's finest cadenzas, the first part is a kind of slow passacaglia on La Folia. The second part features the Jota Aragonesa - - a brilliant contrast. The Jota is a waltz?like tune that was brought to Aragon in the 12th century by a Moor from Valencia. Accompanied by guitars, castanets, and triangles, it has remained one of the most popular dances of Northern Spain. The lyrical central section of the Jota is transformed to extraordinary effect in the final section. The separation of the stately Folies d'Espagne from the capering Jota makes the form of the Spanish Rhapsody very comprehensible even at first hearing.- Title: Rhapsody Espagnole
- Released 1982 Klavier Records vinyl KS-571
- Duration: 13'12"
- Recording date: not indicated in the documentation
- See also the page Recommended Folia-recordings
- Bonn, James (piano) 'Recorded live'
- Title: Rhapsodie espagnole / Liszt
- Released 1977 by unknown company sound cassette (analog, stereo)
- Duration: unknown
- Recording date: February 1, 1977 in Heeren Recital Hall, Southern Baptist Theological Seminary
- Cziffra, Georges (piano solo) title cd unknown
- Released 1991 by EMI compact disc CZS 7 67366
- Duration: The Rapsodie Espagnole 12'19"
- Recording date: December 1956 or Feb/March 1957 in Salle Wagram, Paris
- Cohen, Arnaldo (piano solo) 'Sonata in B minor, Rhapsodie espagnole'
- Title: Rhapsodie espagnole, S254/R90, "Folies d'Espagne et jota aragonesa"
- Released by BIS compact disc BIS-CD-1253
- Duration: The Rapsodie Espagnole 13'35"
- Recording date: Unknown
- Fischer, Caroline (piano solo) 'Lisztomagia'
- Title: Rhapsodie espagnole, S254/R90, 'Folies d'Espagne et jota aragonesa'
- Released by Genuin compact disc GEN89147
- Duration: 12'41"
- Recording date: unknown
- Gilels, Emil (piano solo) title cd unknown
- Released 1976 by Columbia/Melodiya LP M2 33928
- Re-released 1995 by BMG/Melodiya compact disc 74321 25179
- Duration: The Rapsodie Espagnole 12'53"
- Recording date: January 18, 1968 recorded live in the Grand Hall of the Philharmonic, Leningrad
- Hough, Stephen (piano solo) 'Stephen Hough plays Liszt'
Bryce Morrison wrote as introduction to this recording:
The Spanish Rhapsody was composed in Rome in 1867 and recalls not only Spain's vitality and aplomb but also Liszt's glance or glitter period. So dramatically terminated twenty years earlier. The Rhapsody is a set of very free variations on the traditional Spanish melodies La Folia and the Jota Aragonesa. These are extensiveley ornamented and are framed by massive introductory flourishes and a no less grandiose conclusion
- Released 1988 by Virgin Classics LTD, London compact disc VC 7 90700-2
- Duration: The Rapsodie Espagnole 13'11"
- Recording date: August 1987 in Henry Wood Hall, London
- Howard, Leslie (piano solo) 'The complete music for solo piano - Volume 45'
Leslie Howard wrote as introduction to the Spanish Rhapsody:
The Spanish Rhapsody has become one of Liszt's best-known compositions, although it took some while to establish itself in the repertoire. Liszt told Lina Ramann that he had written the piece in recollection of his Spanish tour whilst in Rome in about 1863. The work was published in 1867 - subtitled Folies d'Espagne et Jota aragonesa. Later it was often found published alongside the first fifteen Hungarian Rhapsodies, which might have helped its popularity but contributes nothing towards understanding it. The work is a great deal less rhapsodic than its Hungarian cousins, and needs a certain elegant detachment in performance. Its nature is rather staid and noble - even the coda is marked 'non troppo allegro' - and the opening flourishes, however dramatic, recall the sound-world of the recently-composed Legende: St. François d'Assise - La predication aux oiseaux.
Then the ensuing variations on La Folia form a passacaglia in C sharp minor. The last variation slips gently into D major for the delicate presentation of the jota, mostly in the upper register of the piano. One further theme, also heard as part of the jota in the Grand Fantasy provides the opportunity for a further change of key, and F major, A flat major, E major and E flat major all vie for attention before the dominant of D major finally established for a grand reprise of the jota, finally lead to the recall of La Folia, now in D major, for the conclusion.- Released 1997 by Hyperion compact disc CDA 67145
- Duration: The Rapsodie Espagnole 13'25"
- Recording date: August 7-9, 1996
- Piano Steinway prepared by Ulrich Gerhartz
- Kamenz, Igor (piano solo) 'Igor Kamenz, Liszt, Rachmaninow, Tausig'
- Released 1999 by Ars Musici compact disc 1263
- Duration: 13'11"
- Recording date: April 11-13, 1999 in Theodor-Egel-Saal, Freiburger Musik Forum, Freiburg, Germany
- Kentner, Louis (piano solo) 'Spanish Rhapsody, Rumanian Rhapsody, Rhapsody on Hungarian Songs, Concerto Pathetique'
Nicholas Milroy wrote as an introduction on the backside of the cover:
The Spanish Rhapsody was written in 1863, based on a fantasy on Spanish Airs written by Liszt in 1845 for the occasion of his tour in Spain at the time. Liszt subtitled the Rhapsody 'Folies d'Espagna and Jota Aragonese'. The first part is a kind of Passacaglia on La Folia, familiar from Corelli and elsewhere while the brillant second half contains some of the same themes as his earlier 'Fantasy on Spanish Airs'.
- Title: Spanish Rhapsody
- Released by Turnabout LP TV-S 34444
- Duration: 14'53"
- Kong, Xiangdong (piano solo) 'The very best of Liszt'
- Title: Rhapsodie espagnole, S254/R90, "Folies d'Espagne et jota aragonesa"
- Released by Naxos 2 cd-set 8.552131-32
- Duration: 13'17"
- Recording date: Unknown
- Li, Yundi (piano solo) 'Vienna Recital'
Peter Jost wrote for the slipcase (translation by Stewart Spencer):
The cosmopolitan vituoso that was Liszt spent his first period of apprenticeship in Vienna, appearing in public in the presence of Beethoven, among others. He went on to take an interest in folk music and folk dances from the whole of Europe, and these he used in many of his own compositions. Among these works are not only his well-known series of Hungarian Dances but also the Rhapsodie espagnole that he wrote in 1858. Here Liszt uses two very different traditional dances, a gravely solemn folia of Portuguese origins that is rhythmically related to a sarabande and a serenely animated jota. The result is a substantial piece, beginning with a broad cadenza, after which the two dances are introduced in turn. These two dances are then brought closer together by means of numerous variants and derivative motifs. In general, the work sets great store by virtuoso monumentality, a supreme example of salon music written for the piano.
- Title: Rhapsodie espagnole (Folies d'Espagne et Jota aragonesa)
- Released 2005 by Deutsche Grammophon compact disc 477 557-1
- Duration: 13'58"
- Recording date: June 2005 in Grosser Saal Musikverein, Vienna
- Marshev, Oleg (piano solo) 'Oleg marshev in recital Liszt, Chopin, Scriabin'
- Title: Rhapsodie espagnole, S254/R90, "Folies d'Espagne et jota aragonesa"
- Released by Danacord compact disc DACOCD677
- Duration: 13'03"
- Recording date: Unknown
- Nemeth, Gyula (piano) and Hungarian State Orchestra 'Les Preludes, Hungarian Rhapsodies Nos. 2 and 6, Rhapsodie espagnole'
- Title: Rhapsodie espagnole, S254/R90 (arr. for orchestra)
- Released by Hungaroton compact disc HRC1026
- Duration: The Rapsodie Espagnole 15'10"
- Recording date: Unknown
- Paperno, Dmitry (piano solo) 'Recordings by a Russian pianist: Brahms, Liszt, Grieg, Chopin: Piano Music'
- Title: Rhapsodie espagnole, S254/R90, 'Folies d'Espagne et jota aragonesa'
- Released by Cedille compact disc CDR90000-037
- Duration: 12'18"
- Recording date: unknown
- Perahia, Murray (piano solo) 'Murray Perahia plays Franck & Liszt'
- Released 1991 by Sony Classical compact disc SK 47180
- Duration: 4'57" as part of The Rapsodie Espagnole (13'25") not indexed at all
- Shtarkman, Alexander (piano solo) 'Alexander Shtarkman'
- Title: Rhapsodie espagnole (Folies d'Espagne et jota aragonesa), for piano, S. 254 (LW A195)
- Released 1996 by Russian Disc compact disc
- Duration: 12'28"
- Son, Yeol Eum, (piano solo) 'Van Cliburn International Piano Competition 2009 - Preliminary Round: Son, Yeol Eum'
- Title: Rhapsodie espagnole, S254/R90, "Folies d'Espagne et jota aragonesa"
- Released 2009 by Cliburn Classics compact disc VCF090526D
- Duration: 14'21"
- Recording date: 2009
- Zhang, Haochen (piano solo) 'Van Cliburn International Piano Competition 2009 - Semifinal Round: Zhang, Haochen'
- Title: Rhapsodie espagnole, S254/R90, "Folies d'Espagne et jota aragonesa"
- Released 2009 by Cliburn Classics compact disc VCF090529A
- Duration: 13'42"
- Recording date: 2009
The first two variations are identical to the variations by Fernando Sor.
- Christensen, Leif (guitar) 'Leif Christensen, Llobet, Tarrega'
Martin Giertz wrote for the slipcase:
When Llobet does dazzle us with the Tárrega School's arsenal of idiomatic guitar effects (tremelo, arpeggios, harmonics, left hand alone), he does it with style and elegance, as in 'Variaciones sobre un tema de Sor'. Here Llobet expands upon an old Folia melody, which he has taken from Sor's 'Folies d'Espagne', opus 15.
- Title: Variacionen sobre un tema de Sor
- Released 1988 by Paula compact dic (AAD) PACD 59
- Duration: 8'04"
- Recording date: May-June 1982 at Kollemorten, Denmark
- Charnofsky, Jordan 'Live in concert'
In the past you could download this track in MP3 format at the site
of mp3.com for free. The size of the file to download was 8,125 MB
- Title: Variacionen sobre un tema de Sor
- Released 1999 by Ascap and Laguna breeze music productions
- Recorded in front of a live audience on the campus of the University of Southern California in Los Angeles on Sunday June 2, 1996 in Hancock Auditorium.
- Duration: 7'41"
- Martinez, Kurt (guitar) 'Folías'
- Title: Variaciones de un Tema de Sor
- Released without indication of year (but it is 2003) by martinezkurt@cs.com without order number
- Duration: 9'26"
- Recording date: not mentioned in the slipcase
- See also the page Recommended Folia-recordings
- Micheli, Lorenzo (guitar) 'Miguel Llobet'
In the slipcase is written:A favourite for centuries among European composers, the ancient theme of the folia inspired a number of works, including Fernando Sor's Variations Op. 15. Borrowing from this theme and the first two variations, Llobet adds eight more variations and a romantic 'Intermezzo' that display an ingenuity in modern harmonic technique with devices exploiting several technical aspects of the guitar, including left-hand only variation, harmonics and quick slurs.
- Title: Variations on a theme by Sor
- Released 2004 by Naxos compact disc 8.557351
- Duration: 8'19"
- Recording date: April 24 and October 24, 2002 at Aula Magna of the Seminario Arcivescovile, Ivrea (Turino), Italy
- All variations indexed
- Tröster, Michael (guitar) 'Michael Tröster plays Llobet'
- Title: Variacionen sobre un tema de Sor
- Released by Thorofon CTH 2378, Germany
- Duration: 7'33"
- Sheet music
- Published by Union Musical Espanola 1964
- Published by Chanterelle 1989, Heidelberg
- Ziv-Wexler, Nirit (guitar) 'Siesta in Catalonia'
- Title: Variaciones sobre un tema de Sor, op. 15
- Released 2004 by BNW Recordings compact disc CDBY 60216
- Duration: 8'19"
- Recording date: unknown
- Zvellenreuther, Jean-Marc 'Folias'
Jean-Marc Zvellenreither (translation into english by by Atez Eloiv) wrote for the slipcase:
The variations on a theme by Sor are a homage to the celebrated romantic guitarist Fernando Sor from who Llobet takes the beautiful Folia theme and two new variations, of which he adds eight new ones interrupted by an intermezzo with almost Schumann-like harmonies. This perfectly balanced work is characterized by it's virtuoso style and imagination while keeping completely in the style of it's time.
- Released by La Follia Madrigal 1999 compact disc LFM099900
- Duration: 7'27"
- Recording date: September 1999 at La Cave Dimière, Argenteuil France
Don Simons wrote about these Folias :
This set of 11 variations appears in a large manuscript by the Portuguese violinist Pedro Lopez Nogueira (Biblioteca National, Lisbon [4824]). The manuscript is clearly intended for teaching violin. It contains 13 pieces with continuo (of which the Folias are number 5), 240 lessons or pedagogical exercises, 2 cadenzas, 24 preludes and fantasias in every key, and 12 arpeggio exercises. It probably dates from around 1720. A facsimile is available from Rhapsody Ensemble Editions, phnobes@rhapsody.ukf.net, ISBN 0 9536577 0 2. The Folias begin with a variation; the theme is never stated in unadorned form. The bass line is different in every variation.
| Opening of Folias by Lopez Nogueira | by unknown source |
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- Editor not known yet
- Published by Rhapsody Ensemble Editions
- Publishers No.ISBN 9536577 0 2
This sheet music is edited and published in 1960 and originally ment for keyboard (organ, clavichord or harpsichord). It contains the theme and only one variation which is indicated as Variatio prima. However there are no more other variations than this first variation.
Kees Rosenhart wrote about the appearance of the publication:
On the cover of the publicqation is mentioned in the German language '.Gedruckt mit Unterstützung des Längmanska kulturfondens'. On the last page is mentioned in tiny letters' "Skandia nodestik, København" probably the source of the original source.
Bo Lundgren wrote in 1960 as an introduction to the publication:
Auf eine andere Quelle machte uns Nils Schiörring aufmerksam in
seiner Abhandlung "Det 16. og 17. Aarhundredes verdslige danske Visesang,
1-2, 1950". (1, S. 362-363). Es war hier ejn Tabulaturbuch in der
Königlichen Bibliothek zu Kopenhagen, in dem sämtliche Stücke als "in
tavolat. di Joh. Laurent" angegeben sind. Das Buch ist in braunes Leder
gebunden und trägt die Stempelung "M. S..M. D." sowie die Jahreszahl
,,1688" . Nach einer ersten Seite mit "Concordanten" folgen 7 Tanzsätze,
ein Präludium und ein Variationswerk (La Folia). Diese Stücke stehen in
unserer Ausgabe am Anfang und tragen die Nummern 1-9. [...].
Bei den aufgefundenen und hier zum ersten Mal veröffentlichten Werken
von Lorentz handelt es sich um Klavierwerke von der Art, wie sie im 17.
Jahrhundert das Repertoir eines Klavierspielers bildeten, ganz unabhängig
davon, ob ihm der organistenberuf als Ziel vorschwebte oder ob er das
Klavierspiel nur zum eigenen Vergnügen betrieb, Dieses Repertoir bestand
einmal aus freien Kompositionen wie Intonationen, Präludien, Toccaten
und Fantasien und zum anderen aus Choralbearbeitungen
| Opening of La Folie d'Espagne by Johan Lorentz | by Bo Lundgren |
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- Lundgren, Bo editor of the music
'Johan Lorentz
(1610-1689),
Klavierwerke'
- Published by Bo Lundgren with financial support of Längmanska kulturfondens (publisher not mentioned in the publication)
- Year of release 1960, Kopenhagen, Danmark
- 1 page size 21 x 29 cm
- Publishers No. not mentioned
- Mikkelsen, Sven-Ingvart
'Dansk Orgelmusik i 400 ar'
Mogens Wenzel Andreasen wrote for the slipcase:Sven-Ingvart Mikkelsen plays La Folie d'Espagne
Duration: 1'06" direct link to YouTube
© Sven-Ingvart MikkelsenJohan Lorentz was the son of an organist and composer of the same name (c.1580-1650), who had some links with Danmark - he is buried in St. Olai Church Helsingor. At the age of 19, Johan Lorentz the Younger at his father's request became organist of Vor Frue Kirke in Copenhagen, but left soon after for Italy where he studied for a year or so.
It is doubtful whether the few surving works ascribed to him really are from his pen. La Folie d'Espagne is one of the "great" melodies of music history, originally an old Spanish dance (the title means Spanish folly). It has been used by numerous composers right up to our time. Particularly famous examples are a violin sonata by Corelli, Liszt's Rapsodie Espagnol, and Rachmaninov's Variations on a Theme of Corelli, because Rachmaninov mistakenly believed that the melody that Corelli used in his sonata was composed by Corelli himself. But it is, in fact, the old Spanish dance he used for his variations. The melody also forms the basis of the minuet in Kuhlau's music for Elverhoj- Title: La Folie d'Espagne
- Released (year not mentioned in the documentation) by Classico 3 cd-box Classcd 528-30
- Duration: 1'05"
- Recording date September 14-15, 2004 on the Compenius Organ (built in 1610) in the chapel of Frederiksborg castle , Danmark
The parts: I. Maestoso, II. Allegro, III. Lamentoso, IV. Allegro con moto
Commissioned by the Settlement Music School
- Trowbridge Chamber Orchestra
Sharon Torello wrote for the website http://localartslive.com/profiles/blogs/trowbridge-chamber-orchestra on June 12, 2011 :Ludwig, who was introduced before his piece was performed, said that the "La Follia" melody he used was one of the earliest pieces of published western music and that publication was attributed to Jean-Baptiste Lully. Ludwig mentioned after the concert that he enjoyed the experience of working with the students. "La Follia for String Orchestra" had some contemporary elements and was tailored with the young musicians in mind so the resulting performance was very good.
- Published 2011 by David Ludwig Music
- Duration c. 12'00"
- Premiered June 2011 by the Trowbridge Chamber Orchestra
Ordered by the King in 1672.
Air des hautbois arranged for orchestra (just think there are only oboes and percussion)
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Duration: 1'50", 07 kB. |
| Opening of Lully's Air des Hautbois | by unknown source |
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- Academy of St. Martin-in-the-Fields/Marriner, Sir Neville
'Baroque Passion - Charpentier, Lully, Rameau, Purcell'- Released September 1, 1992 by EMI Laser Series 2x compact disc 67425
- Ensemble de Cuivres de Paris/Paillard (Quator de trombones de l´Orchestre
de la R.T.F.) 'Music at the court of Versailles'
- Released by Teldec compact disc TELDEC 4509-92404-2
- La Bande des Haubois du Roi conducted by Paolo Tognon 'Jean Baptiste Lully'
- Title: March for orchestra ("Les Folies d'Espagne"), LWV 48
- Released 1999 by Nuevo Era compact disc series Ancient Music W 78287
- Duration: 1'38"
- Recording date: December 28, 1998 in Teatro Comunale Polivalente, Italy
- Musica Antiqua Köln/Goebel, Reinhard
'Le Roi Danse' (film music)
Goebel has arranged the air des hautbois for full orchestra, starting
with the oboes and repeating every line for full orchestra. The trick
to arrange sober chamber music for full orchestra in a dramatical way
is not particular original (compare for instance Händel's Sarabande).
In the film the Folia is used in three scenes:
- Louis XIV is seriously ill in 1661 and Lully fears for his position at the court. He is called home because his wife is in labour (starting of the folia-tune). However he barely gives any attention to his wife. He get dressed up and takes his violin to rush back to the court instantly (the folia stops here). With some average music Lully overcomes the fever of the king. Wisely the Folia-tune played no role in this because the King would surely have thought he entered heaven already.
- In 1670 Louis is too old to dance properly. Lully is in doubt of his future at the court and in a dronken mood he dances the same choreogaphy as the king with in the background the folia. A fan enters and knows how to set his mind to peace.
- Lully has died. Louis XIV is watching the sunset and wonders why there is no music at all today. In the company of the court he leaves the room while the folia sets in. The folia is extended into the end with the credits of the film.
- The original film by Gérard Corbiau
- Released November 2000 by Deutsche Grammophon GmbH, Hamburg compact disc B0000501C3
- Duration: 2'52"
- Oboe Ensemble Michel Piquet 'Baroque Collection'
- Released compilation 1992 by EMI Classics CDZ 7 67425 2
- Duration: 4'04"
- Recording date: 1973
- La Simphonie du Marais/ conductor Reyne, Hugo 'André Philidor,
Marches, Fêtes et Chasses pour Louis XIV'
In the slipcase Marcelle Benoit stated:
André Philidor's music does not seek to be inventive, aiming instead to be appropriate to the circumstance; it reflects in form and style the influence of Lully. In Les Folies d'Espagne written in collaboration with Lully on the fashionable air of La Folia which inspired so many composers, the eight-bar ostinato theme of adjacent notes is taken up in six couplets, or variations, the fourth and fifth including a nimble diminution for bassoons
- Title: Les Folies d'Espagne (La batterie de tambour de la marche du régiment du Roy (Lully) 1670, les 7 couplets de hautbois faits par Philidor l'aîné et par Mr. de Lully en trio, 1672)
- Released 2000 by Virgin Veritas compact disc 7243 5 61778 26
- Duration: 3'20"
- Recording date: July 1994
- La Simphonie du Marais/ conductor Reyne, Hugo 'Musiques pour les mousquetaires'
In the slipcase is written:
"The Marche du régiment du roi of 1670 appears on this recording because it too was played by the Musketeers, as Philidor himself explains in the 1705 manuscript: "When the king's Regiment was founded it was the French March that was sounded but the officers of the aforesaid regiment who had been drawn from the Musketeers asked the King for the side-drums to beat the March of the Musketeers. When this request was granted, they sounded the above march [Marche du régiment du roi] then struck up the March of the Musketeers once more, as is still done today." This march is accompanied, with the same side-drum rhythm (batterie), by the variations on Les folies d’Espagne (La folia) which Louis XIV commissioned Lully to write in 1672, an order the king transmitted to Philidor at Saint-Germain-en Laye.
- Title: Marche du regiment du roi - 1er air et 2e air sur les Folies d'Espagne
- Released 2005 by Calliope compact disc 9527
- Duration: 3'22"
- Recording date: September 2003 in l'abbaye de Saint Michel en Thièrache
The classe de TLA du Lycée Jeanne d'Arc de Rouen
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- La classe de TLA du Lycée Jeanne d'Arc de Rouen
- Broadcasted at the website of YouTube and the website of the School
- With the participation of Rémi Brandely, Eva Danino, Marie Riondet, Thibault Venant, Manon Grange, Félicie Bernard, Marie Lambart-Quénaon, Zély Hubert, Lucy Moigné, Louis-Andrien Foltz, Blandine Champion, Suzy Robbe, Samuel Lascoux, Janice Salomon and art direction by Emmanuel Thiry.
- Duration:11'41"
- Recording date:May 2012 in Rouen, France
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/.- 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
- Trio Mauro Giuliani
- Concert performance
- Duration: 10'05"
- Recording date: May 23, 1995 in Madrid
- unpublished Score
- Score: 18 pages
- Available at the address of the composer Antonino Maddonni, none Losapio 30, 70052 Bisceglie (BA), Italy
- 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
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The sheet music of Variazioni All'Antico sulla Folias de España |
| The theme of the Variazioni All'Antico sulla Folias de España (1981), theme and 12 variations for guitar solo | |
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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.
- Makowski, Mieczyslaw
- 13 pages size A4 format
- 3,1 Mb
- Published in 1981
Malipiero wrote about his composition:
This Aria Variata for guitar was written thanks to the affectionate insistence of Ruggero Chiesa, who has always concerned
imself 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.
- 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
- 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
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)
- 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
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
- 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
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 |
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The sheet musicand and other arragnements for different instruments of the Folies d'Espagne |
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Duration: 15'36", 44 kB sequenced by Hélène
Schneider for two celli |
| Opening of Marais' Les folies d'Espagne | by Hudson Vol I, p. 123 |
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- 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
- 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
- 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
- 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
- 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
- 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)
- 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
- 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
- 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
- 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
- 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
- Boyd, Bonita (flute) 'Music for solo flute'
- Released 1979 by Spectrum as LP SR-112
- Duration: 9'12"
- 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)
- 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)
- 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.
Gilles Cantagrel wrote for the slipcase: (translation by Christopher Cartwright and Godwin Stewart): 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 - 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
- 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
- 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
- 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
- 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
- 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
- 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
- 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
- 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
- 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
- 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
- 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.
- 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)
- 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
- 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
- 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
- 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
- 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
- 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
- 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
- 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
- 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/
- 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
- 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
- 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
- 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
- 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
- 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
- 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
- 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
- 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
- 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
- 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
- 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
- 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
- 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
- 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
- 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
- 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
- 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"
- 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.
- 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"
- 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
- 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
- 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.
- 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
- 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)
- 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
- Laurin, Dan (recorder solo)
- Released by Acoustica compact disc ACCD 1012
- Recording date: September 1987
- 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
- 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
- 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
- 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
- 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
Bruce Haynes wrote for te slipcase (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 permissionWhile 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).
- 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
- 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
- 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
- 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...).
- 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
- 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).
- 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
- 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 followed01. 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 supplication18. 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
- 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.
- 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.
- 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.
- 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?
- Ricercar Consort (Philippe Pierlot and Romina Lischka: viola da gamba, Xavier Diaz-Latorre: guitar and theorbo, François Guerrier: harpsichord)
- Title: Les couplets de folie
- 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
- 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
- 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/
- 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
- 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
- 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
- Savall, Jordi (viola da gamba) Gallet, Anne (harpsichord) Smith, Hopkinson
(theorbo) 'Pièces de viole du second livre, 1701'
Jordi Savall wrote for the documentation: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)
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 .
- 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"
- 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
- 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.
- 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
- 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
- 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
- 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
- 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
- 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
- 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
- Staege, Roswitha (flute) Engelhard, Brigitte (harpsichord) & Schneider,
Ansgar (violoncello) 'Flotenmusik des Barock'
- Released 1976 by Odeon LP
-
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
- 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
- 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
- Veilhan, Jean Claude (recorder), Robert, Guy (theorbe), Bloch, Marie
Francoise (viola da gamba)
- Released by Arion compact disc ARN 55410
- Recording date: 1976/1978
- 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"
- 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
- 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
- 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
- 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?
- 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
- 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)
- 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
- 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
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?
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.
- 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
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.
- 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
New variations on the old Spanish theme
- 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
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 |
Duration: 7'16" direct link to YouTube
|
- 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
- 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
- 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
- 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
- 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
- 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
- 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
- Released 1978 by EMI Reflexe LP 63418
- 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)
- 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
- 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'
- 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
- 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
- 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
- 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
- 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
- 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
- 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
- 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
- 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 permission11 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
Serban Nichifor ( cellist and chamber music professor at the National University of Music, Bucharest) wrote about the music:Duration: 5'08", 11 kB
The complete Diferencias sobre las Folias in an arr. by Serban Nichifor
© 2013 by Serban Nichifor, used with permissionI 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/
- 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
- 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)
- 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
- 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
- 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
- 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)
- 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
- 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
- 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
- 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
- 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/
- 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)
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
- 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
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- 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
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The sheet music of the Variações sobre Folias de España |
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- 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
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.
- 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
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Duration: 1'05", 1024 kB. (128KB/s, 44100 Hz) |
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.
- 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
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
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Duration: 0'49", 02 kB. |
| Opening of 'How I love you, sweet Follia!' |
reproduced with permission of Ascolta Music Publishing |
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- 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
- 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
- Maute, Matthias edited the music
- Published 1995 by Ascolta Music Publishing
- 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 '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
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Duration: 0'42", 03 kB. |
| Opening of Mazzella's Folia spagnola | by Hudson Vol I, p. 115 |
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- 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.
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.
- Bobb, Barry
- Published by Concordia Publishing House 1997
- Publisher No. 97-6662
- 18 pages size 29 x 21 cm
- 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
- 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
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.
- 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
- Folies from Suite en ré mineur
- 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
- Folies from Suite en ré mineur
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.
- 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)
- Rebours, Gérard
Gérard Rebours wrote about his recorded Folia trackFolies d'Espagne by Merchi played by Gérard Rebours
Duration: 5'45" direct link to YouTube
© 2000 by Gérard ReboursI 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
- 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
- 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
- Published in Flautando-Manuskriptesammlung, 2013
- Duration: 7'15"
- Publisher No. FEM142
- Available through Edition Walhall
- Mihalovici, Marcel
- Published 1979 by Heugel, Paris
- Duration: ca. 20'00"
- Publisher No. PH 304
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 |
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- 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
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Duration: 0'50", 04 kB. |
| Opening of Folías italianas for violin | by Hudson Vol I, p. 146 |
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- Minguet y Irol, Pablo
- Published in: Reglas y advertencias generales para tañer el violín (c.1774), Madrid
- Copy in: Biblioteca Nacional, Madrid
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.
- 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 permission2 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
Second edition (1773) published in Paris.
| Theme of Folies d'Espagne by Le Moine | reproduced with permission from the Minkoff-edition 1972 p. 18 |
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- 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
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Duration: 2'42", 08 kB. |
- 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
- 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
- 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
- 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
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.
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Duration: 3'13", 08 kB. |
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Duration: 0'51", 806 kB. (128KB/s, 44100 Hz) |
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
- 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
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" |
| Opening of Adagio (Second Impromptu) | Fragment of PWM Edition 1987 |
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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.
- Koziol, Marcin 'Piotr Moss, Solo & chamber works for guitar'
- Title: 5 Impromptus: 2. Adagio
- Released 2020 by Experimental Workshop
- Duration: 2'28"
- Moss, Piotr
- Title: 5 Impromptus: 2. Adagio
- Published 1987 by Polskie Wydawnictwo Muzyczne
- Year 1987
- 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.
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Duration: 8'24", 17 kB, Theme and all variations |
- 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
- 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
- Ensemble Kapsberger and Lislevand, Rolf 'Santiago de Murcia, Codex'
In the slipcase is mentioned that Murcia was obviously acquainted with Corelli's violin style when he wrote the 'Folias Italianas'.Folias Italianas an arrangement by Ensemble Kapsberger and Rolf Lislevand
Duration: 5'43" direct link to YouTube
© 2000 by Naive Astrée- Title: Folias Italianas
- Released 2000 by Naive Astrée compact disc 8661
- Duration: 5'43"
- Recording date: June 1999 at Tibor Varga studio (Sion Switzerland)
- Hall, Monica
- Title: The Guitar Anthologies of Santiago de Murcia
- 2 Volumes
- Published dissertation 1983 by The Open University
- 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
- 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
- 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
- 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)
- 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.
- 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
- Giudici, Carla (piano) 'Voice of the whale'
In the slipcase of this disc is mentioned that the piece was based on a manuscript given to (Giudici) long before the numerous changes of the later published score as published by Carisch.- Released 1994 by Zuma Records compact disc ZMA 102
- Duration: 14'44"
- Recording date: June 15-17, 1994 in New York City
The cabinet of curiosities 2'54"
Merivel Woos Celia (partial) 2'26"
The right knowledge (partial) 2'06"
Katherine's death (partial) 4'37"
Night sweats (partial) 3'03"
Doctor Merivel 1'50"
The fire (partial) 3'18"
This is the story of a Doctor Merivel, who falls in love with the mistress of the king. He gets banished from the court when the king founds out that Merivel is pretending that the king is no longer in love with his mistress in the hope that Merivel himself can win the charms of the mistress. In the end when the black death seperates the king and his mistress, as a doctor he knows how to bring the couple together again without revealing his name.
My favorite film music (of course!). This more than excellent music is also used for the promotion of other films in trailers, so beware!
The Folia can be traced at least at 6 scenes in the film:
- The king asks Merivel, as a doctor to look after his dog. The dog has been ill for some time.
- The majestic entree of the king's mistress at the wedding party where she marries Merivel so she can be at the court without any questions asked in the presence of the king.
- Banished from court Merivel realizes that the occupation as a doctor back in the city will be his main task and particularly to take care of one of his patients who is pregnant.
- The scene where the baby can't be delivered in a natural way and the mother sacrifices her life for the baby
- The great fire of London where Merivel is looking for the baby he left in a spot to treat the illness of the king's mistress
- During a part of the end credits of the film
- Newton Howard, James 'Music from the Miramax motion picture soundtrack Restoration'
- Orchestration: Weidman, Alexander, Bennett, Nemitz, Newton Howard
- Released 1995 by Milan (BMG) compact disc 73138 35707-2
- Duration: approx 14'49"
- Recording date not indicated in the documentation recorded at Air Studios, Lyndhurst Hall
Nicola experimented with the note-for-note Baroque material of Arcangelo Corelli and has
put it in a completely modern sound spectrum. The sound of compressed percussive energy in a metal environment comes to
my mind. Together with the motorial drone of the beat the association of a long distant train is hard to miss.| |
Duration: 1'55", 1814 kB. (128kB/s, 44100Hz) |
The first folia, "folías para el año 2006", was made combing several midi files of Corelli's folia, files that I've found on the web. While being faithful transcriptions, they are of different lenghts, and putting them one over the other generates a phasing that results funny to my ears. The sounds are my responsability. It was made in Cubase SX.
- Nicolis, Nicola
- Released 2006 by Nicola Nicolis compact disc
- Duration: 12'00"
- Recording date: April 2006 in Verona, Italy
This timbre of the sound is closely related to the other composition of Nicola. The energetic wind sounds as an uncontrolled rudimentary force and the melody of the Folía is interwoven in these forces of nature as if is stated that this might have been one of the earliest tunes exposed to the habitat. The meditative and reflective elements are generated by the echo-effects and the rhythmic drone of the beats.
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Duration: 2'35", 2476 kB. (128kB/s, 44100Hz) |
The second folia, "folía para salír" was made using free software called 'Buzz', that permits to compose and to generate sound.
- Nicolis, Nicola
- Released 2006 by Nicola Nicolis compact disc
- Duration: 6'48"
- Recording date: April 2006 in Verona, Italy
In the slipcase is written:
Today, Tokuhide Niimi is a part time professor at the Toho Gakuen School of Music, and a member of the Board of Directors for the Japan Federation of Composers, Inc.
- Ohtani, Yasuko (violin) and Enomoto, Jun (piano) 'Violin Song Book'
- Title: Folia in Black
- Released 2001 by Camerata Records (Japan) compact disc ordernumber W 94149
- Duration: 4'05"
- Recording date:December 2000 in Chichibu Myuzu Park, Saitama, Japan
This manuscript is part of a larger manuscript known as "Manuscrit de Mlle la Pierre: Pièces de clavecin"
Pierre Féruselle wrote for the Minkoff-edition about Manuscrit de Mademoiselle la Pierre 'Pieces de clavecin":
This collection of harpsichord pieces is a manuscript whose pedagogical aims are clearly indicated. It was begun on 6 Septembr 1687, the day of the first lesson for a certain Mlle de La Pierre. It then seems to have served another pupil by the name of Mlle Le Noble, for whom the pieces proposed as exercises were copied straight after the first group. It is possible that both these harpsichordists had the same teacher, but in this case one would have to ask why the teachershould re-copy for the second pupil in the same manuscript some twenty pieces which he had already used with the first pupil.
It seems that Mlle Le Noble was more gifted than Mlle de La Pierre, at least as a composer, for she "invented" the eight couplt of the Folies d'Espagne. At all events this represents a music notebook whose physical unity (format, paper, watermarks) is clear. The date 29 January 1730 written on the flyleaf of the Le Noble part seems to be much later yhan the two copyists' hands.
- Anonymous and Mademoiselle le Noble
- Title: Folies d'Espagne in: Livre de Mademoiselle Le Noble
- Published c. 1680, re published 1983 by Minkoff Reprint. Genève, Suisse
- Pages: 1v-8, 8e couplet 5
- Original manuscript: Manuscrit de Mlle La Pierre, pièces de clavecin: Bibliothèque nationale, Paris, Rés. Vmd. ms. 18
Follia is based on a theme of a popular music of the Middle Age. All the variations are composed by Rachel Nusbaumer. She wrote that she is definitely not a real composer and made up the variations just for the fun.
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Duration: 4'06", 21 kB. |
- Nusbaumer, Rachel (Computer, soundblaster AWE 64, Voyetra Midi Orchestrator Plus) 'Euterpia'
- Released 1999 by DAM cd
- Duration: 4'34" (size 4,4Mb)
- Recording date: 1998 in Geneva, Switzerland
- You can download this piece in mp3-format (3,8Mb) at http://artists.mp3s.com/artists/14/rachel_nusbaumer.html
Another version of 'La Follia' especially composed by Rachel Nusbaumer for Mary-Paule
who loves all kind of different Folias.
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Duration: 6'00", 43 kB. |
| Theme of Follia pour Mary-Paule | by R. Nusbaumer used with permission |
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- Nusbaumer, Rachel (Computer, soundblaster AWE 64, Voyetra Midi Orchestrator Plus) 'Euterpia'
- Released 2000 by Dam cd
- Duration: 8'02" (size 7,4Mb)
- Recording date: 2000 in Geneva, Switzerland
- You can download this piece in mp3-format (7,4 Mb) at http://artists.mp3s.com/artists/14/rachel_nusbaumer.html
Tiento, including the sheet music |
- Aguirre Miñarro, Rafael 'Guitar Recital'
Graham Wade wrote for the slipcase:
Maurice Ohana, born in 1913 of Gibraltarian parentage in Casablanca, North Africa, spent his childhood in Bayonne, France, and later studied in Paris. He also took lessons in Barcelona with the distinguished pianist Frank Marshall and gave his piano recital début in Paris in 1936. He was fascinated by flamenco, African tribal music and medieval music as well as being strongly influenced by the works of Debussy and Falla.
The tiento was originally the Spanish musicians' version of the toccata though it was of a more inward and reflective nature than the showy brilliance of the flamenco style. (Tientos is also a flamenco form of a serious character.). Ohana's Tiento is a work of Spanish allegiance set in a modern idiom. It falls into deinite sections opening with a statement of La Folía (the melody much loved by composers over the centuries, especially as a basic for variations). This leads into the habanera rhythm and melodic line reminiscent of Falla's Homenaje. A third section hints at a theme from Falla's Harpsichord Concerto. These ideas are skilfully woven together and the work ends on what might be called a dominant pedal point with an insistent drum-like beat.- Released 2008 by Naxos compact disc 8.572064
- Duration: 4'45"
- Recording date: April 17-20, 2008 at St. John Chrysostom Church, Newmarket, Ontario Canada
- Guitar by Z. Gnatek, Sidney, Australia
- Attademo, Luigi 'Folías; Sanz, Giuliani, Ponce, Gilardino, Sor, Ohana'
- Released 2001 by the Magazine 'Guitart' compact disc GUIT 2026
- Duration: 4'54"
- Recording date: March 25 and 29 2001 at Quality Audio, Vercelli, Italy
- Guitar by Carlo Raspagni, 1996
- See also the page Recommended Folia-recordings
- Bream, Julian 'Twentieth-Century Guitar II, Mompou, Ohana, Moreno, Torroba, Gerhard, Villa-Lobos'
John Duarte wrote for the slipcase:
The 'Tiento', written in 1955, is an evocation of 16th-century Spanish music - the name was interchangeable with 'Fantasia' or 'Ricercar', wryly recalling the 'folia' ground bass at its beginning and later hinting at themes of Falla - from the 'Homenaje' and the Harpsichord Concerto. Since guitarists were slow to adopt this work, Ohana ceased to write for the instrument until, in the 1960's, he was attracted by the resources of the ten-string (later the eight-string) guitar.
- Released 1993 as Julian Bream Edition Volume 13 RCA Victor Gold Seal by BMG-classics compact disc 09026 61596 2
- Duration: 4'54"
- Recording date: February-May 1983
- Chojnackai, Elisabeth (harpsichord) 'Maurice Ohana, le clavecin'
- Title: Tiento
- Released by Timpani compact disc ref. 1C1069
- Duration: unknown
- Recording date: unknown
- Devine, Graham Anthony, 'Ohana, Music for Ten-String Guitar'
Tiento, the complete piece arranged for 10-string guitar
Duration: 10'31"direct link to YouTube
© 2009 by Graham Anthony Devine- Title: Tiento
- Released 2009 by Naxos compact disc ordernumber 8.570948
- Duration: 5'23"
- Recording date: October 25-28, 2007 St John Chrysostom Church, Newmarket, Canada
- Ponce, Alberto (guitar) 'Alberto Ponce'
Robert J. Vidal wrote for the inlay of the lp:
The "Tiento" in this recording, draws its substance from the "Cante Jondo" with which the composer is perfectly familiar. Maurice Ohana renews the form of the "ricercari" with an initial harmony that draws on the traditional theme of the "Folías de España" and the way he uses the resources of the guitar proves that he has full knowledge of the possibilities of the instrument. This is most certainly an interesting piece that deserves to be included in the repertory of contemporary guitarists.
- Title: Tiento
- Released without indication of year by Arion lp 30 A 064
- Duration: 4'20"
- Recording date: not mentioned in the cover or lp
- Yepes, Narciso 'Spanische Gitarrenmusik aus fünf Jahrhunderten II'
Ellen Hickmann wrote for the cover:
Elements of Andalusian-Oriental tonality, melodie, and style of performance were employed by Maurice Ohana in his piece entitled 'Tiento'.
- Title: Tiento
- Released without indication of year by Deutsche Grammophon Gesellschaft LP 139 366
- Duration: 4'28"
- Recording date: not mentioned in the documentation
Folias (1994) |
- Olavide, Begoña (large wing psaltery), Mulder, Juan Carlos (guitar), Carranza, Daniel (thiorba) 'Salterio'
This Folia-medley starts with a simple standard Folia and is followed at 2'12" (till 2'41") with the folia theme by Gaspar Sanz. After the theme a variation of Marin Marais is played, followed at 3'14" with the first variation of Sanz. Again a mighty variation of Marais will pass and at 4'28" another variation by Sanz will be recognizable. Marais appears once more and the last Sanz-variation at 5'44" is the introduction for a slow Folia-improvisation where the tension is built up to a finale in style (7'52") with some dazzling variations à la Vivaldi and Corelli before finishing with the simple standard Folia theme.- Released January 1999 by MA Records compact disc MA 025A
- Duration: 10'31"
- Recording date: March 4-6, 1994 in the Monasterio de la Santa Espina, Valladolid, Spain
- Large wing psaltery built by Carlos Paniagua
This definitely is a showpiece to feature all the characteristics of the accordion. I don't know that much about accordion but one cannot overlook the versatility of the instrument. The outstanding legato voicing of the basses in the slow parts, the different registers to give a particular tone color, the fast staccato in the treble notes, the forceful though smooth rhythmical changes and working towards the end, it even rivals a church organ with all the registers pulled out. No wonder that this piece is used as a test piece of musicianship in competitions for the accordion.
Yehuda Oppenheimer wrote about his composition in January 2006:
One of my main composition is based on the original Portugese Folk song La Folia and was chosen as the test piece in the
1966 World-cup contest for accordionists.The pricewinner was then,a boy of sixteen called Richard Galliano.Today one of the famoust accordionists
in the world.
I studied the violin both in the Netherlands and in Jerusalem as a youngster so I was quite familiar with the
Folia-variations of Corelli which remained one of my favorite pieces. But from the age of six, I already felt a passion
for the accordion so it was second nature to compose my own variations for this instrument.
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Duration: 1'16", 1194 kB. (128KB/s, 44100 Hz) |
- Merja, Ikkelä (accordion) 'Merja Ikkelä'
- Title: Ciaccona (la folia)
- Released by Blue Master LP blu-lp 134
- Duration: unknown
- Recording date: 1971
- Oppenheimer, Yehuda (accordion) 'The magic accordion of Yehuda Oppenheimer'
- Released 1998 by DCD Ltd (Israel) compact disc OYCD001
- Duration: 6'16"
- Recording date: 1987 (not mentioned in the documentation)
- Order from: Yehuda Oppenheimer, Zeev Haklai-street 10, 96462, Jerusalem, Israel.
Giorgio Pacchioni wrote about this Folia:
I was inspired to write two follias because the bass grounds (Follia, Ciaccona, Passacaglia) are the archetype of my musical roots and it is important for me to frequent these tunes. The first eight bars are composed on the classic bass ground (public domain till the 18th century) personally harmonized with some dissonance, the second group of eight bars of the bass ground (9-16) is based on the 'Partite di follia per flauto' into the manuscript 'sinfonie di varii autori' ms. Parma Italy. The year of the manuscript is not known, but this large manuscript (22 compositions) probably was the property of a flutist in the first half of the 18th century.
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Duration: 4'37", 43 Kb. |
| Opening of 'Varie partite sopra la Follia per archi, Opus 30 nr. 1' |
© G. Pacchioni, used with permission |
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- Pacchioni, Giorgio (for midi instrumentation)
- Released 1997 by Manuscript
- Duration: 4'37" (size 43 Kb)
- Recording date: 1997 in Italy
- You can find more about this composer and his oeuvre at http://members.fortunecity.com/gpacch
This set of 8 variations and da coda originated from the same source as mentioned above, a manuscript called 'Partite di follia a flauto e basso'. Notice that there is a clear deviation in chord-progression in every variation from bar 9 till 14.
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Duration: 4'31", 14 Kb. |
- Pacchioni, Giorgio (for midi instrumentation)
- Released 1997 by Pacchioni
- Duration: 4'31" (size 14 Kb)
- Recording date: 1997 in Italy
| Opening of 'Follia, op.64 n.8 for two bassoons and continuo |
© G. Pacchioni |
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- Pacchioni, Giorgio (electronic devices).
La Folia for 2 Bassoons and Continuo.
Duration: 6'05" direct link to YouTube
© 2012 by Giorgio Pacchioni- Released at YouTube Augustr 2012 by Giorgio Pacchioni
- Duration: 6'21"
- Recording date: September 2, 2012
- For questions about the sheet music http://www.gardane.info/
- Ronnes, Robert (bassoon I and II, continuo by electronic devices).
La Folia for 2 Bassoons and Continuo.
Duration: 6'33" direct link to YouTube
© 2012 by Robert Ronnes- Released at YouTube September 2012 by Robert Ronnes
- Duration: 6'21"
- Recording date: September 2, 2012
You can find a midi of the composition at the library of Petrucci. |
The sheet music 5 pages for personal use (non-commercial use only) |
- Pacheco, John Manuel
- Title: Chorale Prelude on 'La Folia'
- Released 2010 by John Manuel Pacheco
- Duration: c.2'05"
- Recording date for midi-file for the Petrucci library: March 5, 2012
- More about John Manuel Pacheco at the page of the Petrucci library
- Copyright photo by Zachary Kaufman
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The sheet music for personal use (non-commercial use only) |
- Pacheco, John Manuel
- Title: Theme and Variations on the Folia
- Published 2011 by John Manuel Pacheco
- The complete score (22 pages pdf 2012) can be downloaded or the theme and variations seperately (10 files in pdf, 2011)
- Duration: c.5'30"
The third and last part of the concerto (after the Risoluto [1] and Adagio [2]) starts off with the Folia-theme in 16 bars. Than the theme is twisted and mutated till it appears again in its pure form halfway the composition as a reminder for continuing changes.
- London Philharmonic Orchestra, conductor Dutoit, Charles with Accardo
Salvatore violin 'Concerto für violine e-moll op. posth. (Nr.6)'
Edward Neill wrote for the cover:The Concerto in E minor, hitherto unpublished, was only recently discovered, and the manuscript is now in the possession of the Instituto di Studi Paganiniani in Genoa. It bears on its title page the words Grande Concerto / Di / Nicolò Paganini. There is no indication of the date of composition, nor can this be discovered from Paganini's extensive correspondence. From the chronicle of Pietro Berri, however, it appears likely that Paganini performed this work on the 26th May 1815 at the Theatro alla Scala, and repeated it on the 8th September of the same year at the Teatro S. Agostino in Genua.
The last movement (Rondò or Polonese) is characterized by its liveliness and verve, derived from the rhythm of the Polonese, the favourite dance of composer-violonists of the early 19th century. Two episodes - the second of which takes up the inspiration of the first - alternate gaily in the mainly high-lying solo part, until in the recapitulation they are played in thirds, almost suggesting the sound of horns.- Released 1974 by Deutsche Grammophon, Polydor International GmbH LP 2530 467
- Duration: 11'15"
- Recording date: 1974
- Orchestra da Camera Italiana, conductor and soloist Accardo, Salvatore
'The complete violin concertos'
- Title: Violin Concerto N. 0 (zero) in E major
- Released 1999 by EMI compact disc (3 cd-set) 5 56 902 2
- Orchestration by F. Mompellier
- Duration: 11'47"
- Recording date: October 1998 and February 1999
- Orchestra da Camera Italiana, conductor and soloist Accardo, Salvatore
'Violin Concertos N. 0 & 2'
- Title: Violin Concerto N. 0 (zero) in E major
- Released 2001 by EMI compact disc 7243 57150 29
- Orchestration by F. Mompellier
- Duration: 11'47"
- Recording date: October 1998 and February 1999
- Orchestre Philharmonique de Monte-Carlo, conductor Foster, Lawrence. Violin Alexandre
Dubach 'Niccoló Paganini, violin concertos (complete)'
- Title: Violin Concerto No. 6 in E minor, Rondo ossia Polonese
- Released 1999 by Brilliant Classics 3 cd-set 99562. Licensed from Claves Records Switzerland
- Cadanzas by Alexandre Dubach
- Duration: 11'30"
- Recording date: 1991-1994
- Atrium Musicae de Madrid/Paniagua, Gregorio 'La Folia de la Spagna'
Paniagua made some nice 'fantasy'arrangements of anonymous scores like the opening track 'Fons vitae' where a manuscript for salterio solo is used dating back to 1764. His 'Parsimonia aristocraciae' for harpsichord is actually the Folías graves dated 1721. Some early Folias are hidden in track 10: De pastoribus can be traced back to the melody of Rodrigo Martinez (1490) like the fragment of Audaces fortuna juvat. Esquites fortis armaturae is in fact a folia by Juan del Enzina called Hoy comamos y bebamos (c.1520)
Some old instruments, like crumhorns are used in other variations to give the 'late' folia-chord progression and melody a medieval flavour. Unfortunately the original sources for the music are not mentioned in the documentation of the recording.
Variations over a Portugese dance from the middle ages that is played on every thinkable and unthinkable instrument and non-instrument. While playing people suddenly start discussing or shouting mantras. Machines starts and stops. Pure madness that is recorded with a lot of humor.
The recording is made in 1980 and has maybe been most known on LP where it often has been used to show how natural a recording may be. The transfer to CD is quite good and it has not been too 'produced'. One clearly hears where and what the 'instruments' are. More about this extraordinary recording in the chapter "Best recordings as introduction to the later Folia?". In fact it is one of the best recording available, especially the documentation in the LP-version is excellent although the interesting parts were unfortunately omitted in the slipcase of the compact disc version (folia sources and instrumentation in detail).- Released 1982 by Harmonia Mundi LP HM 1050 & compact disc HMC 901050
- Duration: 17'10" (just the folia-themes and variations) 41 variations
- Recording date: June 1980
Only the first 8 bars of La Folia are being used in a repetitive style without introducing the folia melody. In the first line the V7-chord (bar 8) is repeated to make it 9 bars altogether while in the second line the normal Folia-structure is used. Unfortunately Vangelis forgot to mention that his theme was based upon the La Folia chord-progression (3/4 time, key of d-minor and chord-progression): all music composed, arranged, produced and performed by Vangelis, to quote the slipcase.
I really don't understand why the least interesting Folia in a musical context is probably florishing in popular culture.
The film music by Papathanassiou
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Duration: 4'52", 51 Kb. |
| Theme of Conquest of paradise | edited and arranged by Icking/Gabler |
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- Astral 'Arte sin Fronteras'
Astral is the name of a Folkgroup from Ecuador with the members: Victor
Valle: flauta china, flauta traversa quena, quenachos. Darwin Gaza: zamponas,
sicus. Mauricio Trávez: zamponas, sicus. Carlos Chacon: teclados,
guitarras, fluata de pan, quenachos, zamponas
- Title: Conquest of Paradise
- Released 2000 by Carlos Chacon compact disc without an ordernumber
- Duration: 4'25"
- For contacting: telephone 010/4981806 Germany and 05932/657171 Ecuador
- Herkenhoff, Ulrich 'Zauber der Panflöte Vol. 2, symphonic cimema classics'
- Title: Conquest of Paradise
- Released 1999 by Universal and 2006 by Koch compact disc
- Duration: 5'36"
- Recording date: unknown
- Vangelis with Bruno Manjarres & Pepe Martinez
(spanish guitar and
voices), Francis Darizcuren (mandolin and violin), Didier Malherbe (flutes),
Guy Protheroe and English Chamber Choir (vocals) '1492 conquest of
paradise' music from the original soundtrack.
- Released 1992 by East West, Warner Musik U.K. Ltd. compact disc 4509-91014-2
- Duration: 4'20" (Conquest of paradise) and 4'47" (Twenty eight parallel)
- Recording date: 1992 at Epsilon Laboratory, Paris
A great Folía by one of the youngest composers ever who mastered the technique of variations. An inspiration for others!
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Duration: 3'23", 15 kB |
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The sheet music 2 pages of La Folía de España, seis variaciones |
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The opening of the sheet music by Fabrizio Alessandro Pardo García |
Fabrizio Alessandro Pardo García wrote about his arrangement in an e-mail August 2015:
Hola, mi nombre es Fabrizio Alessandro Pardo García y me gustaria contribuir con su pagina sobre "La Folía".
yo he compuesto seis variaciones y me gustaria que fueran publicadas en su pagina, le comparto la partitura y un archivo midi
Soy Mexicano y no hablo muy bien el ingles Tengo 14 Años de edad vivo en Puebla, México esta obra la compuse en el presente año 2015 y naci en el año 2000
Hi, my name is Fabrizio Alessandro Pardo García and I would like to contribute to your webpage about "La Folía".
I have composed six variations and would like them to be published on the website. I agree with making available both the score and the midi file.
I'm Mexican and did not speak very good English. I am 14 years old I live in Puebla, México this work was composed in 2015 and the year I was born was 2000.
- Pardo García, Fabrizio Alessandro
- Arranged and published by Fabrizio Alessandro Pardo García
- For piano or two instruments (guitar)
- 2 pages, 64 bars
- Size: 29x21 cm
This is an arrangement of the famous Follia by Vivaldi for 5 accordions following rather closely the original score.
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Duration: 8'59", 47 Kb. |
Werner Partner wrote about his arrangement in an e-mail March 2006:
I have played accordion since I was 12 years, had a pause and began again in the 80's.
I was able to conduct an accordion orchestra, and I founded an accordion circle in my hometown (see more:
http://www.akkordeon-herten.de)
I give accordion lessons, and I'm very enthusiasted seeing how children can develop when they understand how to play the accordions, and,
if they play well, create moments where art is existing. In the moment all my musical work is declining because I started other things, but I like
to collect my students to ensembles in 4 oder 5 persons and I try to help them getting aquainted with the great literature of our and past centuries.
So we played some tunes by Piazzolla, of course Bach, Bartok (for children), a wonderful Ricercare by Pachelbel, Fiddlers by Rautavaara, and we started
with Vivaldi's Concerto Grosso d-minor.
The reason I did the Follia piece was that I heard one piece for accordion by Bargielski (or Przybylsky?), later I heard a version by four recorders,
and I thought it would be something for my quintet. The original Follia by Vivaldi is written for two violins with continuo, and violoncello ad libitum.
My arrangement is based on an arrangement which wrote out the continuo numbers and has so two violin voices, a two hands continuo part and a
violoncello bass line without duplication with continuo. I arranged the violin voices, so that the first violin does not do everything -
the virtuosic parts are shared by the two violins. In my score you can see that the accordion 3 often has chords - this reflects the story of the continuo
(harpsichord), but I tried to expand such things, if possible.
- Partner, Werner
- Arranged and published by Werner Partner
- For 4 accordions and bass
- 26 pages, 319 bars
- Size: 29x21 cm
- More about Werner Partner (who is a psychotherapist with specialization on behavior therapy, non-directice therapy, and music therapy) at http://www.sonoptikon.de/praxis-mt/index.php
Since it is very difficult to establish which recordings refer to which set (sometimes variations of different sets are mixed) all recordings found are listed and classified primary on title of the piece (and not the number of variations).
Pasquini is one of the few composers, like Carulli, who did write more than one set of variations (see the next items for the sets with three and four variations).
The score is found in a 424-page manuscript identified as 'Berlin Deutsche Staatsbibliothek manuscript L.215' p.229. This manuscript was compiled starting in 1690 at the latest finished in 1702. The most likely date these variations were entered, based on its position in the manuscript, is 1697 as stated by Silbiger's introduction to the facsimile.
Kurt von Fischer wrote in The New Grove Dictionary for the subject variations:
Pasquini's harpsichord variations take a middle position between the older contrapuntal techniques and the later, more homophonic variation type with fixed harmonies. The bass and harmony are usually fixed in his variations, and the ornamentation, often very rich, is embedded in a chordal framework. Indeed with Pasquini the history of variations alla maniera Italiana begins .....
Willi Apel wrote in The History of Keyboard Music to 1700 about Pasquini:Pasquini's best known variation work is his Partite diversi di Follia (IV, no. 61), in which the famous folia theme is presented fourteen times. Several variations, especially nos. VII-XII, are base on the repeated use of a characteristic two-measure formula, but it is treated with enough freedom to avoid the danger of monotony.
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8 page in pdf-format,137 kB |
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The sheet music |
Partite diverse di follia in a graphical score of the voices
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Duration: 0'28", 03 Kb. |
| Theme of Partite diverse di Follia | Silbiger-edition, Vol. 7 |
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- Bellotti, Edoardo (organ)
- Title: Partite diverse di follia
- Broadcasted by RAI3 (Italy) in the program I Concerti del Mattino
- Duration: 8'03"
- Recording date: April 20, 2008 in the Cathedral of Maria Vergine of Belgrado
- Organ built by Johann Erasmus Kindermann
- Bellotti, Edoardo (organ)
Partite diverse di follia by Edoardo Bellotti
Duration: 8'27" direct link to YouTube
© 2013 by Edoardo Bellotti- Title: Partite diverse di follia
- Broadcasted at YouTube November 8, 2013 by Smarano Organ Academy
- Duration: 8'27"
- Recording date: unknown
- Bellotti, Eduardo and Salerno, Maurizio (organs) 'Pasquini : Due organi in concerto - Organi Mascioni di S. Maria della Passione, Milano - Parte Prima: Composizioni dai manoscritti di Londra e Berlino'
- Title: Partite diverse di follia a due organi
- Released 2004 by La Bottega Discantica compact disc order number BDI 109
- Duration: 8'09"
- Recorded at the Organi Mascioni di S. Maria della Passione, Milano, Italy
- Blank, Lydia Maria (harpsichord) 'Bernardo Pasquini. Suites and Variations'
- Title: Partite diverse di Follia in d
Maria Lydia Blank wrote about the Folía in the documentation:Pasquini's variations cout among his most attractive works. He was able to draw here on all of his imagination and characterization skills, and to reveal his virtuoso side. The Partite diverse di Follia in D minor are the best known of Pasquini's several sets of variations on this popular theme, and rightly so. The exquisitely shaped Aria is followed by fourteen variations that at first tend to build on the principle of intensification of the movement (up to Variation VI); then follows a series of extremely varied character pieces that challenge the performer's expressive capacities. Variations IX, XI and XII are particularly charming, as is the chromatic Variation XIII.
- Released 2015 by Etcetera Records compact disc order number KTC 1532
- Duration: 7'47"
- Recorded April 2009 in Ehem, Piaristenkloster, Krems an der Donau
- Title: Partite diverse di Follia in d
- Bonn, James (Flemish harpsichord) 'Klavier Variations on La Follia'
Partite di Follia by James Bonn
Duration: 5'00" direct link to YouTube
© 1982 by James Bonn
Maurice Hinson wrote for the documentation of the vinyl recording:
Pasquini's gift and individuality unfold dearly and freely in his variations, suites, and song and dance like pieces. The harpsicord, rather than the organ, was the instrument on which he felt at home and for which he wrote many attractive works. No other composer of the 17th century was as active in the field of variations as Pasquini. He wrote twenty?two such works, including the Follia twice: Partite di Follia and Partite Diverse di Follia. His best known variation work is his Partite Diverse di Follia, in which the famous follia theme is presented fourteen times. It excels in its natural simplicity and "correctness" of melodic invention. Several variations are based on the repeated use of a characteristic two-bar formula, but it is treated with enough freedom to avoid the danger of monotony. Pasquini exhibits a tendency toward precise, energetic formulations, which derive from the violin music of the late 17th century. An interesting variety is provided in this performance where four variations from the longer Partite Diverse set is transposed to the key of the shorter Partite de Follia and added at its conclusion.
- Title: Partite di Follia
- Released 1982 Klavier Records LP KS-571
- Duration: 5'00"
- Recording date: not indicated in the documentation
- See also the page Recommended Folia-recordings
- Ceballos, Horacio, editor of the music
- Title: Variaciones sobre La Folia
- Published by Ricordi in Argentina
- Transcribed for two guitars
- Pages: 11
- Chapelet, Francis (organ) 'Danses de la Renaissance aux orgues & au clavecin'
- Title: Partita sur 'La Folia d'Espana
- Released by Harmonia Mundi France 1970 LP nr. HM 2465
- Duration: 2'24"
- Recorded at the historical organ Compenius of the castle of Frederiksborg, Danmark
- Forma Antiqva:
Pablo Zapico (Baroque guitar),
Daniel Zapico (theorbo)
Aarón Zapico (harpsichord) 'Concerto Zapico'
This is an arrangement of the composition by Pasquini for Baroque guitar, theorbo and harpsichord.
- Title: Partite diversi di follia
- Released 2010 by Winter & Winter compact disc 910 173-2
- Duration: 6'02"
- Recording date: June 2010 at Sala de Cambra, Fundació Auditori Palau de Congressos, Girona, Spain
- Galvez, Genoveva (harpsichord) 'Espana en la Musica Europa de los Siglos XV al XVIII'
In the documetation was written by Genoveva Galvez:Duration: 6'30" direct link to YouTube
FPartite Diverse di Follia as played by Genoveva Galvez
© 1977 Genoveva GalvezLa «Folía» es una danza portuguesa, cuyo origen se remonta a tiempos muy antiguos. Ya Pedro 1, al Justiciero, de Castilla, en el 1350, gustaba de bailarla, A partir de 1500 se leen alusiones frecuentes a esta danza en tratadistas de música como Salinas, en literatos (Gil Vicente, Cervantes .. . ), encontrándose, por otro lado, gra'n cantidad de ejemplós musicales de ella en vihuelistas y cancioneros. A principios del siglo XVII, se pone de moda en toda Europa, con el nombre de «Folía de España» ; casi todos los compositores escribieron sobre este tema, baste decir que, en tiempos más modernos, hasta Liszt y Rachmaninoff han utilizado el tema de la «Folía» en sus composiciones.
Bernardo Pasquini (1637-1710) figura entre los más insignes compositores italianos de tecla del siglo XVII. En sus «Sonate per Gravicembalo», que incluyen toda clase de obras, desde «Toccatas » o «Tastatas» a «Ricercares» y Variaciones, muestra su fácil invención melódica, así como una escritura a menudo influenciada por la música violinística de la época. Su amor a la melodía, a la suave cantabilidad italiana, influirá en Handel, que trabajÓ con él en Italia.- Title: Partite Diverse di Follia
- Recorded 1977 by Hispavox HHS 10-474 (LS)
- Duration: 6'30"
- Recording date: not mentioned in the documentation
- See also recommended recordings
- Garcia Martin, Jorge (organ) '3o Concorso Organistico Internazionale: Organi Storici Del Basso Friuli'
- Title: Partite diverse di follia
- Released 2013 by Bongiovanni 2 cd-box ordernumber 5173
- Duration: 7'49"
- Recording date: unknown at Marano Lagunare, Italy
- Ghielmi, Lorenzo (organ) 'Bernardo Pasquini, Opere per Organo e Clavicembalo'
- Title: Partite diverse di follia
- Released 1990 by Nuova Era compact disc 6890
- Duration: 7'16"
- Recording date: March 7-8 1990 at Organo della Chiesa (1640) di Morcote, Schwitzerland
- Götz, Roland (organ) 'Organ works from Burgenland' (in corporation
with Menger, Reinhardt: organ)
- Title: Partite diversi di follia
- Released 91 by FSM in Studio XVII Augsburg two compact discs FCD 96512/13
- Recording date: 1989 in Purbach Pfarrkirche Sankt Nikolaus
- Haagen, Frans (carillion) performer and editor of the sheet music
program carillion-concert
Click picture for magnificationDomtoren Utrecht
as seen from Padhof
Frans Haagen wrote about his arrangement for carillion:
Lately I performed this piece at several carillions such as in Lier (Belgium), Kampen and Almelo (both in the Netherlands) but it has not been recorded (yet). What strikes me about the field recording, apart from the poor equipment (mp3-player) to register the sound as you already mentioned, is the lack of registration the discant quality of the carillion of the Domtoren.
Duration: 4'38", 820 Kb. (16 Kb/s, 12000Hz)
The middle section (9 variations) of Partite Diverse di Follia as recorded by an amateur mp3-player
© 2006 Frans Haagen, used with permission- Title: Partite Diverse di Follia
- Part of a carillion recital with transcriptions of pieces by Andrea Falconieri, Biagio Marini, Domenico Gabrieli, Dario Castello and Arcangelo Corelli.
- Duration: c.8'20"
- Recording date: August 29, 2006 at the Domtoren, Utrecht, The Netherlands during the Holland Festival Oude Muziek (Ancient Music) Utrecht, and it was also performed August 18, 2006 in Almelo (see the page http://www.beiaardkringkampen.nl/page9.htmlAlmelo of the Beiaard Kring Kampen)
- Laganà, Ruggero (harpsichord) 'Follie, bizzarrie e stravaganze in musica, dal '500 all '800'
Source: Staatsbibliothek Berlin Preuäischer Kulturbesitz, Landsberg 215 - Parte III
- Title: Partite diversi sopra Follia (ca. 1697)
- 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: 7'24"
- Recording date: August 18-19 and November 15-19, 2004 in Chiesa di S. Maria Incoronata, Martinengo (Bg), Italy
- All variations nicely indexed
- See also the page Recommended Folia-recordings
- Laganà, Ruggero (harpsichord) 'Folías italianas'
- Title: Partite Diversi di Follia
- Released 2010 by Concerto compact disc CD 2058
- Duration: 6'39"
- Recording date: October 2009 Bartok Studio, Bernareggio (Mi), Italy
- See also the page Recommended Folia-recordings
- Loreggian, Roberto (harpsichord) 'Bernardo Pasquini, Sonate per gravicembalo'
Quoting the slipcase:Partite diverse di follia by Roberto Loreggian (harpsichord)
Duration: 6'41" direct link to YouTube
© 2004 by Roberto LoreggianAs far as Pasquini's approach to the techniques of variation form is concerned, the first thing thing to note is that in multi-sectional forms he has a preference for the use of bipartite thematic ideas whose harmonic structure is similar to that of the dances, in which an initial transition from tonic to dominant is followed promptly by a return to the home tonality of the piece. An interesting exception is presented by the set of variations based on the "follia", whose surprising similarities with Corelli's more famous violinistic exercise can perhaps be explained by the long association between the two composers.
- Title: Partite diverse di follia
- Released February 2004 by Chandos compact disc Chan 0704
- Duration: 6'41"
- Recording date: August 8-10, 2002 in Villa Beatrice, Baone (Padua), Italy
- Rambaldi, Silvia (harpsichord) 'Variationi e Partite (1702)'
Piero Gargiulo wrote for the slipcase about the Partite diverse di Follia:
An immediate melodic transparency envelopes the theme, which is freely transformed throughout the 14 partitas with great variety of development and an extraordinarily rich rhythmic treatment. Pasquini's openly declared homage to Corelli can be found in the employment in the 9th partita of energetic - almost violinistic - passages, the ternary meter from the 10th partita onwards, and the use of chromaticism in the 13th. Of particular interest, in partitas 7-12, is the repeated application of a concise formula of two bars.
- Title: Partite diverse di Follia in re
- Released 1988 by Tactus compact disc TC 631801
- Duration: 7'17"
- Recording date: June 1997 in Padova, Italy
- Ruiz-Pipo, Antonio revised and adapted the original score for two guitars.
- Published 1972 by Madrid Union Musical Espanola
- Score 4 p., 33 cm
- Sartori, Egida Giordani (harpsichord) 'Egida Giordani Sartori, harpsichord'
Duration: 1'21", 131 Kb.( 128Kb/s, 44KHz, mono recording)
2 Variations, featuring the use of registers
© Philips mid 1950's- Title: Partite diverse di follia
- Released by Philips mid 1950's LP A 00334 L
- Duration: 8'13"
- Recording date: mid 1950's (not mentioned in the documentation)
- More about Egida Giordani Sartori at the website http://jsebestyen.org/sartori/
- Sartori, Egida Giordani (harpsichord) 'Harpsichord Masters of the 17th Century'
Partite diverse di follia
Duration: 8'22" direct link to YouTube
© mid 1950's by CBS- Title: Partite Diverse di Follia
- Released by Epic (a product of CBS) in the series 'Monumenta Italicae Musicae' without indication of year LP LC 3480
- Duration: 8'13"
- Recording date: mid 1950's
- More about Egida Giordani Sartori at the website http://jsebestyen.org/sartori/
- Scandali, Luca (organ) 'La Partita'
- Title: Partite diverse di Follia
- Released 1998 by La Bottega Discantica compact disc order number 034
- Duration: 7'05"
- Recording date: unknown in Chiesa Parrocchiale S. Agostino, Italy
- Build by Gaetano Callido Op. 118 - 1776. The St Agostino organ had two stops added in 1845 but sounds in pristine conditions (it was last restored in 1988).
- Sebestyén, János (organ) 'Pasquini: Composizioni per Organo'
Partite diverse di follia
Duration: 7'00" direct link to YouTube
© 1978 by János Séestyén
Lorenzo Tozzi wrote for the cover of the vinyl:
Moreover he was already setting forth eighteenth century differences in this stylistic distinctions between harpsichord and organ writing (in this he was a forerunner of Domenico Scarlatti) and especially in his exceptional mastery of the technique of ornamental variation (i.e., rhythmic-melodic rather than metrical-harmonic) of which his 'Partite diverse di Follia' based on the famous Iberian dance air used as a theme for variations by Frescobaldi, Corelli, D'Anglebert, A. Scarlatti, Vivaldi and Geminiani, is deservedly the most famous example.
- Title: Partite diverse di follia
- Released by Italia LP ITL 70062
- Duration: 7'00"
- Recording date: August 8-11, 1978 in Ernen, Switzerland
- Silbiger, Alexander editor of the fascimile of the manuscript
- Published as Volume 7 in the series '17th Century Keyboard Music'
- Published by Garland Publishing, Inc. New York and London, 1988
- Stella, Simone (spinet) 'The Italian Spinet'
- Title: Partite diverse di Follia
- Released 2009 by Simone Stella in mp3-format
- Duration: 8'48"
- Recording date: unknown
- Stolz, Ernst (harpsichord)
4 Partitas diverse di follia by Ernst Stolz (harpsichord)
Duration: 6'41" direct link to YouTube
© 2013 by Ernst Stolz, used with permission- Title: 4 Partitas from the Follia (only for variations are chosen)
- Published 2013 at YouTube by Ernst Stolz
- Duration: 6'41"
- Recording date: March 2013 in the Netherland with a harpsichord sampler
- Venturini, Matteo as part of Sonatori Fiorentini (Antonio Aiello: violin, Andrea Landi: cello, Matteo Venturini: organ)
'Diavolo e Follia'
- Title: Partite diverse di Follia, from Sonate
- Released 2014 by OnClassical compact disc order number OC30B
- Duration: 8'22"
- Recording date: 2009 in Chiesetta di San Miniato, Pisa, Italy
Pasquini is one of the few composers, like A. Scarlatti and Carulli, who did write more than one set of variations (see previous item for the theme and 14 variations and next item for the theme and 4 variations).
The original score is found in a manuscript identified as 'British Library manuscript Add. 31501, Volume II, p.21. The compositions in the London manuscript are dated between 1703 and 1704. A definitive and exhaustive chronology of Pasquini's keyboard work, however, remains a difficult one to be certain about, although Silbiger, the editor of the facsimile thinks it was likely that the variations have been entered in the manuscript in 1704.
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2 page in pdf-format,45 kB |
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Duration: 0'26", 03 Kb. |
| Theme of Variatione sopra la Follia | Silbiger-edition, Vol. 8 |
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- Bolliger, Albert (organ) 'Historische Orgeln in Österreich III'
- Title: Variazioni sopra la Folia
- Released 2002 by SINUS compact disc
- Duration: 3'12"
- Recording date: unknown
- Recorded at 'Die Franz Mitterreither-Orgel (1718) der Stiftskirche zu Leoben-Göss', Autria
- Power-Biggs, E. (organ) 'Historic organs of Italy'
Variazioni sopra la Follia
Duration: 1'57" direct link to YouTube
© by E. Power-Biggs- Title: Variazioni sopra la Follia
- Released by Columbia Masterworks CBS LP MS 7379
- Duration: 1'57"
- Recording date: not mentioned in the documentation of the LP
- Recorded in the Chiesa di San Carlo, Brescia, Italy. Organ, Antegnati, 1636.
- Power Biggs, E. (organ) 'Historic organs of Italy: organs of Bologna,
Brescia and Bergamo'.
- Released by CBS 1968 LP 72810
- Duration: 1'06"
- Silbiger, Alexander editor of the facsimile of the manuscript
- Published as Volume 8 in the series '17th Century Keyboard Music'
- Published by Garland Publishing, Inc. New York and London, 1988
This third set of Folia-variations by Pasquini is from a manuscript of which the original is conserved as Ms 964 in the 'Bibliotheca Pública e Arquivo Distrital' in Braga, Portugal. (see the previous items for the sets with 3 and 14 variations)
Kaddee Crottier wrote in the Spring of 2000 for the recital 'Music before 1750 by Spanish composers' of Luther College Collegium Musicum:
Partite sopra La Aria della Folia da Espagna (Partita on the Melody Folia da Espagna) consists of a theme with four variations. While the chord progression remains the same, the easily recognizable melody enjoys ornamental variations. The theme and first variation place the melody in the right hand with a simple chordal accompaniment in the left hand. In the second and third variations, the melody starts in the bass, but it occasionally swiches to the treble. The final variation introduces triplets as a new rhythmic component to the variation.
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Duration: 2'04", 07 Kb. |
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3 page in pdf-format, 65 kB |
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The sheet music |
| Theme of Partite sopra la Aria della Folia da Espagna | Source unknown |
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- Águeda, Sara (arpa doppia solo)
Duration: 3'46" direct link to YouTube
Sara Águeda plays Partite sopra la Aria della Folia da Espagna
© Sara Águeda- Title: Partite sopra la Aria della Folia da Espagna (in an arrangement for arpa doppia solo)
- Released January 2014 on YouTube by Sara Águeda
- Duration: 3'46"
- Broacasting date: January 27, 2014
- Becker, George (organ solo)
George Becker wrote about the organ:The organ, tuned in Kellner, is ideally suited to old Spanish, Dutch and North European music
Duration: 2'14" direct link to YouTube
George Becker plays Partite sopra la Aria della Folia da Espagna
© George Becker, used with permission- Title: Partite sopra la Aria della Folia da Espagna
- Released on YouTube by George Becker (sfbonedoc)
- Duration: 2'12"
- Broacasting date: January 25, 2009
- A. David Moore tracker organ
- Benson, Joan (clavichord) 'Works of Haydn and Pasquini'
- Title: Partite sopra la aria della folia da Espagna
- Released c.1982 by Titanic Records, Cambridge Mass. compact disc Ti-96 and LP
- Duration: 1'35"
- Recording date: March 1980 at the Museum of Fine Arts, Boston
- Clavichords: by Tosi (1568) and Schiedmayer (1796), from the Musical Instruments Collection, Museum of Fine Arts, Boston
- Bisquer, Luis Galindo (organ solo) 'Organos de la catedral deAlquezar, Agüero, Roda de Isábena'
- Title: Partite sopra la Aria della Folia da Spagna
- Released 2004 by Geaster compact disc Prion 1097
- Series: Organos Hístoricos
- Duration: 2'34"
- Recorded at Organ de la Colegiata de Sante María, Alquezar
- Bolliger, Albert (organ solo) 'Valère, Die alteste Orgel der Welt'
- Title: Partite sopra la Aria della Folia da Espagna
- Released by Ex Libris 1987 as compact disc CD 6064, later released as Sinus CD 4002 Sinus and as cassette ex libris CAS 8565
- Series: Europaische Musik zwischen 1450-1750
- Duration: 2'09"
- Recorded at 'der gotischen Orgel (um 1390) der Kathedrale Notre-Dame de Valère zu Sitten, Switserland'
- Boulay, Laurence (harpsichord solo) 'Les instruments precieux du Musée du
Conservatoire. Vol. 1'
- Title: Partita sopra la aria della folia da Espagna
- Released 1978 by Erato STU 71134 , re-relased (and remastered) by Erato 2009 compact disc (ADD) LC 04281 5050466-5705-2-9
- Duration: 1'53"
- Recording date: April 1977
- No features of the instrument were mentioned in the poor documentation of the compact disc (Harpsichord builder Faby in Bologne (1677). Inventory classification E.224. Description of the musée: Etendue : 4 octaves do-do * Boîte extérieure peinte en faux marbre * Couvercle peint à l'intérieur * Rose polychrome en bois et parchemin découpé * Clavier en ivoire gravé et ébène incrusté *)
- Bravo, Francesco (organ solo) 'Opus Joseph Bonatti Xni 1713'
- Title: Partite sopra la Aria della Follia da Espagna
- Released 2003 by Phoenix Classics compact disc 03912
- Duration: 2'37"
- Recording date: April 28 and 29, 2003 at Santuario della Beata Vergine di Valverde, Rezzato, Italy
- Organ built by Giuseppe Bonatti 1713, restored by Giorgio Carli in 2002
- Carmina (ensemble) 'Na Trilha do Novo Mundo'
- Title: Partite Sopra la Aria Della Folia da Espagna
- Released 2006 by CPC-UMES compact disc 1601973
- Duration: 1'49"
- Recording date unknown
- Carol, Henri (organ solo)
- Title: Partite sopra la folia d'Espagne
- Released by REM November 1983 compact disc 311117
- Recording date: unknown at Monte Carlo in the Saint Charles
- Chapelet, Francis (organ solo) 'The art of the organ Vol.1'
In the slipcase is written:
Bernardo Pasquini (1637-1710) is a perfect example of Italian art and his variations on the highly popular Folies d'Espagne give pride of place to the theme: the solo stops being the cornet and trompette. This theme will inspire during all the music history a lot of composers (Marin Marais, Geminiani, Carl-Philipp-Emmanuel Bach ...).
- Title: Variations sur les Folies d'Espagne
- Released 2001 by Arion compact disc Arion 60540 (AR080)
- Duration: 2'16"
- Organ of Malucène
- Recording date and organ location not mentioned in the slipcase(!)
- Cominetti, Ennio (organ solo) 'Bernardo Pasquini: Organ Works'
- Title: Partite sopra la Aria della Folia da Espagna
- Source used: M.S. Kastner's Silva Ibérica Vol. I, p. 17-19
- Released 1997 by Musikproduktion Dabringhaus und Grimm, Detmold compact disc 606 0646-2
- Duration: 2'05"
- Recording date: October 1995
- Organ: Church of S. Maria delle Grazie in Montepulciano, Siena
- Doderer, Gerhard (organ solo) 'Musica vocal e musica de orgao dos sec. XVI,
XVII e XVIII'
- Title: Partite sopra la Aria della Folia da Espagna
- Released by EMI Voz do Dono 1976 LP nr. 11C 073 40427
- Duration: 3'47"
- Recording date: January 8/9, 1976 at Sao Vicente de Fora, Lisboa
- Dudman, Michael (organ solo) 'Historical organs of Sydney'
In the slipcase Kelvin J. Hastie wrote about the organ:
The organ, although not imported to Australia until 1915, is Sydney's oldest instrument, having been built in 1796 by Robert and William Gray of London. Recent research has dispelled some of the myths surrounding the early history of the organ, although it was owned, prior to importation, by the Wiveliscombe Congregational Chapel in Somerset. After spending a short period in a variety of Sydney locations, the organ was installed here in 1920.
In 1965 some repair work was carried out by Roger H. Pogson of Sydney, who replaced the nonoriginal Gamba with a new Mixture Ill. The instrument has been the subject of other modifications over the years: a pedal clavier and pipes have been added, the GG keyboard has been altered to eliminate the 'short -oclave' arrangement, and the pitch has been altered through transposition of pipes and the fitting of tuning slides. Most of the original pipework, however, appears to have survived, together with the key and stop actions and the diminutive stop knobs with domes engraved in copperplate script.- Title: Variations on 'La Folia' (= Partite sopra la Aria della Folia da Espagna)
- Released 1995 by Walsingham Classics 3 cd-box
3 WAL 8023 (AAD). Original sound recordings © 1982, 1983 & 1984
Australian Broadcasting Corporation - Duration: 2'22"
- Recording date: May 27, 1983
- Organ: Robert. & William. Gray, London, 1796 St Peter's Anglican Church, Watsons Bay
- Gifford, Gerard (organ solo) 'Organ music from the National Shrine of Our Lady Walsingham'
- Title: Partite sopra la aria della folia da Espagna
- Released by Meridian LP PRM 45 nr. E 4577057.
- Duration: 1'57"
- Recording date: August 1982 in the Chapel of Reconciliation, Walsingham
- There is a large organ and chamber organ in that chapel and 'La Folia is played on the large organ, like most of this recital.
- Goebels, Franzpeter edited the sheet music
From the preface:Out of the wealth of Follia compositions traceable from the late 15th century up to the turn of the 20th, we are publishing three salient works for the keyboard. Our edition is based on a critical revision of the source material.
- Title of volume: Variationen über die Follia für Klavier. (incl. A. Scarlatti & C.P.E. Bach)
- Title: Partite sopra la Aria della Folia da Espagna: theme and 4 variations
- Published by Schott, Mainz 1970 (first edition in 1953?)
- Publisher No. ED5775
- ISMN: M-001-06326-5
- Goede, Therese de (harpsichord solo) radiobroadcasting of concert with
Velden, Mieneke van de (viola da gamba)
- Title: La Folia (identified as the 'Partite sopra la Aria della Folia da Espagna')
- Recorded & broadcasted by De Concertzender, Amsterdam
- Duration: 1'50"
- Recording date concert: February 23, 1993 at the English Reformed Church, Amsterdam
- Date of broadcasting: March 28, 1993
- Imbruno, Matteo (organ solo ) 'Grandi Maestri dell'organo Italiano'
- Title: Partite sopra l'aria de Folia de Espagna (ms. 964 - archivio distrital - Braga/Portugal)
- Released 1997 by Juval compact disc
- Duration: 2'07"
- Recording date unknown at Fucecchia San Salvatore, Bologne San Martino, San Marcello, Pistocese, Italy
- More about Matteo Imbruno at his website http://www.antenna.nl/matteo.imbruno/
- Josefer, M (harpsichord solo) 'Harpsichord reveries'
- Title:Partite sopra la Aria della Folia da Espagna
- Released April 2010 by Amie Street mp3 320 kbps format
- Duration: 3'33"
- Recording date unknown
- Harpsichord by William Hyman built in 1965
- Kastner, Macario Santiago edited the sheet music 'Silva Ibérica
de música para tecla de los siglos XVI, XVII y XVIII' Volume I, p.
17-19
From the preface by Kastner:Das sehr alte und bekannte portugiesisch-spanische Thema - schon 1526 rief der portugiesische Dichter Gil Vicente in seiner 'Tragicomédia do Templo de Apollo' aus: 'Cántadme por vida vuestra en Portuguesa folia' (Für euer Leben, singt mir in portugiesischer Foliaweise!) - benutzte der italienische Meister mehrmals zu Variationszyklen. Von den uns bekannten scheint uns dieser einer der schlichtesten zu sein. Er ist, soweit wir erkunden konnten, bislang noch nicht im Druck erschienen. Ob Braga überhaupt jetzt die einzige Quelle für diese Foliaversion Pasquinis ist, war ebenfalls noch nicht mit Sicherheit festzustellen.
- Title: Partite sopra la Aria della Folia da Espagna: theme and 4 variations
- Published by Schott & Co., London c. 1954
- Publisher No. 4215
- Lagace, Mireille (organ solo)
- Title: Partita sopra L'aria della follia d'Espagna
- Released by Titanic TI 37
- Recording date: 1978 in New York Church of Saint John the Evangelist
- Laganà, Ruggero (harpsichord) 'Folías italianas'
- Title: Partite sopra la Aria della Folia de Espagna
- Released 2010 by Concerto compact disc CD 2058
- Duration: 1'35"
- Recording date: October 2009 Bartok Studio, Bernareggio (Mi), Italy
- See also the page Recommended Folia-recordings
- Lernia, Francesco Di (organ solo) 'Victoria Missa Ave Regina' highlighted by sections for solo organ
- Title: (Anonymous) Partite sopra la Aria della Folia de España (from Ms. 964 Biblioteca Publica e Arquivo Distrital Braga, Portugal, attributed to Bernardo Pasquini)
- Released 2000 by Dynamic Italy compact disc CDS 261
- Duration: 3'16"
- Recording date: May 14-16, 1999 on the Luca Neri organ (dated 1650) in the St. Antonio's Oratory at L'Aquila, Italy
- More about Francesco di Lernia at his website http://www.antenna.nl/francesco.dilernia/
- Mazzanti, Alexandra (organ solo) 'The joy of dance in organ music'
- Title: Partite sopra la Aria della Folia da Espagna
- Released 2004 by Bongiovanni compact disc GB5139-2
- Recording date: unknown
- Novenko, Michal (organ solo) 'Great European Organs Vol 76''
- Title: Partita sopra La Folia de Espagna
- Released 2009 by Priory compact disc PRCD 878
- Duration: 2'05"
- Recording date: May 11 and 12, 2006 in Santa Maria in Maó, Minorca
- Paiva, Rui (organ) 'Kastner, Organos Historicos en Aragon Vol. VII'
- Title: Partite sopra la aria della Folia da Espagne
- Released 2006 by IFC compact disc DD00748
- Duration: 2'38"
- Recording date: unknown in Almonacid de La Sierra. Iglesia parroquial de Ntra. Sra. de la Asuncion
- Organ: Bartholome Sanchez (Zaragoza, 1733)
- Pol, Wijnand van de (organ solo) 'Organi Nacchini e Dacci di Udine'.
- Title: Folia de Espagna: Partita
- Released by Bongiovanni, January 2, 1994 as compact disc GB 5038
- Polonska, Elena (Irish harp) 'L'art de la harpe, Vol 2'
- Title: Partita sopra la aria della folia da Espagna
- Released 1996(?) by Arion compact disc ARN 60 371
- Duration: 3'09"
- Recording date: 1995
- Power-Biggs, E. (organ solo) 'Historic organs of Spain' (MS 7109) and 'Organ music of Spain and Portugal' (MS 5167)
Partita sopra la aria della folia
Duration: 3'20" direct link to YouTube
© by E. Power-Biggs- Title: Partita sopra la aria della folía de Espagna
- Released by Columbia Masterworks LP MS 7109 and Columbia Masterworks LP KL 5167
- Duration: 3'20"
- Recording date: not mentioned in the documentation of the LP but according to the original cataloque number it should be 1968
- Recorded on the organ at Segovia
- Rose, John (organ solo) 'John Rose plays the Beckerath Organ at Pomona College'
John Rose wrote about the Partite diverse di Follia:
Pasquini was another well-known Italian composer of his day, and he utilized this Spanish-Portuguese theme as the basis for several compositions
- Title: Partite sopra la Aria della folia de Espanga
- Released by Towerhill Records 1979 lp T-1002
- Duration: 2'03"
- Recording date: not mentioned in the documentation
- Rosenhart, Kees (organ solo) 'Kees Rosenhart speelt voor het restauratiefonds
van de Waalse- of Begijnenkerk te Haarlem op de kabinetorgels van het
Coen Cuserhuis en de Oud Katholieke kerk te Haarlem, Vol. 4'.
Partite sopra la Aria della Folia by Kees Rosenhart
Duration: 2'01" direct link to YouTube
© by Kees Rosenhart- Title: Partite sopra la Aria della Folia da Espagna
- Source used: M.S. Kastner's Silva Ibérica Vol. I, p. 17-19
- Released 1979 as LP by Stichting Voor en met Orgel (sort of Foundation for the promotion and conservation of small organs) No. 6812 884
- Duration: 2'01"
- Recording date: April 1979
- Organ: 'de Oud Katholieke kerk (Old Catholic church) Sint Anna en Maria in Haarlem, The Netherlands (organ built around 1775)
- Schultheiss, Margit (Baroque harp) 'Europa Mediterránea en el s. XVIII'
In the slipcase is written:
Pasquini was a contemporary of Corelli, with whom he maintained a great professional relationship, holding meetings and concerts through the 'Academia de la Arcadia' formerly the 'Academia de literatos of which both, among many others were members. He composed various operas, cantatas, oratorios, profane and sacred music, although his most important production is that dedicated to the keyboard. Much of it was never published in his time although it transcended great presentation through his manuscripts.
In our version with harp on folias, the musician has selected certain variations, leaving the music in a more spinet language and adding others from anonymous authors of the same theme from two harp music manuscripts. He was particularly sensitive about this theme on 'las folías de España' as were many of his contemporaries until the end of the 18th century, always using the harmonic base and making variations to this same bass from its repetition.- Title: Partite sopra la aria de la folia da Espagna
- Released 2004 by Arsis compact disc Arsis 4184
- Duration: 5'26"
- Recording date: not mentioned in the documentation (the place of the recording isn't mentioned either)
- Schwarzer, Egon (recorder) and Mihajlovic, Egon (harpsichord and organ) 'Vivi felice - Musik des 15.- 18. Jahrhunderts aus Italien, Spanien und Dalmatien'
- Title: Partite sopra la Aria della Follia da Espagna
- Released 2004 by Cybele compact disc 200.403
- Duration: 1'23"
- Recording date: unknown
- Schwarzer, Egon (recorder) and Mihajlovic, Egon (harpsichord and organ) 'Cybele Records, klassik der zukunft, SACD-sampler'
- Title: Partite sopra la Aria della Follia da Espagna
- Released 2004 by Cybele compact disc SACD 400.101
- Duration: 1'23"
- Recording date: unknown
- Sgrizzi, Luciano (organ solo) 'Le Clavecin Baroque: deux siècles de
musique en Italie'
- Title: Variations on La Folia
- Released by Cycnus/Bam 4-LP set Calb 72-75, Cycnus 9021-9024
- Duration: 2'15"
- Recording date: mid 1960s
- More about the oeuvre and life of this harpsichord player at http://jsebestyen.org/sgrizzi/
- Stolk, Ru (harpsichord solo) 'Het Italiaanse kinder quint clavecimbel'
- Title: Partite sopra la Aria della folia da Espagna: theme and 4 variations in d minor
- Released by Clavigram 2001 compact disc CLG.01-1
- Duration: 2'24"
- Recording date: unknown at Leerdam, The Netherlands
- harpsichord 1720-40 Italian Quint Harpsichord, restauration 1999-2000 Hugo van Emmerik
- Tramier, Brigitte (harpsichord), Robert, Jean Michel (lute) ‘Musique
baroque pour luth, chitarrone et clavecin’
This is a nice medley of the authentic score for keyboard by Pasquini
with a lute-part added and the authentic score for guitar (in this case
lute) by Sanz with a harpsichord-part added. And that's not all. Every
variation of Pasquini is immediately followed by a variation of Sanz and
every variation of Sanz by a Pasquini-variation till all variations have
been played.
- Title: Variations sur "Les Folies d'Espagne"
- Released by Koch Schwann compact disc 3-1544 2
- Duration: 3’33"
- Recording date: October 1991 dans la salle de concerts, Centre Culturel de Valprivas, France
- Werner, Hans Martin (whistle) and Martin Schmeding (organ) 'Virtuoses Pfeifen, Hans Martin Werner'
- Title: Partite sopra la Aria della Folia da Espagna (arr. H.M. Werner)
- Released 2002 by Ars Produktion compact disc FCD368412
- Duration: 2’20"
- Recording date: July 21-23, 2000
Ralph Paulsen-Bahnsen wrote about his Folia For A Gang:
La Folia"- kaum eine andere harmonisch-melodische Formel übte auf klassische Komponisten eine derartige Faszination aus wie diese. Variationen über Folia wurden überwiegend im 17. und 18. Jahrhundert angefertigt, allerdings werden sie auch heute noch gern als Übung im Fach Komposition genommen. Charakteristisch für "La Folia" ist die harmonische Folge I-V-VII-III / III-VII-I-V-I. Dazu erklingt in der Regel erst eine aufsteigende, danach eine absteigende melodische Linie. Ursprungsland ist Portugal bzw. Spanien, allerdings war "La Folia" auch in Italien (als "fedele") und in Frankreich sehr beliebt.
In "Folia For A Gang" habe ich die Folia-Formel in eine zeitgemäße Tonsprache umgesetzt. Das Stück hat durch die dorischen Wendungen einen leicht herben Charakter erhalten. Dennoch bleibt der Bezug zur Tradition unverkennbar. Die Komposition besteht aus Thema, 6 Variationen und einem Zwischenspiel (Interludium). Der Schwierigkeitsgrad ist Mittelstufe.
- Paulsen-Bahnsen, Ralph
- More about the oeuvre of Ralph Paulsen-Bahnsen at http://www.paulsen-bahnsen.de/en/index.htm
- Published 2004 by Peer Hamburg ordernumber 12157
- Duration: unknown
Opera commissionata dal Ensamble Barcelona Nueva Musica
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© phote Neos-music |
Marcela Pavia wrote in an e-mail October 8, 2012:
The piece is based on the theme of La Follia but it is in contemporary style. It was composed in 2004. It is neither recorded or published. The instrumentation is that one indicated: flute, sax soprano, 7 strings guitar and violoncello. The duration must be checked, I don't remember exactly.
In some of my compositions I use to fuse different styles in a contemporary context (ancient music or argentine music mainly or even a jazz flavour) I chose the Follia Theme because of the multiplicity of echos it may evoke but treated in a very contemporary way; only at some points it is perceivable.
- Pavia, Marcela
- Opera commissionata dal Ensamble Barcelona Nueva Musica
- Duration: unknown
- Not recorded or published yet
You can hear the inner singing of the Folia in the sitar with its harmonics in these six variations. A subtle and delicate bending of strings on the 7th and 15th bar of the variation gives a rather bluesy feeling to several variations. The sound of the harp as a continuo blends nicely in the melody lines of the sitar.
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Duration: 0'57", 282 Kb.( 40Kb/s, 22KHz) |
The Folia-melody was expressed on sitar and Bettina Erragihi harmonized the chords on baroque-harp. For this tune I was looking for something new in in my musical development and I tried to combine it with an unusual constellation of instruments. This combination of the indian sitar and the harp on a baroque theme was one point and very attractive for me. I loved the interwoven timbre of this two extremely different instruments of separated cultures.
- Payuta, Harry (sitar), Erragihi, Bettina (baroque-harp) 'Soft Fall'
- More about the oeuvre of Harry Payuta at http://www.payuta.de/
- Released 2000 by ON-Records compact disc 003699, distribution by Jaro-Medien
- Duration: 2'49"
- Recording date 2000 in Studio-Hire, Ottersberg, Germany
Carlo Pedini wrote in an e-mail July 10, 2014:
I composed "La follia" in 2007-2008, the piece was commissioned by the string orchestra "ISolisti di Perugia" and is dedicated to Hiroshi Isaka, director of the Kusatsu Summer Music Festival. The score is published by Casa Musicale Sonzogno of Milan. It's seven Variations upon the harmony from the famous theme by Corelli, and I tried to use various playing techniques of the modern Strings. The last variation is in a major key and it is a Rondo "impazzito" (crazy) in homage to the Corelli's title. I conducted myself the first execution in Kusatsu - Japan.
La follia , I tema: introducione e danza |
La follia , II Pizzicato Scherzando |
La follia , III Idea fissa, IV Adagio |
La follia , V Fuga |
La follia , VI Anni '80 |
La follia , VII Rondò impazzito |
- Solisti di Perugia conducted by Carlo Pedini
- Published October 13-14, 2009 at YouTube by Carlo Pedini and the score is published by Casa Musicale Sonzogno of Milan.
- Duration: 6'57" (I Tema), 3'30" (II Pizzicato Scherzando), 4'47 (III Idea fissa, IV Adagio), 2'56" (V Fuga), 6'11" (VI Anni '80), 6'35"(VII Rondò impazzito)
- Recording date: August 21, 2008 in Kusatsu International Concert Hall, Japan
- The website of Carlo Pedini http://www.carlopedini.org
The theme inspired by Rodrigo's Folías appears slowly and grows into full exposure after 9 minutes.
Tomàs wrote about the piece as brief program notes:
Folías is inspired by a version of the popular Barroc tune La Folía. That is the homonymous guitar piece by the Spanish composer Gaspar Sans (1640-1710). I approached this composition as an observation of Sans' original from different perspectives and distances. A walk-through revealing deconstructed places within the piece.
- Orquestra de Cambra de Penedés (OCP) conducted by Marius McGuinness
- Commission by the Orquestra de Cambra de Penedés (OCP)
- Premiered on March 26th 2017 by OCP in Auditori de Vilafranca del Penedès
- Duration: 11"13'
- The sound file can be heard on https://soundcloud.com/tomas-peire/folias
- More music by the composer http://tomaspeire.com/
This opera was commissioned by the Lincoln's Inn Field Theatre Impressario
to Pepusch. He basically arranged existing songs of the time, composing himself
the introduction symphony and the orchestral part drawing influences from
Purcell and Händel. This is considered to be the first ballad Opera of
Modern Times. - Accademia Monteverdiana (chorus and orchestra) directed and edited by Denis Stevens 'Gay-Pepusch: Songs of the 'Beggar's Opera'
Ballad opera in 3 acts ; music based on pre-existing melodies. Sung in English; includes German narration written and spoken by Hanns Dieter Hüsch. Angela Jenkins ; Shirley Minty ; Nigel Rogers ; Edgar Fleet ; Margaret Cable ; John Noble
The performance notes say regarding some alterations that were adopted: 'No. 63, based on La Folia, called for a slight extension so that the final chord would move naturally to the beginning of No. 64'- Title: Air 63: If thus - a man can die (Joy to great Ceasar)
- Released 1991 by Koch International Schwann 2 cd-set 314056 K2
- Duration: unknown
- Recording date: August 1978 in the Music Room at Cleveland Lodge, Dorking
- The Broadside Band directed by Jeremy Barlow 'The Beggar's Opera'
This recording of The Beggar's Opera is based on the new performing edition, edited and arranged from 18th-century sources by Jeremy Barlow and published by Oxford University Press, 1990.- Title: Air 63: If thus - a man can die (Joy to great Ceasar)
- Released 1991 by Hyperion set of 2 compact discs CDA66591/2
- Duration: 0'13"
- Recording date April 21-25 1991
- Ensemble La Stravaganza directed by Svetlana Shivelova, Anatoly Ponomarev (tenor) as Macheath
Ensemble La Stravaganza directed by Svetlana Shivelova
Duration: 1'26" direct link to YouTube
© 2008 by Ensemble La Stravaganza- Title: La Folia
- Published at YouTube by Beggop May 4th, 2008
- Duration: 1'26"
- Recording date 2008 in Moscow, Russia
Only in the opening chord progression the last 8 bars of the Folia are displayed and they are not repeated in the Largo or the other movements of the Sonata (Allegro and Presto).
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Duration: 1'20", 1878 Kb.( 128Kb/s, 44100Hz) |
- Released without indication of year by The Musical Heritage Society Inc., New York, recorded by Erato 3 LP-set MHS 1348(/49/50)
- Duration: 3'02"
- Recording Date: not mentioned in the documentation
With lots of flageolets this small piece is the aftermath of the Follia compact disc of Ensemble Oni Wytars
- Ensemble Oni Wytars 'La Follia, the triumph of Folly'
- Title: Follia d'Arcangelo
- Released 2013 by Deutsche Harmonia Mundi compact disc 88765449782
- Duration: 1'20"
- Recording date: October 1-3, 2011 in Kurtheater, Bad Kissingen, Germany
- See also recommended recordings
A concerto in three movements for guitar and guitar ensemble, based on the La Folia theme and the name B.A.C.H.
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Duration: 1'23", 409 Kb.( 24Kb/s, 11KHz) |
| Opening of Bachs Folia Konzert | © Pessina, used with permission |
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- Marchione, Carlo and the ensemble of guitarists (conducted by Roberto
Pinciroli)
- Written for Chitarrissima 1997 (Scuola di Alto Perfezionamento Musicale di Saluzzo), an annual stage for guitar-orchestra playing.
- Performance August 31, 1997 in Saluzzo (north-west Italy)
- Duration: approximately 20 minutes
- not published yet
- The website of Carlo Marchione is to be found at http://www.carlo-marchione.de
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Duration: 1'15", 294 Kb.( 32Kb/s, 16KHz) |
| Opening of Variazioni su Les Folies d'Espagne | © Pessina, used with permission |
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- Rogliano, Marco (violin)
- Written for the prize-giving of the 3rd Concorso di Composizione 'Franco Evangelisti'
- Performance: May 20, 1990 Palazzo Ru-spoli - Sala del Pattinaggio in Nemi (Rome, Italy)
- Duration: approximately 8 minutes
Only distant fragments of the Folía theme are there. Perhaps it is better to say that the repetitive intervals remind the listener of a variation technique similar to the Folía. Perceptively hinting at possibilities to recall fading memories and lost times at the touch of a key.
- Alberti, Alfonso (piano solo) 'Dispositions furtives'
- Released 2009 by Col Legno compact disc WWE 1CD 20285
- Duration: 3'07"
- Recording date: December 11-14, 2008 in Bartók Studio, Bernareggio, Milano, Italy
Sandrine Chantron plays Folies d'Espagne for harp |
- Chatron, Sandrine (harp solo) 'Le salon de musique de Marie-Antoinette'
- Released 2009 by Ambroisie Naïve compact disc NA 179
- Duration: 8'39"
- Recording date: June 2008 in the Musée de la Musique, Cité de la Musique, Paris, France
- Harp built by Erard, single-action, 1799. This instrument entered the collections of the Musée de la Musique in 1981.
In the slipcase of La Simphonie du Marais 'André Philidor, Marches, Fêtes et Chasses pour Louis XIV' released by Virgin Veritas compact disc 7243 5 61778 26 is stated:
André Philidor's music does not seek to be inventive, aiming instead to be appropriate to the circumstance; it reflects in form and style the influence of Lully. In Les Folies d'Espagne written in collaboration with Lully on the fashionable air of La Folia which inspired so many composers, the eight-bar ostinato theme of adjacent notes is taken up in six couplets, or variations, the fourth and fifth including a nimble diminution for bassoons
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Duration: 11'21", 10.640 Mb (128Kb/s, 11500 Hz) |
Folia à 2 for alto and tenor recorders is comprised of nine variations in a wide variety of style and moods. The last variation is a chaconne and is thus a set of variations within a larger set. I have composed a number of Folia settings including one for alto recorder with piano, for recorder trio (SAT) and recorder quartet (SATB - this won a prize in the 2007 American Recorder Society Composition Contest in Chicago), a symphonic setting for concert band, variations and fugue for organ, and a vocal version (soprano & alto) to the text of Ps.117, Laudate Dominum. A setting for recorder and guitar is in progress.
Apart from my attraction to the inherent beauties of the Folia, I enlist it because audiences and performers are engaged by music which offers something familiar and at the same time, paradoxically, something different, which of course variations are by their very nature. I would like to appear in the Guiness Book of World Records for having composed the greatest number of Folia variations, but fear that ultimately, I am too lazy for so lofty a goal.
I composed the Folia à 2 in February 2008 and recorded it in my home studio on 28 May of the same year with my colleague, Scott Paterson. Scott teaches recorder at the Royal Conservatory of Music in Toronto. By training, I am an oboist, but like many oboists, am able to manage the recorder when pressed.
.
- Anthony St. Pierre (tenor recorder) and Scott Paterson (alto recorder)
- Duration: 11'21"
- Recording date:May 28, 2008 Canada
- Further information about the composer/performer Anthony St. Pierre can be found at http://pages.ca.inter.net/~abelc/astpstudio.html
William O'Meara plays La Folia Variations & Fughetta for Organ |
- William O'Meara
- Duration: 8'37"
- Composed 2004 in Canada
- Performed on the Casavant Opus 3907 organ at St. Michael's RC Cathedral, Toronto, 3 manuals, 56 stops, 76 ranks (Casavant frères, organbuilders 2015
- Date 22 May 2022
- You can find this composition at YouTube
https://www.youtube.com/watch?v=M048YREJoGY - Score available from IMSLP: https://imslp.org/wiki/La_Folia_Variations_%26_Fughetta_for_Organ_(St._Pierre%2C_Anthony
Folia variations for a recorder-quartet where voices and theme shift in time.
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Duration: 7'12", 6.772 Mb (128Kb/s, 44100 Hz) |
I composed this quartet for the Chicago Chapter of the American Recorder Society in 2007. There are seven variations, but some are conjoined such that one perceives an extension of one into the next, rather than an altogether new variation. Some of the variations are rather traditional; others are more adventurous with respect to harmony and metre.
- Anthony St. Pierre (soprano recorder), Scott Paterson (alto recorder), Tatsuki Shimoda (tenor recorder), Takayo Shimoda (bass recorder)
- Duration: 7'12"
- Performed and recorded 28 December, 2009 in Canada
- Further information about the composer/performer Anthony St. Pierre can be found at http://pages.ca.inter.net/~abelc/astpstudio.html
Folia variations to perform for a standard concert band with variations which take all sorts of moods from playful to mournful, from bombastic monumental to intimate and cosy and all shades in between.
The Metropolitan Winds (Toronto) conducted by Travis Grubissi |
This set of nine symphonic Folia variations with a coda is for a standard concert band. As in all my Folia settings, I have aimed for variety in tempi, tonality, texture, meter etc. rather than the mesmerizing continuity one associates with traditional Folias. If you listen carefully, you'll discern the English Royal Anthem (God Save the King/Queen). The score and parts are available for performance or recording by contacting me at astpierre@ca.inter.net
- The Metropolitan Winds (Toronto) conducted by Travis Grubissi
- Duration: 9'15"
- Composed in 2004 in Canada, performed 28 January 2024 at the Meridian Arts Centre, Toronto, Canada
- Further information about the composer/performer Anthony St. Pierre can be found at http://pages.ca.inter.net/~abelc/astpstudio.html
La Folia appears along with fragments of tunes by J.S. Bach, F. Couperin and Ravel
- Sinfonia Toronto, conducted by Nurhan Arman
- Duration: 21'35"
- Composed in 2021 in Canada
- You can find this composition at https://www.reverbnation.com/anthonystpierrecomposer/song/32978402-fanfare-folia-forlane--furia
- Recording generously funded by Kurt and Maura Jung
- Anthony St. Pierre (studio devices)
- Duration: 5'36"
- Composed in 2019 in Canada
- You can find this composition at YouTube
https://www.youtube.com/watch?v=rqpcOc-97kE - Further information about the composer/performer Anthony St. Pierre can be found at http://pages.ca.inter.net/~abelc/astpstudio.html
The Toronto Brass Quintet plays Brassafolia |
- The Toronto Brass Quintet: Michael Fedyshyn, Robert Weymouth (trumpets); Jesse Brooks (horn); Megan Hodge (trombone); Jen Stephen (tuba)
- Duration: 9'01"
- Composed 2020 in Canada
- Recorded in the Winchester Street Theatre (Studio C), Toronto on 30 October 2021 with a stereo pair of AKG 414 microphones
- You can find this composition at YouTube
https://www.youtube.com/watch?v=Vf3RNvH5Qkc - Score and parts available at https://imslp.org/wiki/Brassafolia_(St._Pierre,_Anthony)
Katherine Moffat plays Trompetafolia for trumpet solo |
- Katherine Moffat
- Duration: 6'36"
- Composed 2021 in Canada
- You can find this composition at YouTube
https://www.youtube.com/watch?v=vZJDxFMrXYA
Mike Wark plays Sassofolia |
- Mike Wark
- Duration: 6'44"
- Composed in 2021 in Canada
- You can find this composition at YouTube
https://www.youtube.com/watch?v=JTHrsdjdhGA
Jesse Dietschi plays Bassafolia |
- Jesse Dietschi
- Duration: 7'56"
- Composed in 2021 in Canada
- You can find this composition at YouTube
https://www.youtube.com/watch?v=31IT8orxy1I
Clare Scholtz plays Fobolia |
- Clare Schotz
- Duration: 6'53"
- Recorded on 13 August, 2022
- Composed in 2022 in Canada
- You can find this composition at YouTube
https://www.youtube.com/watch?v=mLH8DPA3pqU - Score available through IMSLP: https://imslp.org/wiki/La_Fobolia_(St._Pierre%2C_Anthony
Peter Stoll plays 5 variations on 'La Folia' |
- Peter Stoll, unaccompanied clarinet and bass clarinet
- Duration: 6'16"
- Composed in 2022 in Canada
- Recorded on 10 July, 2022
- You can find this composition at https://www.youtube.com/watch?v=CevIH4AhGW8
- Music available at IMSLP
Anthony St. Pierre plays Bassafolia |
- Anthony St. Pierre
- Duration: 5'56"
- Composed in 2021 in Canada
- You can find this composition at https://www.reverbnation.com/anthonystpierrecomposer/song/32758105-follies-faciles
- Music available at IMSLP https://imslp.org/wiki/Category:St._Pierre%2C_Anthony
Dan Murphy percussion instruments |
- Dan Murphy
- Duration: 7'57"
- Composed in 2021 in Canada
- You can find this composition at YouTube
https://www.youtube.com/watch?v=8aF5Vz-vKAY - Music available at IMSLP https://imslp.org/wiki/Category:St._Pierre%2C_Anthony
Jen Stephen plays unaccocompanied F tuba |
- Jen Stephen
- Duration: 7'14"
- Composed in 2021 in Canada
- Recorded 25 July 2021 in Church of the Ascension, Don Mills, Ontario
- You can find this composition at YouTube
https://www.youtube.com/watch?v=YiQr4-OG5JQ - Music available at IMSLP https://imslp.org/wiki/Category:St._Pierre%2C_Anthony
David Pell is the principal trombonist of the Hamilton Philharmonic Orchestra and bass trombonist of the National Ballet Orchestra. He teaches trombone at the University of Toronto's Faculty of Music.
David Pell plays Trombofolia |
- David Pell
- Duration: 8'06"
- Composed in 2023 in Canada
- Recorded 3 June 2023, Toronto
- You can find this composition at YouTube
https://www.youtube.com/watch?v=ycpl0M3gqf4 - Music available at IMSLP https://imslp.org/wiki/Category:St._Pierre%2C_Anthony
Jessie Brooks, David Quackenbush, Christine Passmore play La Folia a Trè Corni |
- Jessie Brooks, David Quackenbush,Christine Passmore
- Duration: 6'01"
- Composed in 2022 in Canada
- Recorded 8 April 2022 in Heliconian Hall, Toronto
- You can find this composition at YouTube
https://www.youtube.com/watch?v=QNqRMbAvupE - Music available at IMSLP https://imslp.org/wiki/Category:St._Pierre%2C_Anthony
Anthony St. Pierre |
- Anthony St. Pierre
- Duration: 12'17"
- Composed in 2021 in Canada
- You can find this composition at YouTube
https://www.youtube.com/watch?v=rqSLujejopo
Toronto Sax Quartet |
- Toronto Sax Quartet (Colleen Allen, soprano; Andy Ballantyne, alto; Jeff King, tenor; Pol Coussée, baritone)
- Duration: 12'10"
- Composed in 2021 in Canada
- Recorded in the Array Space studio, Toronto in March 2022 using a stereo pair of AKG 414 microphones.
- Score & parts available from: https://imslp.org/wiki/Saxofolia_(St._Pierre%2C_Anthony
- You can find this composition at YouTube
https://www.youtube.com/watch?v=VGWXWAnK6yY
Anthony St. Pierre introduces each variation with a prelude for solo alto recorder (variation 1), sopranino recorder (variation 2) and soprano recorder (variation 3).
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Duration: 1'57", 1.8 Mb (128Kb/s, 44500 Hz) |
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Duration: 1'02", 1.2 Mb (96Kb/s, 44500 Hz) |
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Duration: 2'01", 1.9 Mb (128Kb/s, 44500 Hz) |
.Pentafolia is a set of three brief trio variations for recorders of La Folia
using pentatonic scales. The diatonic pentatonic scale is characteristic of Celtic folkmusic. The five “black notes”
of the keyboard octave, or their transposition to white notes, form such a scale. This scale may be formed from any five
consecutive tones of the circle of fifths. It contains no semitones. The second variation uses a hybrid scale composed of elements of various oriental scales. (Kumoi, Slendro, and Hirojoshi) Semitones are present in these scales.
The first and third variants employ the diatonic pentatonic scale and juxtaposed transpositions of it. In the
first and second variations, only the melody is strictly pentatonic; however
pentatonicism predominates in the accompanying voices of the third. Preceding
each variation is a brief unaccompanied variant introducing the scale of the
ensuing ensemble variation.
The composer performs the prefatory solos. In variation I, the players are: Anthony St.Pierre,
alto/Janos Ungvary, tenor/ Takayo Shimoda, bass, and in variations 2 and 3:
Scott Paterson, alto/Anthony St. Pierre, tenor/Takayo Shimoda, bass(2) & great bass(3). The recording
took place in the home studio of the composer in October and November 2008.
.
- Anthony St. Pierre (tenor and alto recorder), Janos Ungvary (tenor recorder), Takayo Shimoda (bass and great bass recorder), Scott Paterson (alto recorder)
- Duration: 5'00"
- Composed in the home studio of the composer 2008 in Canada
- Further information about the composer/performer Anthony St. Pierre can be found at http://pages.ca.inter.net/~abelc/astpstudio.html
Anthony St. Pierre & Lawrence Green recorded 8 November 2014 |
Corelli’s famous Folia was the inspiration for my Pholia for alto recorder and piano(2006). The purpose for composing it was to provide a modern alternative to the Corelli, which, although composed for the violin, has long been a staple of the recorder repertoire. (The edition for recorder appeared just two years after the original violin version.)
Although not quite as lengthy, the Pholia offers a wider variety of keys, modes, harmonies, textures, and meters than the Corelli. The piano is not subordinate to the recorder in the Pholia, but participates in a capacity equal to the recorder's.
- Anthony St. Pierre (recorder) & Lawrence Green ( piano)
- Released 2014 by Anthony St. Pierre
- Duration: 8'42"
- Recording date: 8 November 2014 in the Church of the Ascension, Don Mills, Ontario, Canada
- The website of the composer https://anthonystpierre.wordpress.com/compositions/
Theme and two variations for harpsichord
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Duration: 1'09", 1091 Kb.( 128Kb/s, 44100Hz) |
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2 page in pdf-format, 315 kB |
.I have enjoyed writing these variations of "La Folia" almost or just as much as many other composer(s). It is a piece that dates back hundreds of years, and it is a honor to write a variation off this progression. I also enjoy this piece because this progression has so much potential and inspiration, and it is a basic sign to composers all around the world, the endless possibilities there are in music. In my version, I added an extra measure/chord value in addition to the original version (The N6/ Neapolitan Chord) before the dominant. In my music, every piece of mine which consists in a minor key has to include the N6 chord, and having that in the La Folia I have written has a fun, and beautiful way to distinguish my style and interpretation of this piece. I am a classical musician and ongoing student of composition looking to write for all kinds of music and La Folia has been a great start. I encourage all young and amateur composers to study this form to g
- Released by Stephen Pine 2010
- Duration: 1'09"
- Recording Date: 2010
In this very short piece the first 8 bars of the Folia theme are included halfway the piece hidden between the lines of its own theme. You have to have your ears tuned for the Folia to hear the theme emerge. Maybe it is no coincidence to quote the Folia theme since the Concerti Grossi were based upon Opus 5 by Arcanglo Corelli (of which no. 12 is the famous Follia).
The Vivace starts at 7'13", the theme emerges 8'08"-8'16" |
Andrew Siegel wrote in an e-mail 24 June 2016:
I believe that I have found a Folia theme in a piece of music that is not listed on your web site. The composer is Giovanni Benedetto Platti. The album that I have is called "Platti: Concerti Grossi after Corelli. Track 20 is the one of interest. This is the fourth movement, the Vivace, of his Concerto Grosso No. 5 in G Minor. It is a short movement, but it works the first few notes of the late Folia theme into its melody many times. It is noticeable from the beginning, but is most obvious starting at 0:56. It is not derived from the Corelli variations; as far as I know, it is unique.
- Akademie für Alte Musik, Berlin, directed by Georg Kallweit 'Concerti Grossi after Corelli'
- Released 2008 by Harmonia Mundi compact disc 901996, re-released 2013 by
- Duration: 1'28"
- Recording date: unknown
In the compact disc 'Altre Follie' by Hespèrion XXI the composer John Playford is mentioned as the composer of Farinell's Division, because it was published by John Playford. All other performers indicate Farinel(li) as the composer of this piece.
Savall is rather consequently with these labels because his previous arrangement of a performance by an anonymous keyboard Folia collected by Antonio Martín y Coll was labeled as a composition by Martín y Coll as most performers do.
Obviously based upon the variations and fugue by Manuel Maria Ponce, but the electric guitars makes an entirely different approach to this small piece.
- Pizzarelli, Bucky & John 'Generations'
- Released 2007 by Arbors records compact disc ARCD 19345
- Duration: 1'28"
- Recording date: May 17, 2006 at Nola Recording Studios, New York City, USA
- the original manuscript is conserved at The Private Library Spencer in London
In 1929 Andres Segovia sent the theme to Ponce with the request to write 12 or 14 'brilliant' variations for classical guitar.
There is some confusion about the exact manuscript of Ponce's variations, but Angelo Gilardino has sorted things out.
First of all the impression might arise that Ponce wrote a lot more variations but only 20 were published together with a fuga for instance according to the slipcase of the HMV Segovia Double CD set of 78 rpm recordings: there is a separate Postlude that Segovia recorded, which according to the sleevenotes is one of those variations originally rejected by Segovia. However Segovia recorded that Postlude one year after having recorded the cycle of Variations.
Angelo Gilardino published in the mailinglist cguitar-list@eskimo.com February 2000:
The piece is published by Ediciones Musicales Yolotl and everybody
can read it and judge how it can be related to the Variations.
Besides, the original manuscript of Ponce's Variations was lost in the Segovia's
'fugue' from Barcelona at the beginning of the Spanish civil war on 1936.
At that epoque, the work had already been published by Schott, and it was
customary of Segovia to forward to the publisher only the manuscripts of his
own editions, and not the original ones: then, we may have little or no hope
to rescue something from Ponce's hand in the Schott archives.
I believe that the work has been published with no restrictions, because its form is perfect as it stands: you have in fact the unique variation which is not in either major or minor D key, placed exactly at the middle of the cycle: the 11th variation, is in fact a Siciliana in C major - not casually placed at that point in order to break in two even halves the persistence of the tonics in D.
Segovia did a lot of editing on the text - Gilardino has counted and re-addressed no less than 100 details - but he is pretty sure Segovia did not suppress any variation: Where he did that - in the 'Théme varié et Finale'
- there is an evident problem of musical form (of this piece we have the Ponce
manuscript anyway and we can see the construction originally conceived by
the author).
Secondly there is some confusion about the theme because in some literature
is mentioned that Segovia asked Ponce for a more elaborate theme after receiving
the manuscript, because the Segovia recording of 1930 does not include the
Ponce's theme but rather a conventional setting closer to Arcangelo Corelli
than to Ponce.
Ponce did cover a lot of different guitar techniques in these variations.
Only theme & variations 1, 2, 3, 4, 15, 16, 19 and 20 directly recognizable as being derived from the theme (the rest is more elaborate) IMHO but who cares? It's great music which emphasizes colour and expression of the Folia-theme with some remote variations.
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Duration: 25'46", 55 Kb. |
| Theme of Variations sur 'Folia de España' et Fugue | Doigtèe par Andrés Segovia |
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- Abiton, Gerard (guitar) 'Guitare +, Vol 27 Manuel M. Ponce - Complete Guitar Works (3)
- Variations et Fugue sur 'Folías de España'
- Released 1998 by Mandala compact disc MAN 4926 (Distribution Harmonia Mundi HMCD 78)
- Duration: 26'33"
- Recording date: April 1995
- Artzt, Alice (guitar) 'Guitar music by Manuel Maria Ponce'
John W. Duarte wrote in 1982 for the vinyl recording:
The theme of the 20 Variations and Fugue on 'La Folia de España, used by uncounted composers from Corelli, through Liszt to Rachmaninov, is quintessentially Iberian - and far older than the flamenco now popularly regarded as typically Spanish. The Folia(s), essentially a ground (harmonic progression) carrying a somewhat varying melody, appears to have originated in Portugal, dating from the late 15th century and connected with singing and dancing. Evidence of its adoption in Spain dates from the early 16th century and, early in the 17th century, it was established as a popular dance supported by singing and, instrumentally by five-course guitars and sonajas - metal discs attached to a metal frame, distantly related to the tambourine and still used in Mexico. In 1611 Covarrubias commented in his Tesoro de la lengua castellana o espanola that, so noisy and energetic were the proceedings, the name 'Folia' (madness) was appropriate. In its earlier form the Folia had a stress pattern that implied a hemiola (3/3 versus 3/4 or6-8) but the later one, that used by Ponce and most other composers, has one which the accent falls on the first beat of the (consistently) 3/4 bar and follows the harmonic scheme now familiar through numerous sets of variations. Ponce, like other post-baroque composers, treats the theme with more dignity than abandon and, in line with the character of the succeeding variations, provides it with un-traditional harmonies. The 20 variations are built on melodic elements and/or variants of the original harmonic framework, exploiting what amounts to a statement of the guitar's conventional capabilities. The fugue has a subject that paraphrases the melodic line of the Folia, proceeds to a three-voice stretto and a pedal point that ascends, with mounting tension, almost to the upper limit of the fingerboard, before descending to a final, triumphant statement of the subject and a brief coda. This work has been fittingly described as the 'Old Testament' of the guitar's 20th-century repertory.
- Title: 20 variations and fugue on 'La Folia' de España (1929)
- Released 1982 by Meridian LP E77041
- Duration: 23'40"
- Recording date: 1982 at Meridian Studios, Sussex
- Attademo, Luigi 'Folías; Sanz, Giuliani, Ponce, Gilardino, Sor,
Ohana'
Luigi Attademo wrote for the slipcase (translation by Maya Bodo):
Ponce is another non-guitarist composer connected to Andrés Segovia’s figure, whose compositions are of great relevance. He is surrounded by a traditional musical language, and this makes harmony the real core of his expression. He makes the effort to compose a monumental work, that is inspired by piano compositions, and that ends - not by chance - with a fugue. He re-composes the theme again and again in several different ways, broadening its shape. The result of this process is a synthesis of his musical know how melded with some kind of poetry of Segovian origin, which can be considered a milestone in the way guitar sound has been conceived.
- Released 2001 by the Magazine 'Guitart' compact disc GUIT 2026
- Duration: 25'35" All variations indexed
- You can listen to a fragment in MP3 at the website of Luigi Attademo http://www.luigiattademo.it/
- Recording date: March 25 and 29 2001 at Quality Audio, Vercelli, Italy
- Guitar by Carlo Raspagni, 1996
- See also the page Recommended Folia-recordings
- Blanco, Diego (guitar) 'Manuel Ponce, music for the guitar'
- Title: Variations on Folias de Espagna
- Released 1993 by BIS compact disc CD-255
- Duration: 27'35"
- Recording date: 1976
- Bungarten, Frank (guitar) 'Frank Bungarten spielt Barrios & Ponce'
Frank Bungarten (translation by Christopher Oakden) wrote for the cover about this piece of Ponce:Unlike Barrios, Manual Ponce was first encouraged to compose for the guitar by Andres Segovia, whose influence is clearly discernible in the numerous works written as a result. With the Folia-Variations arose a work which, in its demands and range, surpassed everything hitherto written for the guitar, and which embraced numerous historical implications and aspects concerning the instrument.
In this context the use of the ancient melody 'La Folia' is significant. Ideally suited to variation technique, as musical history has confirmed on many occasions, it is also connected with the guitar in that both have their common roots in Spain. The original key of D minor was retained, but already the theme appears in a harmonisation spiced by chromatic alteration and certain individual variations allow the characteristic span of the theme to shine through only very distantly.
Ponce, whose well-versed, contrapuntal manner of writing combines baroque, late romantic and folkloristic elements of style with the utmost ease, reveals a wide range of mood and expressive gesture in twenty character-variations bringing the work to a climax with in a triumphant final fugue.
Techniques specific to the guitar, such as Rasgueado and Tremolo are employed to musical, dramatic ends instead of merely for effect and contribute to proving the guitar an instrument worthly in the whole spectrum of it's expressive possibilities.- Released 1982 by Teldec 'Telefunken-Decca' Schallplatten GmbH Hamburg LP DSM 68701
- Duration: 27'35"
- Recording date: April 1982 in the FAR Studios
- Guitar built by Yuichi Imai 1981, played with Aranjuez strings
- Carlevaro, Abel (guitar) 'Bach: suite pour luth, Ponce: Variations et fugue sur la Follia de Corelli, Guitar Recital by Abel Carlevaro'
- Title: Variations et fugue sur la Follia de Corelli
- Released by Ducretet-Thomson LP 300C122
- Duration: unknown
- Recording date: unknown
- Carlevaro, Abel (guitar) 'Recital de Guitarra: Manuel Ponce, Federico Moreno Torroba, Isaac Albéniz'
- Title: Variaciones sobre la "Folia de España" y "Fuga"
- Released c. 1960 by Antar Hi-Fi (Recorded in Uruguay) LP ALP 1002
- Duration: unknown
- Recording date: unknown
- Carlevaro, Abel (guitar) 'Compositores Americanos del Siglo XX'
- Title: Variaciones sobre "Folía de España" y Fuga
- Released 1980 (p&c) by Sondor compact disc 4.120-2 (although the compact disc as a medium was effectively introduced in 1984!)
- Duration: 21'20"
- Recording date: not mentioned in the slipcase
- Chivers, Dana (guitar) The Chivers collection, masterpieces for guitar'
- Title: Variations sur "Folias de España" et Fugue:
- Released 2012 by Pleaides compact disc
- Duration: 21'08"
- Recording date: unknown
- Clerch, Joaguín (guitar) 'Las Folias de España'
Quoting the slipcase:A lot of things can be said about: 'Las Folias de España' but I will only repeat what Segovia said: This work is as important for the guitar as Bach's Chaconne in D minor is for the violin'
- Title: Variaciones sobre 'Las Folías' de Espagne'
- Released by Stone, Czech Republic compact disc AH 0008-2131
- Duration: 28'54"
- Dieci, Andrea (guitar)
- Title: Variations sur 'Folia de España' et Fugue
- Released as compact disc MAP - cd g 0024
- Dienhart, Petra (guitar) 'Variations'
Quoting the slipcase:
The monumental Folias de España of Ponce has long been a tour de force, taxing the player’s technique and powers of interpretation. Responding to a request from Segovia, Ponce produced a work of such scope it has been referred to as the guitar's Old Testament . . . Tansman repeatedly referred to the musical heritage of various generations. . . it is possible to trace in his works patterns borrowed from the Baroque, classicism, and romanticism, from Polish folklore and popular music. . . oriental music, jazz, as well as various other musical styles of the 20th-century.
- Title: Variations and fugue on "La Folia de España"'
- Released 1997 by FSM compact disc FONO FCD 97262
- Duration: unknown
- Recording date: unknown
- Eskelinen, Ismo (guitar) 'Manuel Ponce: Guitar works
- Title: Variations sur 'Folia de España et Fugue'
- Released by ALBA Finland, compact disc ABCD 185
- Duration: 24'48" specified: 1 Theme Lento 1'12", 2 Var. I Poco vivo 0'46", 3 Var. II Allegretto mosso 0'47", 4 Var. III Lento 1'23", 5 Var. IV Un po agitato 0'36", 6 Var. V Andantino 0'47", 7 Var. VI Allegretto espressivo 0'37", 8 Var. VII Andante 1'28", 9 Var. VIII Moderato 0'46", 10 Var. IX Andantino affettuoso 1'43", 11 Var. X Prestissimo 0'34", 12 Var. XI Andantino 1'29", 13 Var. XII Animato 0'55", 14 Var. XIII Sostenuto 1'23", 15 Var. XIV Alegro non troppo 0'35", 16 Var. XV Allegro moderato energico 0'47", 17 Var. XVI Moderato 1'21", 18 Var. XVII Allegro ma non troppo 0'40", 19 Var. XVIII Allegro scherzando 0'48", 20 Var. XIX Vivo e marcato 0'51", 21 Var. XX Andante 1'40", 22 Fuga Moderato 3'30"
- Recording date: unknown
- Fernandez, Eduardo (guitar) 'Ponce Variations'
- Released ?
- Fisk, Eliot (guitar) 'Eliot Fisk Guitar Virtuoso, Latin American Guitar'
- Title: Folias de España, 20 variations and fugue for guitar
- Released 1981 by Musical Heritage Society, Tinton Falls, N.J. LP MHS 4233
- Duration: 26'59"
- Recording date: unknown
- Fisk, Eliot (guitar) 'The Latin American Guitar'
Eliot Fisk wrote on the backside of the cover:
The folia is a popular piece of unparalleled longevity preserved in more than 1000 sources. As with most things popular, it is much used and very old. The origin of this music is unknown, much of its history obscure' (source: John Ward in The Vihuela da Mano and its music. Unpublished Ph. D. dissertation New York University, 1954)
At some point in its early history the folia (sometimes spelled with one 'l', sometimes with two, sometimes under a variety of altogether different names) became associated with Spain and hence described as the 'Folia de la España' (in French, 'folies d'Espagne'). I have always been tempted to see in this title a distant relationship to the principal modern use I know of the word folies - that of the infamous Parisian dance hall, the 'Folies Bergère' This association is not based wholly on irrelevance, for forms similar to the folia - the chaconne, passacaglia, and sarabande for example, were forever coming under the sternly disapproving glare of 16th- and 17th-century ecclesiastical authority. Gradually these forms lost something of their original character and settled down to a more sedate and stylized existence. The hypnotic power power of the folia has captured the imagination of a great many musicians in all times and places, including Dowland, D'Anglebert, Handel, J.S. Bach, Corelli, and Liszt. And so it could hardly be appropriate that the Mexican composer Manuel Ponce (1882-1948) should turn to this ancient source when composing a work for the Spanish virtuoso, Andres Segovia.
Ponce musical language is one of great subtlety and understatement. Especially notable is his treatment of meter (only six of the variations share the triple meter of the theme). Phrase lengths are also freely altered - six, seven, or even 10 measure groups replacing the 2+2+4=8 symmetries of the theme. In addition, Ponce's harmonic vocabulary is richly endowed with chromatic chords which mediate against the potentially monotonous, ubiquitous tonality of D minor, the tonality of all but four of the variations. Throughout, Ponce reveals a tendency to migrate from the A B A structure. Ponce's exploration of contrapuntal possibilities is evidenced in his treatment of the opening theme, in which four individual parts may be isolated, in the two canonic variations (five and thirteen), and, climactically, in the noble Fuga which crowns his monument to the 'folia'.- Title: Tema, 20 Variaciones y Fuga sobre La Folias de la España
- Released 1981 by Music Masters LP Stereo MM 20008
- Re-released 1993 by BMG compact disc 01612-67127-2
- Duration: 27'00"
- Source: Schott & Sons
- Fostier, Johan (guitar) 'Guitar recital'
John W. Duarte wrote for the slipcase:
In December 1929 Segovia wrote to Manuel Ponce, asking him to write a set of variations on the theme of the Folias, the earliest form of which, he said, was Spanish and for the lute. In fact the Folias originated in sixteenth-century Portugal as a wild street dance and in passing into Spain it evolved into a stately dance with changed rhythmic and harmonic structure. Thence it travelled to Italy and, taken by guitarists of whom Francisco Corbetta was one, to France. Its history in this later form is somewhat complex and reflects its wide popularity. Together with the above letter Segovia sent the score of Corelli’s famous variations and suggested that if Ponce did not wish to put his name to the work they might attribute it to Giuliani. Ponce succeeded briefly in ‘passing for’ Weiss - but for Giuliani? Fortunately it was never put to the test.
.
In Segovia’s recording of 1932 the theme is given in a ‘bare-bones’ period form but in the published edition it was adorned in chromatic dress, as it appears in this and all later recordings. Though Segovia had asked for twelve to fourteen variations there are only nine in his recording. As the published edition contains twenty variations it seems that the recording was made whilst the work was still evolving. Moreover, while the earlier (recorded) variations clearly follow the harmonic ground of the theme, the later ones diverge, suggesting that Ponce’s imagination had by then adventurously moved into new pastures. The Postlude, recorded in 1931, is overtly based on the harmonic ground, which indicates that there may have been other variations which Segovia set aside but re-titled. The subject of the extensive fugue, complete with pedal point and stretto, is based on the first note in each of the opening bars of the theme. Segovia asked that the variations should explore a wide range of musical and guitaristic textures; they do so and, in its totality, this work has been fitly described as ‘The guitar’s Old Testament’- Title: Variations on Folia de Espana and Fugue
- Released 2002 by Naxos compact disc 8.557039
- Duration: 25'37"
- Recording date: April 26-30, 2002 at St. John Chryssostom Church, Newmarket, Ontario, Canada
- Freire, Joaquim (guitar) 'Ponce, Villa-Lobos, Ginastera'
- Released 1990 by Leman Classics compact disc LC 42601
- Duration: 25'04"
- Recording date: July 1990
- In the slipcase is mentioned that the variations were composed in the year 1928.
- Galbraith, Paul (6-string guitar) 'Music for solo-guitar by Manuel M.
Ponce'
- Variations and fugue on 'Las Folias de España (1929)'
- Released 1990 by Watercourse Eclectic Records compact disc
- Ghiglia, Oscar (guitar) 'Variations sur Folias de Espana et Fugue - Sonatina
Meridional - Sonata III - 4 Piezas'
- Title: Variations sur 'Folias de Espana' et Fugue
- Released June 2000 by Stradivarius compact disc STRAD33568 - 8011570335685
- Duration:
01 Thème - Lento 1'09"
02 Variation I - Poco vivo 0'57"
03 Variation II - Allegretto Moso 1'09"
04 Variation III - Lento 1'45"
05 Variation IV - Un po' agitato 0'58"
06 Variation V - Andantino 0'58"
07 Variation VI - Allegretto expressivo 0'58"
08 Variation VII - Andante 1'29"
09 Variation VIII - Moderato 1'04"
10 Variation IX - Andantino affettuoso 1'40"
11 Variation X - Prestissimo 0'46"
12 Variation XI - Andantino 1'59"
13 Variation XII - Animato 0'59"
14 Variation XIII - Sostenuto 1'15"
15 Variation XIV - Allegro non troppo 0'44"
16 Variation XV - Allegro moderato energico 1'14"
17 Variation XVI - Moderato 1'59"
18 Variation XVII - Allegro ma non troppo 0'49"
19 Variation XVIII - Allegro scherzando 1'00"
20 Variation XIX - Vivo e marcato 1'00"
21 Variation XX - Andante 1'44"
22 Fugue - Moderato 3'42"
- Recording date: June and July, 1999 place unknown
- Gloeden, Everton (guitar) 'Recital'
- 20 Variaciones y fuga sobre la Folia de Espana (1929)
- Released 1995 by EGTA compact disc 107.622 EGTA
- Duration: 23'47"
- Recording date: July 16-19, 1995 in Teatro Carlos Gomes, Blumenau, SC.
- Sheet music: B. Schott's Sohne, Heidelberg
- Gregory, Paul (guitar) 'Tango'
- Title: Theme, twenty variations and fugue on Folia de Espana
- Released compact disc CC 4319-2
- Duration: 27'30"
- Holmquist, John (guitar) 'Las Folias de España'
- Released 1981 by Mendota Heights, MN Cavata LP CV 5001
- Duration: 25'07" (arrangement B. Schott's)
- Recording date: July-August 1980 and January 1981 in Hamline United Methodist Church St. Paul Minnesota
- Guitar built by Manouk Papazian, New York, 1968
- Hoppstock, Tilman (guitar) 'Manuel M. Ponce, variations and sonatas'
Only variations 1, 2, 4, 7, 10, 9, 14-16, 6, 12, 18, 17, 19 and the fugue
are played in this performance.
Hoppstock wrote in the slipcase:Manuel Ponce created his variations [...] in 1929, making impressive use of a wide range of composing techniques. The 'character variation', a certain deracination of the thematic material as used by Reger, is brought to perfection here. An early Segovia recording presented only 10 variations and the fugue. It is interesting to note how very simple the theme was harmonized on this recording. At Segovia's prompting, for the printed edition Ponce then rewrote the theme in radically changed form actually a variation in itself - to form the basis for the 20 variations. Because I feel that the entire cycle is somewhat overlong and that not all the variations are of the same compositional quality, I have followed Segovias example and taken the liberty of cutting the work down to 14 variations and fugue. This then necessitated resequencing the variations more meaningfully. I have attempted to establish an inner cohorence in the way the work develops by grouping smaller blocks of variations together.
And at this juncture I must admit to using a technical trick. In my opinion, the heading Allegro non troppo does not adequately characterize the nature of Variation VII (originally no. 14). In order to present my idea of the tempo satisfactorily, I have performed bars 1-7 and 15-22 in tamba technique with a tuning fork. The fast alteration of normal plucking and striking with the tuning fork is not practicable in concert. The effect can only be created with the aid of modern mixing techniques.
It would certainly be of immense importance if the composer's manuscripts of the two major cycles, Sonata III and the La Folia variations were to be published some day, for only access to source documents makes it possible to fairly assess a performer's rationale for altering the original form of a work. At this point, I would like to express my heartfelt thanks to my friend, the great artist Angelo Gilardino, who kindly made the original manuscripts available to me.- Title:Variationen & Fuge u¨ber 'La Folia de España (Paris 1929)
- Released 2000 by Signum compact disc SIC X114-00
- Duration: Theme - Lento 0'57", 14 variations 12'01", Fuga - moderato 3'39"
- Recording date: January 01, 1998
- Guitar built by Kolya Panhuyzen
- Kavanagh, Dale (guitar) 'Britten & Ponce'
- Released 1995 by FSM Audio FCD 97 768
- Duration: 24'12" (including fugue of 3'22")
- Recording date: March 1995 at the Exaudio Studio, Cologne, Germany
- Guitar built by Kolya Panhuyzen
- Kavanagh, Dale (guitar) '20th Century variations'
- Released 2007 by Hänssler Classic
- Duration: 27'35" (including fugue of 3'22")
- Recording date: March 1995 at the Exaudio Studio, Cologne, Germany
- Guitar built by Kolya Panhuyzen
- Korhonen, Timo (guitar) 'Manuel Ponce guitar works, Timo Korhonen guitar'
- Released January 1, 1992 by Ondine compact disc ODE 770-2
- Duration: 25'06"
- Marchionda, Stephen (guitar) 'Manuel Maria Ponce, complete variations,
24 preludes'
John Duarte wrote for the slipcase:Stephen Marchionda plays 20 variations and fugue
Duration:26'21" direct link to YouTube
© 2001 ASV
In december 1929 Segovia wrote to Ponce urging him to write variations on Las Folias, which he believed to be of Spanish origin: in fact it began in Portugal, passed through Italy, by which time it had undergone major transformation, and thence to France. What Segovia sent to Ponce was a copy of the variations by Corelli, which he had recently heard and very much liked. Christopher Columbus was Italian, his request for financial support for his transatlantic venture was rejected by the Portugese - and finally accepted by the Spanish. The same 'triumvirate' thus lay at the roots of the proposed variations. It seems that Ponce wrote more variations than the 20 in the published edition, which forms the basis of today's performances. Why Segovia did not adopt them all is unknown. The Variations are based on meldoic elements and/or variations of the original harmonic framework. The Fugue,whose subject parafrases the melodic line of the Folias, proceeds to a three-voice stretto and a pedal point that ascends with growing tension before descending to a final triumphant statement of the subject and a coda. This work has been aptly described as the 'Old Testament' of the guitar's 20th-century repertory.[ ....]The form of theme and variations is one that suits the guitar well in that it allows the instrument to demonstrate the available range of textures and idiomatic effects. Ponce took advantage of the fact in four works, of which his treatment of Las Folias is the jewel in the crown.
- Based upon the Schott edition
- Released 2001 by ASV compact disc 43625 62492
- Duration: 25'08"
- Recording date: July 18-20, 2000 in the Parish Church of the Holy Trinity, Weston Hertfordshire
- Neuburger, Matthias (guitar) 'Transatlantico, Weiss and Ponce'
- Released 1998 by Ana Records
- Duration: 29'09"
- Recording date: not mentioned in the slipcase nor the date of the recording session
- Pizzarelli, Bucky & John 'Generations'
Obviously based upon the variations and fugue by Manuel Maria Ponce, but the electric guitars makes an entirely different approach to this small piece.
- Savijoki, Jukka (guitar) 'Manuel Ponce: Music for the Guitar'
- Released October 1, 1993 by Bis Records compact disc 255
- Scharrón, Eladio (guitar) 'Manuel M. Ponce, complete works for
guitar Vol. 1'
- Title: Folias de España, 20 variations and fugue for guitar
- Released 2000 by Centaur compact disc CRC 2487
- Duration: unknown
- Recording date: unknown
- Segovia, Andres edited and commissioned variations upon La Folia
- Published by B. Schott's Sohne c.1960 New York - Mainz.
Originally published B. Schott's Sohne 1932 Mainz - Score 22 p., 31 cm
- Publisher No. B. Schott's Sohne 33082, Series: Gitarren-Archiv 135
- Published by B. Schott's Sohne c.1960 New York - Mainz.
- Segovia, Andres (guitar) 'Recordings, 1927-1939'
Andres Segovia playing Ponce's Variations and Fugue on 'La Folia' in a 1932 recording. Segovia plays a truncated version of the piece in which many variations are removed and others are not in their proper place.
Duration:14'36" direct link to YouTube
© 1988 EMI- Title: Folies d'Espagne. Theme, variations et fugue
- Re-released 1980 & 1988 by EMI 2 compact discs mono, digitally remastered analogue recordings CDH 7 61048 2 -- CDH 7 61049 2 Series: Great recordings of the century.
- Duration: 14'35"
- Recording date: October 6 and 7, 1930 (still with the original theme which was adapted according to the rest of the (rather dark) variations by request of Segovia later that year).
- Segovia, Andres (guitar) 'The Young Segovia - Froberger, J. S. Bach, Tarrega,
et autres'
- Released Augustus 1, 1996 by Iron Needle compact disc (Mono) 1347
- Segovia, Andres (guitar) 'Andrés Segovia, portrait'
- Title: Folia de Espagna. Theme, variations with fugue
- Re-released 2003 by OSA TIM, The International Music Company AG 3 compact discs 221484-349/C
- Duration: 14'35"
- Recording date: October 6 and 7, 1930 (still with the original theme which was adapted according to the rest of the (rather dark) variations by request of Segovia later that year).
- Segovia, Andres (guitar) 'Andres Segovia, The EMI Recordings 1927-1939'
- Title: Folies d'Espagne, theme and variations and fugue
- Released 1979 by ANGEL 2-LP-set ZB 3896 (mono)
- Duration: 14'35"
- Recording date: October 6 and 7, 1930 (still with the original theme which was adapted according to the rest of the (rather dark) variations by request of Segovia later that year).
- Storms, Yves (guitar) 'Variations Folia de España'
Peter Pieters wrote as introduction to Folies d'Espagne on the inside
of the cover:
In our own times the Mexican Manuel Ponce, who wrote principally for the guitar, also composed some Follies; indeed, his most important work comprises no less than 20 variations followed by a majestic fugue.
- Title: Variations sur la Folia D'España (1930)
- Released 1983 by EMI Belgium 1A 065 1651791
- Duration: 29'23"
- Recording date not mentioned in the documentation
- See also the page Recommended Folia-recordings
- Szendrey-Karper, László (guitar) 'Guitar recital: Farkas, Huzella,
Kováts, Petrassi, Ponce'
Márta Sz. Farkas wrote as introduction to Folies d'Espagne on the backside of the cover:
Manuel M. Ponce (1882) was the founder of the national school of composition in Mexico, and the specific character of his work is due mainly to his use of the rich Mexican folklore elements. These features also prevail in his work Variations sur 'Folia de Espana' et Fugue (1930). Ponce dedicated this composition to Andrés Segovia. The Folia, a slow dance in ¾ rhythm and of Spanish-Portuguese origin, has served as the theme for many series of variations ever since the 17th century. Ponce, too employs it in this function. The theme introduced with classical simplicity, is followed by twenty variations. The last variation of the basic theme forecasts in outline the fugue that follows, and its theme - this fugue may also be regarded as a considerably enlarged variation.
- Title: Variations sur 'Folia de Espana' et Fugue (1930)
- Released after 1970 by Hungaroton LP LPX 11 629
- Duration: 26'20"
- Tursi, Sante (guitar) 'Manuel Ponce 4 piezas, Folia de Espana'
- Title: Theme, variations and fugue on Folias de Espana for guitar
- Released March 24, 1998 by Phoenix Classics, Italy compact disc 9703
- Williams, John (guitar) 'John Williams plays Ponce'
- Title: Folia de España and Fugue
- Released 1978 by CBS LP Columbia M 35820
- Duration; 24'14"
- Recording date: April 10-12, 1978 in the AIR Recording Studios, London England
- Williams, John (guitar) 'Latin American Guitar Music by Barrios and Ponce'
John Williams wrote for the slipcase:
The variations on Folia de España must (also) be described as a homage in particular to the inspiration of Andres Segovia, to whom the work is dedicated and in general to the guitar itself for affording such a variety of mood and colour to the composer in constructing his work of twenty variations and a fuge on this old, simple and dignified tune.
La Folia, as it is sometimes called, has its origins in Portugal and Spain and, like the Sarabande, was probably quite lively in its original dance form but settled to a slower pace as an instrumental piece of music with increasing ornamentation. Its strong rhythmic character and simple eight-bar melody make it ideal for variations and it is no suprise that, like the Chaconne - its companion from the Iberian peninsula - it has been used by composers ever since its discovery in the 16th century, including Gaspar Sanz for guitar , Corelli for violin, Rachmaninoff for piano and Bach, Scarlatti, Liszt etc.
Ponce's 'Folia' is very diverse, each variation having its own distinct character and in turn leading to the mood of the next: sometimes the relationship to the original tune is remote but there is always a common thread eighter melodic, harmonic or rhythmic. A technical analysis would reveal many interesting features but give entirely the wrong impression of music which rests mainly on colour and expression.- Title: Folias de España
- Released June 9, 1992 by Sony Classical Essential Classics compact disc 47669
- Duration; 24'14"
- Recording date: April 10-12, 1978 in the AIR Recording Studios, London England
- Williams, John (guitar) 'Portrait of John Williams'
- Released by CBS compact disc CBS37791
- Yamashita, Kazuhito(guitar) 'Asencio, Colectici Intim, Ponce, Variations
sur 'Folia de España' et Fugue, Viñas, Fantasia Original'
- Title:Variations sur 'Folia de España' et Fugue
- Released 1984 by RVC corporation RCA Red Seal LP RCL-8398 (JRL1-2265)
- Duration: 20'15"
- Recording date: April 3 and 4, 1984 in Iruma Public Hall, Saltama, Japan
As part of the film music 'The Merchant of Venice'
- Baroque String Quartet (Siobhhain Armstrong harp, Harry Keogh guitar, Elizabeth Kenny lute, Pamela Thorby recorder)
'The Merchant of Venice'
- Released November 2004 by Decca Classics compact disc 475 6367
- Duration: 1'06"
- Recording date: June and July 2004 in Air Studios, Lyndhurst, London, England
Manuscript in the private library of R. Spencer, London England source: Tyler
Josef Zuth wrote about Porro:
Französischer Gitarrenmeister, lebte seit 1783 in Paris als Lehrer seines Instruments, gab 1787-1803 eine Zeitschrift für Gitarre ('Journal de guitare', Paris, l'auteur) heraus, schrieb eine Gitarrschule ('Tableau méthodique ou instruction nouvelle poure apprendre la Guitare et le Lyre', op. 31) und eine Reihe von Kompositionen für Gitarre allein u. in Verbindung mit andern Instrumenten und errichtete schliesslich eine Musikalienhandlung.
The Grove Dictionary of Music mentioned that Porro was active during the transition from the five-course Baroque guitar to its Classical counterpart with six strings.- Tyler, James
- Source of Porro mentioned in literature
- 'The early guitar, a history and handbook, early music series 4'
- Published 1980 by Oxford University Press, London
- page 137
Tomas Vitek wrote about his discovery of this Folia-composition:
Hambly Potter (sorry - it's just too much of a name similarity with a certain Harry to pass up for a pun) studied with Beethoven in Vienna 1818-19, so I hypothesize off the cuff that there may be a connection with Salieri's 26 Variations on "La Follia di Spagna" for orchestra from 1815-1816.
It's mere conjecture on my part, but it seems strange for someone to compose a symphonic work based on the folia after Salieri's grand treatment just on the spur of sudden enthusiasm for the folia harmonies and theme at a time when most pre-baroque and baroque music was buried deep down in dusty library archives.
Whether there's any connection can probably only be established by reading one of the biographies about Potter and/or comparing the scores of Salieri and Potter to see if there are similarities.
The Grove Dictionary online states that the Concertante was composed in 1829, but the autograph MS in the British Library says "August 1832," so that is more likely to be the completion date. Potter's Concertante has been neither published nor recorded, though some of Potters' symphonies have had a revival in our times.
- Potter, Philip Cipriani HamblyGiovanna
- Title: Concertante for violin, cello, double bass, piano and orchestra on Les folies d'Espagne
- .Available at the British Library, Add MS 31784, requests: http://www.bl.uk/catalogues/searcharchives/requesting.html
- Printed works published in London, MSS of unpublished works in GB-Lbl, unless otherwise stated
- Not yet published sheet music or acoustic recording
- Duration: unknown
- More information about Cipriani Potter at https://en.wikipedia.org/wiki/Cipriani_Potter
In a catalogue was mentioned:
Questa mia folia (per due harpe), premiere in Montepulciano (Italy), Auditorio August 9, 1978 together with the Folia by Carluccio.
Fortunately the composer himself wrote me a message from Brunei on February the 19th, 2002 to correct the facts properlyI came across the above mention on your site dedicated to
La Folia. Although the title accredited to my composition 'Questa mia folia'
to me now seems appropriate it is in fact inaccurate. The composition was
called, at its first performance, simply 'La Folia' and was indeed performed
at the Cantiere di Montepulciano in 1978. The major theme of the 1978 Cantiere
was Spain and one of the recurring sub themes was la folia in its many different
manifestations. Unfortunately, I don't have the programme with me otherwise
I could tell you the performers. However, it was recorded by the local radio
station - although I suspect that after 20+ years the recording is now lost.
Written in the style of the solo Sequenzas of Luciano Berio it emphasized
the percussive qualities of the two harps. The 'La Folia' of the title had
a real and an inner meaning for me. The famous ground bass tune is hidden
in the dense texture of the music while the music's tempestuous qualities
comment on a personal episode which at that time was of great importance
to me. As I said initially, the title accredited to the work, in the light
of this second aspect of the music, seems entirely appropriate and I am
happy that it should be known by this name as an alternative.
Sadly for me, like so much other contemporary music, it has not had a second
airing'.
- Unknown performers
- Premiere August 9, 1978 in Montepulciano Italy
La Folia based upon Corelli
a short version |
La Folia based upon Corelli longer version
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Andreas Prittwitz wrote in an e-mail November 2010:
In La Folia, the sax and guitar solo are completely improvised. I am German and live in Spain since 32 years. I started my musical career with recorder and early music, but then I spent a lot of time playing jazz, rock, studio musician and Artistic Producer. This project "Looking Back" is the union of my favorite music with my favorite instruments. We have a lot of sucess in Spain but we just started to try to move more international. That is why I feel so ilusioned when people like you, in Europe, give me a positive feedback of our music.
P.S. I saw in your page Gregorio Paniaguas Cd La Folia, I recorded it when I was very young and there is a lot of improvisation in it from my part. It was a very special experience, Gregorio Paniagua is a very special guy.......
- Andreas Prittwitz (soprano sax and recorders),.Sergio Martínez (percussion), Laura Salinas (viola da gamba), Antonio Toledo (spanish guitar), Ramiro Morales (baroque Guitar and theorbo)
'Looking Back over the Baroque'
- Title: La Follia
- Released 2010 by Irina Records-Canarian Islands compact disc
- Duration: 6'02"
- Recording date: March -June 2010 at "Valle del Arco studio", Cercedilla, Spain
- More about the project "Looking Back" and for buying the compact disc http://www.lookingback.eu
One of the oldest and most rare examples of the Folía theme in rock music was contributed by Paul H. Bonner. You can hear the Folía theme towards the end of the track
the Fool beginning at 9'55". Knowing that the literal meaning of La Folía is madness, it is unlikely that it was coincidence to put the theme in a track called The Fool.Second part of The Fool with the Folía theme
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Paul H. Bonner wrote in an e-mail July 4th, 2012:
I remembered this quote of "The Fool" by Quicksilver Messenger Service. This is part 2 of the track. The theme or a close variant starts at about 5 min. in. http://www.youtube.com/watch?v=lM5d9QdzCss&feature=relmfu
- Quicksilver Messenger Service 'Quicksilver Messenger Service' (John Cipollina: Lead Guitar, Gary Duncan: Guitar, Vocals, David Freiberg: Bass Guitar, Vocals, Viola,
Greg Elmore: Drums)
- Released May 1968 by Capitol vinyl
- Duration: 12'07"
- Recorded 1968 location unknown
A piece of traditional charango picking in the puntuado style. One would almost believe the origins of the Folia are rooted in the indigo culture of the altiplano.
Quick improvisation on 'La Folia'
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I love adapting early music to the charango, and 'La Folia' seemed a natural fit, especially after hearing Bill Kirkpatrick do it. I think 'Folia' should be played quickly, it's a dance .... and should lead to interpretation, like a dance ....
- Quiggle, Robert
- Filmed by Roberts daughter
- Duration: 0'49"
- Recording date: June 15, 2008 in southeastern Untited States
- More about Roberts music and good instructions how to play the traditional charango at http://www.youtube.com/LeoHareMusic
The first Folia is in the tradition of 'New Age' music with a slight hang to Satie for piano and violin. The second Folia is kind of a Folk Rock version with violin, electric and acoustic guitar and percussion instruments. The final Folia is the most electric with a dominant electric guitar. Like the second Folia I presume the composer must be influenced by bands like the Eagles (popmusic).
- Quintin, Erwan and friends
- Released March 1998 by Jean Philippe Lerat
- Duration: Folia I: 4'31", Folia II: 4'46", Folia III: 7'37"
10 Rue d'La Madeleine is Andy Burke (drums), Bill Nuggets (guitar), Mike Flanagan (bass), Peter Goldberg (violin), Eddy 'Ed' Flint
(clarinet) and Brad Bronsein (vocals).The Folia theme is most often used in classical music in a rather polite and learned style. However here we can enjoy another feature of the Folia in a very modern agressive 'anarchist-rock-style'.
Vive la commune by 10 Rue d'La Madeleine
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It's an obstinate theme since centuries and we didnt want it to be forgotten...and you must know why... of course you can use the song for your site and you are right there are not often rock band which use it...Lets call it Barock!!!lol
- 10 Rue d'La Madeleine 'Sur les Murs'
- Title: Vive la commune
- Released 2006 by Demain La Veille compact disc DLV006
- Duration: 3'35"
- Recording date: April 2005 in 'Studio Cox in Hell'
- More about this band at their website http://www.10rue.com
In the magazine Piano International May/June 2007 Dmitry Rachmanov analyses a host of recordings of this work.
Florence Anne Mclean wrote a thesis with the title Rakhmaninov's "Corelli" Variations: new directions
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The sheet music |
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Duration: 1'42", 02 kB. |
Santiago Rodriguez plays all variations
|
| Theme of Variations on a theme of Corelli | Belwin Mills edition, 1959 p. 2 |
|---|---|
 |
|
- Ashkenazy, Vladimir (piano solo) 'Variations on a theme of Corelli, Op. 42'
- Released 1957 by Angel LP ANG 35647
- Recording date: late 1957 in Berlin
- Ashkenazy, Vladimir (piano solo) 'Rachmaninov: Variations on a Corelli theme,
Liszt: Mephisto waltzes, Feux, Follets Prokofiev: Sonate No. 7'
- Title: Variations on a Corelli Theme Op. 42
- Released by Columbia, France LP FCX 30336
- Series: Plaisir Musical Series
- Ashkenazy, Vladimir (piano solo) 'Etudes-Tableaux, Op. 39 and Variations on a theme by Corelli, Op. 42'
John Culshaw wrote about the variations as introduction for this recording:
The Corelli Variations is not only his last work for solo piano, but in fact the only work for solo piano composed during his twenty six years of exile in the USA. It was first played by him in New York 1932. The theme is not actually by Corelli. It is an ancient dance melody called La Folia which has been quoted or varied by various composers down the ages, including Bach, Cherubini and Liszt.
Rachmaninov uses the theme as it appears in Corelli's twelfth violin Sonata, and his set of twenthy variations, though beautiful and compelling in it's own right, can be seen as a sort of study or preparation for the immensely succesful Rhapsody on a theme by Paganini for piano and orchestra which appeared two years later: certainly variations four and eight seem to anticipate passages in the later work. The selfdoubt which haunted Rachmaninov throughout his life led him to indicate that variations eleven, twelve and nineteen may be omitted if desired, though they are rightly included in this recording. Otherwise, each variation sets off its neighbours by neat contrasts of mood or colour. There is a passage marked 'Intermezzo' after variation thirteen which is really a sort of cadenza; and the work ends with a reflective, slow coda.- Title: Variations on a Theme by Corelli, Op. 42
- Released 1972 by Decca LP SXL 6604
- Duration: 19'56"
- Recording date: not mentioned in the documentation
- Ashkenazy, Vladimir (piano solo) 'Corelli's variations Op.42, Etudes-tableaux Op.39'
- Released 1988 by Decca compact disc MCPS417 671-2
- Duration: 19'56" and every variation indexed (22)
- Ashkenazy, Vladimir (piano solo) 'Concertos pour piano (intégrale), rhapsodie sur un thème de Paganini'
- Released by TRIO compact disc 3 cd-box (track 2 cd 3)
- Duration: unknown
- Recording date: unknown
- Ashkenazy, Vladimir (piano solo) 'Rachmaninov: Music for 2 Pianos'
- Released by Decca London compact disc 2-cd-box
- Duration: unknown
- Recording date: unknown
- Babinsky, Margarete (piano) 'Rachmaninov: Variations on a Theme of Corelli, Morceaux de fantaisie, Suite No. 2, 6 Duets (Busch, Babinsky)'
- Title: Variations on a Theme of Corelli, Op. 42
- Released by Capriccio 2 cd-set C49295
- Duration: 25'43"
- Recording date: unknown
- Bärtschi, Werner (piano) 'La Folia'
- Title: Variationen für Klavier über ein Thema von Corelli (1932)
- Released 1983 by PAN LP ordernumber 130 051
- Duration: 18'41"
- Recording date: February 2nd in Thun Switserland, 1982
- See also the page Recommended Folia-recordings
- Bax, Alessio (piano solo) 'Baroque Reflections'
- Released by Warner Classics compact disc
- Duration: unknown
- Recording date: unknown
- Belwin Mills Publishing Corp.
- Title: to Fritz Kreisler: Variations on a theme of Corelli, Op. 42
- Published by Belwin Mills Publishing Corp. Melville N.Y. 1959
- Score 26 p. 28cm
- Publisher No. F2041
- Biret, Idil (piano solo) 'Rachmaninov: Piano Works'
- Released by Naxos compact disc ordernumber 8.550349
- Duration: unknown (all variations indexed)
- Recording date: 1989 location unknown
- Berman, Lazar (piano solo) 'Prelude cis-Moll op. 3 Nr 2., prelude fis-Moll,
op. 23 NR 1, prelude D-Dur op. 23 Nr 4, prelude gis-Moll op. 32 Nr. 12,
prelude h-Moll op 32 Nr. 10, prelude B-Dur op. 23 Nr. 2, Variationen
über ein Thema von Corelli op. 42'
Edition used for recording: Russischer Staatsverlag- Released 1980 by Deutsche Grammophon LP 2531 276
- Released also in cassette 3301 276
- Bonn, James (Bosendorfer piano) 'Klavier Variations on La Follia'
Variations on a Theme of Corelli by James Bonn
Duration: 19'05" direct link to YouTube
© 1982 by James Bonn
Maurice Hinson wrote for the Viny recording:
Rachmaninoff completed his Variations on a Theme of Corelli Op. 42 on June 19, 1931. This is not only his last work for solo piano but it is the only work for solo piano composed during his twenty-six years of exile in the U.S.A. it is dedicated to Fritz Kreisler and Rachmaninoff first played it in Montreal on October 12, 1931.
This set of variations represents the second time Rachmaninoff .had expressed himself in this form; the first was the Variations on a Theme of Chopin, Op. 22, composed during 1902-1903. He was to use the form one more time in the famous Rhapsody for Piano and Orchestra (on a theme of Paganini) Op. 43 composed during 1934.
Rachmaninoff wrote Nicholas Medtner about the work on December 21, 1931, from New York: "I am sending you my new Variations. I've played them here about fifteen times, but of these fifteen performances, only one was good. The others were sloppy. I can't play my own compositions! And it's so boring! Not once have I played these all in continuity. I was guided by the coughing of the audience. Whenever the coughing increased I would skip the next variation. Whenever there was no coughing I would play the proper order. In one concert, I don't remember where - - some small town, the coughing was so violent that I only played ten variations (out of twenty). My best record was set in New York, where I played eighteen variations."
The theme that inspired this set is not by Corelli but is by now our ancient and familiar dance melody Ia Folia. Rachmaninoff uses the theme as it appears in Corelli's twelfth violin Sonata, and his set of twenty variations, though beautiful and compelling in its own right, can be seen as a sort of study or preparation for the immensely successful Rhapsody on a Theme by Paganini for piano and orchestra which appeared two years later: certainly variations four and eight seem to anticipate passages in the later work. The self-doubt which haunted Rachmaninoff through his life led him to indicate that variations eleven, twelve and nineteen may be omitted if desired, though they are rightly included in this recording. Otherwise, each variation sets off its neighbors by neat contrasts of mood or color. There is a passage marked Intermezzo after variation thirteen which is really a sort of cadenza; and the work ends with a reflective, slow coda. The variations are organized into an entirely logical structure, with a series of swift variations (16-20) reaching a dramatic climax before the pensive coda. The rhythms are more vital than in his mature Russian works (apparent, for example, in the incisive fifth variation, with its frequently changing time-signature) and the harmonies are more adventurous, more pungent, particularly in the slower Nos. three, eight, and nine, and in the masterly shift of key from D minor to D flat major in variation fourteen, after the mild turbulence of the Intermezzo. All of these characteristics constitute a new, more subtle mode of expression, and Vladimir Wilshawk rightly commented on the difference that had overcome his style since the more extrovert Etudes-Tableaux (during a performance on which Rachmaninoff had broken a string on the piano). Rather like his last set of songs, the Corelli Variations leave a feeling of regret that Rachmaninoff never again wrote a solo piano piece and allowed the attractive features of this later style to develop fully.- Title: Variations on a Theme of Corelli
- Released 1982 Klavier Records LP KS-571
- Duration: 19'05"
- Recording date: not indicated in the documentation
- See also the page Recommended Folia-recordings
- Bonn, James (piano) 'Recorded live'
- Title: Variations sur un theme de Corelli / Rachmaninoff
- Released 1977 by unknown company sound cassette (analog, stereo)
- Duration: unknown
- Recording date: February 1, 1977 in Heeren Recital Hall, Southern Baptist Theological Seminary
- Cherkassky, Shura (piano-solo) 'Franck, Grieg, Messiaen, Rachmaninov'
- Released 1987 by Nimbus Records compact disc NI 5090, distributed by A & M Records
- Duration: 17'33"
- Recording date: February 9, 1987 at Wyastone Leys
- Cherkassky, Shura (piano-solo) 'Shura Cherkassky: 1909-1995'
- Released 1987 by Nimbus Records 7-cd-box
- Duration: 17'33"
- Recording date: February 9, 1987 at Wyastone Leys
- Collard, Jean-Philipe (piano-solo) 'Rhapsodie sur un thème de Paganini, variations sur un thème
de Corelli, sonate no 2, e´tudetableaux, 5 preludes, moment musical'
Barry Millington wrote for the slipcase:
The Variations on a theme of Corelli (actually a traditional tune called La Folia used by Corelli in his twelfth violin sonata) was Rachmaninov's last work for piano solo (1931). Though as skilfully constructed set of variations in its own right, it have(sic!) often been seen as a precursor of the Rhapsody on a them of Paganini, which followed three years later, and certainly there are frequent pre-echoes of that perennial favourite in the Corelli Variations, as can be heard with the benefit of their juxtaposition here.
- Released 1989 (compilation and remastering) by EMI Classics (EMI Music France) 2-set compact disc 7243 5 6967724
- Duration: 17'30"
- Recording date: unknown (1972-1989?), place of recording unknown
- Berman, Lazar (piano-solo) 'Rachmaninov: Paganini Veriations, Corelli Variations, 6 Preludes'
- Title Corelli variations
- Released by DGG compact disc
- Duration: unknown
- Recording date: unknown
- Demidenko, Nicolai (piano-solo)
- Recorded and broadcasted live for BBC 3 radio
- Duration: 17'49"
- Recording and broadcasting date: October 20, 1998, Studio One of the Broadcasting house in front of a live audience, Belfast
- Producer Bill Lloyd
- Glemser, Bernd (piano-solo) 'Rachmaninov: Paganini Corelli Variations, Piano Sonata no. 2, Morceaux de fantaisie'
- Title Corelli variations
- Released by OEHM Classics compact disc OC 558
- Duration: unknown
- Recording date: unknown
- Grimaud, Hélène (piano-solo) 'Piano concerto no. 2. Prelude op 32 no 12, Etudes-tableaux op 33 no 1, 2, 9 and Variations on a theme of Corelli op. 42'
Andreas Wehrmeyer wrote for the slipcase:Through his work with the violinist Fritz Kreisler (a partnership that produced a whole series of gramophone recordings) he had got to know the violin music of Arcangelo Corelli, one of whose themes appealed to him so much that in 1931 he used it as the basis of a set of piano variations, his Variations on a Theme of Corelli op. 42. In fact, the theme derives from an old Iberian folkson, but what matters more is that Rachmaninov got to know it in Corelli's melancholy guise.
The piano writing in this late work is a little stricter and more translucent than in the composer's earlier piano pieces. As a whole these variations are a fine example of Rachmaninov's incipient late style and, as such, a model for the pieces that he wrote during the summer months between now and his death in the United States in 1943.- Released 2001 by Teldec compact disc CD 8573-84376-2
- Duration: 17'37"
- Recording date: January 29-30, 2001 at Teldec Studio, Berlin, Germany
- Jones, Martin (piano-solo) 'Rakhmaninov: Corelli Variations/Moments Musicaux'
- Title: Corelli variations
- Released by Nimbus compact disc 4cd-box
- Duration: unknown
- Recording date: unknown
- Keene, Constance (piano-solo) 'Constance Keene plays variations'
- Released 1982 by Protone Records Los Angeles LP PR 156
- Duration: 17'04"
- Recording date: unknown at RCA, New York with DBX
- Kern, Olga (piano-solo) 'Corelli variations, Transcriptions'
- Released 2004 by Harmonia Mundi USA compact disc HMU 907336
- Duration: 18'53"
- Recording date: August 2003 at Skywalker Sound, a Lukas Film Limited Company, Californiam USA
- Lill, John (piano-solo) 'Rakhmaninov: Piano Concertos 1-4, Symphonies 1-3, Orchestral Works'
- Released by Nimbus compact disc 6cd-box
- Duration: unknown
- Recording date: unknown
- Lill, John (piano-solo) 'Rakhmaninov: Oeuvres pour piano'
- Released by Nimbus compact disc 4cd-box
- Duration: unknown
- Recording date: unknown
- Lill, John (piano-solo) 'Rakhmaninov: Oeuvres pour piano'
- Title: Variations on a theme of Corelli
- Released by Nimbus compact disc
- Duration: unknown
- Recording date: unknown
- Lugansky, Nicolai (piano-solo) 'Piano Sonata No. 2, Corelli Variations'
- Released 1993 by Vanguard compact disc Classics 899009
- Duration: 19'57" and every variation indexed (22)
- Recording date: January 26/28, 1993 in 'De Doopsgezinde Kerk', Amsterdam.
- Lugansky, Nicolai (piano-solo) 'Piano Sonata No. 2, Corelli Variations'
- Released unknown year by Warner Classics
- Duration: 19'57" and every variation indexed (22)
- Recording date: January 26/28, 1993 in 'De Doopsgezinde Kerk', Amsterdam.
\ - Marshev, Oleg (piano-solo) 'Serrgei Rachmanonov, ariations on a Theme of Corelli, Morceaux de fantaisie, Piano Sonata No. 2'
- Title: Variations on a theme van Corelli op. 42
- Released by Danacord compact disc DACOCD525
- Duration: Theme: Andante 1'04", Variation 1: Poco piu mosso 0'44", Variation 2: L'istesso tempo 0'41", 3: Tempo di menuetto 0'41", Variation 4: Andante 0'59", Variation 5: Allegro (ma non tanto) 0'21", Variation 6: L'istesso tempo 0'19", Variation 7: Vivace 0'24", Variation 8: Adagio misterioso 1'23", Variation 9: Un poco piu mosso 1'33", Variation 10: Allegro scherzando 0'33", Variation 11: Allegro vivace 0'23", Variation 12: L'istesso tempo 0,33", Variation 13: Agitato 0'36", Intermezzo 1'36", Variation 14: Andante (come prima) 1'10", Variation 15: L'istesso tempo 1'50", Variation 16: Allegro vivace 0'29", Variation 17: Meno mosso 1'25", Variation 18: Allegro con brio 0'36", Variation 19: Piu mosso, Agitato 0'31", Variation 20: Piu mosso 1'07", Coda: Andante 2'13"
- Recording date: unknown
- Mechetina, Ekaterina (piano-solo) 'Sergei Rachmaninov, Variations on a theme of Corelli, Piano transcriptions'
- Title: Variations on a theme van Corelli op. 42
- Released by Fuga Libera compact disc FUG 513
- Duration: unknown
- Recording date: unknown
- Michiels, Jan (piano-solo) 'la Folia'
- Title: Folias on a theme van Corelli op. 42
- Released 2001 by Radio Klara België compact disc MMP 025
- Duration: 15'57"
- Recording date: 2001
- Moyer, Frederick (piano-solo) 'Partita no. 5 in G major BWV 829, Johann Sebastian Bach &
Variations on a theme by Corelli opus 42, Sergei Rachmaninov'
- Released 1983 by GM Recordings LP
- Duration: 19'45"
- Recording date: unknown at Houghton Chapel, Wellesley College
- Nikolsky, Andrei (piano-solo) 'Rachmaninov piano works'
Barbara Dobretsberger (translation by Deborah Holmes) wrote for the slipcase:
The thematic basis of the work is a Portuguese dance melody 'La Folia', which was used by several Baroque composers as a variation theme and features in one of Corelli’s sonatas. Amazingly, Rachmaninov does not vary the theme by creating virtuoso developments of the original. Corelli’s variations concentrated on individual harmonic developments, something that also characterises Rachmaninov’s later works. The compositional skill with which Rachmaninov treats the Baroque theme takes the wind out of the sails of critics who consider him to have been a briliant pianist but deny that he was a talented composer.
- Title: Corelli-Variations
- Released November 1991 by Arte Nova Musikproduktions GmbH compact disc Arte Nova classics 74321 27795 2
- Duration: 10'22" (officially but the performance has a duration of more than 15 minutes) all variations indexed
- Recording date: November 1991, Reitstadel Neumarkt, Oberpfalz.
- Nikolsky, Andrei (piano-solo) 'Rachmaninov piano works'
- Title: Corelli-Variations
- Released unknown year by Arte Nova Musikproduktions GmbH compact disc Arte Nova classics
- Duration: unknown
- Recording date: November 1991, Reitstadel Neumarkt, Oberpfalz.
- Osipovo, Irina (piano-solo) 'Vsesoëiìuznyaeikonkurs pianistov im. S.V.' (Parallel title on container: The All-Union
Rachmaninov Competition of Pianists)
- Title: Variaëtìsii na temu Korelli
- Released 1985 by Melodiëiìa, Moscow(?) as LP S10 22059 006
- Recording date: 1984 in Moscow.
- Parent, Christian (piano-solo) 'Variations sur un theme de Corelli op. 42: Serge Rachmaninov,
Estampes: Claude Debussy, Sonate pour piano no. 5 op. 53: Alexandre Scriabine'
- Released 197? by Duchesne LP DD 6014 Luik, Belgium
- Pizzaro, Arthur (piano-solo)
- Recorded live for the BBC radio
- Duration: 16'51"
- Recording date: February 1, 1999 in the Wickmahall in London, England
- Date of Broadcasting: England May 25, The Netherlands June 1 (Radio 4 time 2.00 am), program 'Euroclassic Notturno'
- Pletnev, Mikhail (piano-solo) 'Hommage à Rachmaninov'
- Title: Variations on a Theme of Corelli, op. 42
- Released 1999 by Deutsche Grammophon compact disc 459 634-2
- Duration: 19'01". All variations nicely indexed
- Recording date: June 1998 at Villa Senar, the Rachmaninov family home near Lucerne in Switzerland
- Press, Roger (piano-solo) 'War Horses: Prokofieff, Debussy, Rachmaninoff'
- Title: Variations on a Theme of Corelli, Op. 42
- Released by Meridian compact disc CDE 84160
- Duration: unknown
- Recording date: unknown
- Rodriguez, Santiago (piano-solo)
- Title: Variations on a Theme of Corelli, Op. 42
- Released 1995 by Elan (Riverdale, MD, USA) CD 82250
- Duration: 18'48"
- Recording date: June 1994 in John Addison Concert Hall, Fort Washington, MD
- Rudiakov, Shoshana (piano-solo) 'Piano Works by Chopin, Scriabin, Rachmaninoff'
- Released by Eroica compact disc
- Duration: unknown
- Recording date: unknown
- Shelley, Howard (piano-solo) 'Variations on a theme of Chopin op. 22, variations on a theme of Corelli op. 42,
Melodie in E major op. 3 nr. 3, scherzo from Mendelssohn's A Midsummer night's dream'
- Released 1981 by Hyperion LP A66009, re-released compact disc 1988 (AAD) CDA66009
- Duration: 18'30"
- Recording date: unknown in Conway Hall, London
- Shelley, Howard (piano-solo) 'The Complete Piano Music of Sergei Rachmaninov'
- Released by Hyperion compact disc 8 cd-box
- Duration: 18'30"
- Recording date: unknown in Conway Hall, London
- Slesarev, Yuri (piano-solo) Sochineniëiìa, pianoforte / S. Rakhmaninov'
(Parallel title on container: Pianoworks / S. Rachmaninov)
- Title: Variaëtìsii na temu Korelli
- Released 1981 by Melodiëiìa, Moscow(?) as LP S10 15671-2
- Recording date: 1980
- Duration: 16'11"
- Stott, Kathryn (piano solo) 'A Rachmaninov Collection'
- Released as compact disc
- Thibaudet, Jean-Yves (piano-solo) 'Rachmaninov: Piano Concerto 4, Variations on a Theme of Corelli, Piano Sonata No. 2,Prelude in C sharp minor'
Anthony Short wrote for the slipcase:
The warm friendship between Rachmaninov and Fritz Kreisler resulted not in a violin work but in a set of solo piano variations dedicated to Kreisler, for whom Joseph Joachim had once predicted a solo career as a pianist. The unlikely collaboration between two such temperamentally different artists as the taciturn Rachmaninov and the amaible Kreisler yielded a series of remarkable recordings of Beethoven, Schubert and Grieg violin sonatas.
Kreisler introduced Rachmaninov to the tune 'La Folia', which he believed to be by Corelli, but which is of more ancient Portuguese origin. Rachmaninov was very taken with its potential for variation treatment, and during the summer of 1931 he composed the 'Variations on a Theme of Corelli'. These mark a return to the creativity that had deserted him following the cool reception of the Forth Concerto, yet for all their clarity of texture (a foretaste of the 'Paganini' Variations), the 'Corelli' Variations were again largely misunderstood by audiences. Rachmaninov regarded this reception with disdain and in December 1931 wrote to Medtner: 'I've played them about fifteen times, but ... not once have I played them in full. I was guided by the audience's coughing. When the coughing increased I skipped to the next variation. When there was no coughing I played them in the proper order. At one concert ... the coughing was so violent that I only played ten variations out of twenty'. My record is in New York, where I managed eighteen. Rachmaninov's continued disillusionment meant that he never again attempted a large-scale work for solo piano.- Released 1998 by Decca compact disc 458 930-2
- Duration: 18'10"
- Recording date: January 1996 in Severance Hall, Cleveland, Ohio
- Hamburg Steinway D 0250 piano
- Viardo, Vladimir (piano-solo) 'Rachmaninoff: Variations; Medtner: Sonata in A minor; Sonata Reminiscenza; Canzona Matinatal; Sonata Tragica'
- Released by Nonesuch Records compact disc
- Duration: unknown
- Recording date: unknown
- Wagner, Vanessa (piano-solo) 'Variations'
- Released 2008 by Naïve: compact disc AM134
- Duration: 19'07"
- Recording date: unknown
- Watts, André (piano-solo) 'Great Pianists'
- Released by Philips 2-cd-set
- Duration: unknown
- Recording date: unknown
- Weiser, Bernhardt (piano solo) 'Variations on a theme by Chopin, op. 22. Variations on a
theme by Corelli, op. 42'
- Released 195? by M-G-M LP E 3250
- Wild, Earl (piano-solo) 'Earl Wild plays Rachmaninov'
Annette and Jeffrey Chesky wrote for the slipcase:More well known (than the 'Variations on a theme of Chopin') is the 'Variations on a theme of Corelli' Rachmaninov composed the work during the summer of 1931, a time of some despair for him. On January 15th of that year, his name appeared in the New York Times as a signatory to a letter that was critical of the current government in Russia. Tweo months laterin a Moscow review of a performance of his composition 'The Bells', he was referred to as a 'violent enemy of Soviet Russia'. This initiated a boycott of (the study and performance of) his music in Russia. Even though Rachmaninov said he was proud to be the object of such wrath, it must have hurt him deeply. Nevertheless, he commenced composing the 'Corelli' variations at the end of May, while in Clairefontaine, France. Although he complained that he did not have the time to compose and writing was harder for him now than when he was younger, he quickly completed it by the end of June. He then began to revise his second piano sonata.
It may have been Fritz Kreisler, to whom the 'Variations on a theme of Corelli is dedicated, who made Rachmaninov aware of Corelli's theme. (In 1928, they had recorded violin and piano works of Beethoven, Grieg, and Schubert.) Although the theme was used by the Italian composer and violinist Arcangelo Corelli (1653-1713) in the twelfth violin sonata (opus 5), the tune was not original with Corelli, but is an old Portuguese melody called La Folia. (Other composers besides Rachmaninov, such as C.P.E. Bach in his Twelve Variations auf die Folie d'Espagne, also utilized this theme.)
Rachmaninov's 'Corelli' variations can be grouped into contrasting sections. After the first thirteen variations (which are all in the key of D minor), there is an 'intermezzo', which is followed by two variations in the very alien key of D-flat major. For the last five variations and coda, Rachmaninov returns to to D minor. This work seems preparatory for his 'Rhapsody on a Theme of Paganini', which he composed three years later. Many of the variations (such as number 10) foreshadow the later work.
Rachmaninov gave the public premiere of 'Variations on a Theme of Corelli' on October 12, 1931, in Montreal. Based upon his remarks to his friend Nikolai Medtner (to whom Rachmaninov had dedicated his last piano concerto), Rachmaninov did not seem to enjoy playing this work. (He once said that playing his own music was boring.) Rachmaninov stated that whenever there was more coughing in the audience, he would skip the next variation! In one recital, he played only ten of the twenty variations, though in New York he performed eighteen. Moreover, for some curious reason, as in his earlier set of variations, Rachmaninov allows the performer the option of omitting three (numbers 11, 12, and 19). However, in both sets (also the Variations on a Theme of Chopin) of variations Mr. Wild properly plays them all!- Released 1991 by Chesky Records compact disc CD 58
- Recording date: 12/14 May 1991 in Fernleaf Abbey
- Duration: 17'40"
Flight including As your mind flies by |
Rare Bird - Sympathy (1970) - (9) As Your Mind Flies By
First appears at 0:37
- Rare Bird: Steve Gould (lead vocals, bass, rhythm guitar), David Kaffinetti (pianos, assorted keyboards), Graham Field (organ, assorted keyboards), Mark Ashton (drums, backing vocals) 'As Your Mind Flies By'
- Released 1970 by ABC/Dunhill Records vinyl order number 716, Charisma vinyl order number CAS 1011, Philips vinyl order number 6369 904. Re-released 1990 by Virgin VJCP compact disc, 2007 Esoteric recordings remaster compact disc ECLEC2002, 1999 by Phantom Records, 1997 by Red Fox Records
- Duration: 19'39"
- Recording date: 1970 in IBC Recording Studios, London, England
Yes it is the Folía theme indeed especially the reference in the opening and the end with the quote of Alessandro Scarlatti on the harpsichord if I am not mistaken, but the rest is based on new fresh ideas. I guess also the litteral meaning of La Folía maddness with the repeated block chords. Very impressive and nice indeed with a prominent role for the oboes..
Karl Aage Rasmussen wrote in an e-mail April 04, 2016:
I shall of course happily contribute the info about Follia, follia
Presently I work as composer-in-residence for the well-known Danish period ensemble Concerto Copenhagen. When the great Italian oboist Alfredo Bernardini wanted to organize a concert centered around La folia, he asked me to write a short piece for this occasion and I immediately accepted. The endless number of variations on this 500 years old melody is a virtual relay race through history, literally "from time to time", and it was fascinating to imagine a tiny place for oneself in this line.
The instrumentation was more or less given from other pieces on the program. I wrote the music during the late summer of 2015.
- Concerto Copenhagen conducted by Alfredo Bernardini
- As part of the 2016 tour. it will be performed at the Musica Antigua Festival in Brugge Belgium August 12, 2016
- Recording date 2 November 2015 in Garnisons Kirche, Copenhagen, Denmark: by the Danish Radio broadcasting
- Duration: 8'00"
- For a live concert of Concerto Copenhagen including the composition Follia, follia http://www.dr.dk/p2/p2-koncerten/p2-koncerten-2015-12-09/ around 01'18'30"
- Visit the website of the composer at http://www.karlaagerasmussen.com/
The pianist Walter Ponce performed the world premiere of Piano Sonata No. 8 Il Trionfo della Folia at UCLA's Schoenberg Hall on Wednesday, November 5, 1997 at 8 PM.
Paul Reale wrote about Il Trionfo della Folia in November 1997:
"Il Trionfo della Folia" owes everything but its structure to the past.
I was working on Piano Sonata No. 8 when I first met Walter Ponce, and he expressed considerable interest in the work. At that
time I was not completely happy with the piece, but with Ponce's encouragement I
got it hammered out as the kind of virtuoso vehicle that I had imagined it could be.
Since the piece uses fragments at first, then complete phrases of the famous "Folia"
theme and since the other materials trade on the gestures, if not real quotations
from standard repertoire, I was justifiably concerned that the whole thing would
come off merely as a bombastic rehash.
The real key to the piece is the integration of at least six kinds of musical complexes,
all of which use intervals in varying orders from the "Folia" theme. Not until those
ideas are fully fleshed out does "La Folia" emerge with its concomitant harmony
and familiar bass. The real "trionfo" is that this familiar stuff becomes reborn in the
integration of its variants. The piece is cast in a single movement to emphasize the
continually developing and plastic nature of the musical materials.
- Ponce, Walter (piano)
- Worldpremiere not yet released in 1997
- Duration: 13'15"
- Recording date: November 5, 1997 at 8 PM
- The Orchestra dell´Angelicum di Milano, G. Tassinari violin 'Giuliani Violin Serenade'
- Title: La Follia
- Released by Disco Angelicum lp LPA 962 (Italian pressing, edition mono)
- Duration: 8'20"
- Recording date unknown
- Sonatori de la Gioiosa Marca (Fava and Falcone violin, Vestidello cello,
Rado archlute and guitar, Rosato harpsichord) 'Follie all'italiana, sonatori de la Gioiosa Marca'
Sonatori de la Gioiosa Marca at You Tube in a live performance
Duration: 8'13" direct link to YouTube
© 2012 by Sonatori de la Gioiosa MarcasSonatori de la Gioiosa Marca at You Tube
Duration: 7'48" direct link to YouTube
© 2009 by Sonatori de la Gioiosa Marcas
- Title: Folia from Suonate e Capricci op. I, Venezia 1709
- Released 2001 Erato Disques, Paris, France compact disc 8573 85775-2
- Coproduction Erato and Westdeutscher Rundfunk Köln
- Duration: 7'27"
- Recording date: June 11-14, 2000 Chiesa di S. Vigilio, Col San Martino Italy
- Virtuosi di Roma (violins: Luigi Ferro, Arrigo Pelliccia, Armando Gramegna, Alberto Poltronieri, Guido Mozzato, Remy Principe, Edmond Malanotte.
violas: Renzo Sabatini, Vittorio Fael. cellos: Massimo Anfiteatroff, Benedetto Mazzacurati.
bass: Salvatore Pitziant. harpsichord: Ornella Puliti Santoliquido. oboe: Renato Zanfini) director Renato Fasano.
'Virtuosi di Roma, Reali, Marcello, Albinoni, Vinci, Porpora'
For the recording was written:
Born in Venice in the second half of the 17th century, Giovanni Reali was a little-known Italian violinist and composer. He is said to have been 'maestro di cappella' in Guastalla in 1725. Among his works are sonatas and caprices for 2 violins and basso continuo, which were published as Opus 1 in Venicein 1709. This volume also contained the present Theme and Variations on 'La Follia', which were dedicated to Arcangelo Corelli, the author of a set of variations on the same theme. Compared with those of other composers who have been inspired by this famous theme, Reali's Variations lack nothing in wealth of invention, color or appeal.
- Title: La follia, theme and variations for strings and cembalo (1709)
- Released 1957 by Decca gold label series LP DL 9731
- Duration: 6'49"
- Recording date not mentioned in the documentation
Gérard Rebours wrote in July 2002 about his Folias Nuevas:
My own 'Folias Nuevas' for baroque guitar has not been recorded yet. I should do it! It is one page only and it's like a 'prelude on the Folia' in fact.
- Rebours, Gérard
- Title: Folias Nuevas
- Not recorded yet
- Sheet music 1 page, published by Rebours, Gerard (with fingersetting) in pdf-format at his website http://g.rebours.free.fr/1P/FoliasNuevas.pdf
- Duration: c.1'00"
- More about this composer/guitarplayer who also published three articles about the Folia in the French magazine 'Les Cahiers de la Guitare' is available at his website: http://www.GerardRebours.com
Fantasy on Corelli's La Folia (2001) |
But after 4 minutes the unexpected occurs. All of a sudden the scene shifts towards a Middle East desert and the recorder is expressing the vibrating heat with its slow half-tone shiftings, while the harpsichord is imitating the canun. You cannot listen to the rest of the Folia with the same ears as before and with good reason. The harpsichord as basso continuo imitates tripling mice, weird glissandos of the cello invade, an imitation of a variation by Salieri where the harpsichord-solo is trying to stretch into an symphonic orchestra can't be denied and a groovy bass attacks an uneven 20th century Balkan-meter. No wonder this group is called the Cirque du Soleil of baroque performance ensembles.
I guess Red Priest is not the most obedient student of the class, but such musical expertise combined with humor will put a smile on your face. Piers Adams wrote in September 2001 for the slipcase:
La Folia - literally a folly, or even, madness - began life as a 16-measure ground (melody and bass), composed sometime in the 16th century in Portugal. Whoever wrote it should have posthumous claim to some substantial, overdue royalty payments, as the tune was to become one of the most eduring and widely used of all grounds, subjected to expansion and variation by composers from Vivaldi to Rachmaninov and beyond. One of the most famous sets of Folia variations was written by the celebrated Italian violinist Arcangelo Corelli sometime around the year 1700, as the conclusion to his Opus 5 set of violin sonatas, and later arranged for recorder and continuo. It is this latter version that we have used as a framework for ours, adding a second part for the violin and freely infiltrating our own material throughout. Whilst the resulting musical madness may not fit the currently accepted boundaries of 'authenticity' we hope that it is taken in the truly Baroque spirit with which it - and indeed the whole album - is intended...
Frank T. Nakashima wrote for Whole Note Magazine (Toronto) in December 2002:And do we really need another recording of Corelli’s La Folia? No? Wrong answer. Red Priest’s own Fantasy based on this famous piece is outrageous, raucous, and radical, but still within the realm of historical possibility.
- Red Priest: Piers Adams (recorders), Julia Bishop (Baroque violin), Angela East (cello), Howard Beach (harpsichord)
- Released 2002 by Dorian Recordings compact disc DOR-90305
- Duration: c.12'32"
- Recording date: May 2001 in the Françoys-Bernier concert hall at the Domaine Forget in saint-Irénée, Québec, Canada
- Red Priest: Piers Adams (recorders), Julia Bishop (Baroque violin), Angela East (cello), Howard Beach (harpsichord)
- Broadcasted live a concert by SWR2, German radio during the Schwetzinger Festspielen
- Duration: 10'32"
- Recording date: June 19, 2007 in the Rokokotheater Schloss Schwetzingen
That he was befriended with Salieri who published his massive Folia-variations in 1815 may have been the inspiration of Reicha's folia-compositions.
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Duration: 2'38", 05 kB. |
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Sheet music in pdf-format |
- Ippolitov, Erakko
Folie d'Espagne
Duration: 2'37" direct link to YouTube
© 2014 by Erakko Ippolitov- Title: Folie d'Espagne Op. 97 No. 33
- Released March 2014 on YouTube by Erakko Ippolitov
- Duration: 2'37"
- Recording date: March 28, 2014 at Niigata, Japan
- Reicha, Anton
Vincent Decleire, who detected the étude wrote as reaction to the midi-file in September 2006:
I think that the tempo may be little slower but not so much (redaction: instead of the 82 and the suggestion to drop the tempo to adagio) . In the opus 97 of Reicha, there is no adagio but lento. Others studies are indicated : andante maestoso, or poco andante. So Reicha indicates precisely what he wants.
Some of the others studies are Arias and they are notated as sarabands but not in 3/4 but in 3/2. In this case, the "brevis nota" of the first mesure is also a quaver or a semiquaver, so shorter in comparison. So Reicha knew the difference...
If you want to play slower, you need a very better quality of sound and a intense "sentimental" (Reicha knows Kant !) play. I had not yet the occasion of playing this piece on a fortepiano to hear how it can sound and to hear the resonance of the full accords, which would influence the tempo.- Title: Folie d'espagne
- In: Etudes dans le genre fugue pour le Piano-Forte précedées de quelques
remarques instructives sur differentes propositions musicales á l'usage Des jeunes Compositeurs
par Antoine Reicha, Professeur de Composition á l'ecole Royale de Musique et de
Declamation, Oeuvre 97, 2e livre published by Melles Erard, Rue
du Mail, no. 13, Paris, France
- Publisher's No. 892, pages 152 and 153
-
These trios are originally arranged for two horns and a cello, probably intented for the horn-virtuosi the brothers Boeck.
Louis François Dauprat (1781-1868), a hornist who was closely related to Reicha, made an arrangement for three horns.
With the consent of Reicha he substituted the Folie d'espagne (no. 4) by an original composition of Dauprat. Most likely because
all voices of the music were not very suitable for the (natur)horn.
- Title: Folie d'espagne
- Published by Pleyel in Paris 1825
- Publisher's number 1378/79
- Rijksarchief Gelderland in Arnhem (RAGld) (Archives of the Province (region) of Gelderland in the Netherlands)
The booklet with sheet music was part of the archives of the family Bosch van (von) Rosenthal and was intended as a guide to practice for B. Kloeckhoff (1680-1764) dated back to 1695. For this Folia the name Hen. Reinis was mentioned next to the title as if he has made the entry in the booklet. His name and handwriting appear several times in the booklet as the signature of some pieces. Notice that a bit of the tune at the backside of the paper seems to shine through due to the agressive chemical reaction of the ink on the paper over the ages.
The booklet contains two other anonymous versions of the Folia which are classified under anonymous for keyboard (manuscript Arnhem, 1 and 2). One of these manuscripts has identical variations. The variation of Reinis 2, 6 and 9 match the variations of inventory number 956 8, 9 and 5 respectively.- Manuscript 0724 Archives of the family Bosch van (von) Rosenthal and relatives
- The years 1418, 1539, 1584, 1600-1953
- Inventory number 960
- Pages: 16 pages
- Rijksarchief Gelderland is vested in the city of Arnhem The Netherlands and can be contacted at http://www.geldersarchief.nl
- Kostujak, Wolfgang (harpsichord) 'Nordrheinische Musik des 17. Jahrhunderts'
The last variation of the recording was written/improvised by Wolfgang Kostujak himself and was no part of the manuscript.
Wolfgang Kostujak wrote for the slipcase (in a translation by Nathalie Scheeck): Duration: 1'07", 1054 kB. (128kB/s, 44100Hz)
Last two variations and Kostujaks variation
© Wolfgang Kostujak 2008, used with permissionEven during the 15th century, 'Follias' were the ecstatic peaks of traditional fertility ceremonies in the cultural area found to the South-West of the Pyrenees. A continuing repetition of the same harmonic formula was supposed to conjure up spirits and put the dancers in a trance-like state. This effect corresponds to the meaning of the word 'Folia' as a generic term for 'madness', or 'craziness', but also for 'infatuation' in Portuguese- and Spanish-speaking areas.
The last, fifteenth variation on the 'FOLIE D'ESPAGNE' BY HENRICH REINIS is, in this interpretation, a more or less spontaneous – swept along – improvising continuation of the theme by the musician.
Based on the knowledge that performance practice of the 17th century was far more linked to the idea of a musical improvisation in many respects than to the playing of pre-fabricated notes, some middle voices for the dance movements in the suites in the course of the 'Follia' were written by the musician according to the rules of basso continuo and compositional theory in the 17th century.- Source: Manuscript 0724 Archives of the family Bosch van (von) Rosenthal and relatives
- Title: 'La folie de Espagne mit Var:'
- Released 2008 by Musicom compact disc CD 030216
- Duration: 5'52"
- Recording date: September 27 till October 1, 2007 in Schloss Ringenberg, Germany
- Harpsichord built by Joannes Ruckers d. J. (Antwerpen 1640) and modificated several times, stops: II, 8', 8', 4', [4'] owned by the 'Alexander-und-Alexandrine-von-Velen-Stiftung.
- More about Wolfgang Kostujak at his homepage http://www.wolfgangkostujak.de/editionen.htm where the complete Folies d'Espagne in modern sheet music in pdf-format is to be found (filed under : 1. Auswahl aus den musikalischen Editionen: Kloeckhoff-Manuskripte: diverse Variationswerke)
- Luijmes, Dirk (harpsichord) 'La Folie d'Espagne, 17th century keyboard music from Gelderland'
Duration: 1'30", 1433 kB. (128kB/s, 44100Hz)
Variation 9, 10, 12 and 13
© Dirk Luijmes 2003, used with permission- Source: Manuscript 0724 Archives of the family Bosch van (von) Rosenthal and relatives
- Title: La folij de Espagne (this is not the original title in the manuscript because La folij de Espagne is another piece in the manuscript. The titles and pieces are clearly mixed up)
- Released 2003 by C&M Contrapunctus Musicus compact disc VC 2509
- Duration: 5'51"
- Recording date: not indicated at all but it should be 2003, location not indicated either
- Harpsichord built by Gerard Kras (1980) after Andreas Ruckers
- cd financially supported by the Bosch van Rosenthal Stichting (foundation)
- Dirk Luijmes wrote about the manuscript in Tijdschrift Oude Muziek
- More about Dirk Luijmes at his homepage http://www.dirkluijmes.nl.nu/
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Duration: 5'56", 20 kB. |
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7 page in pdf-format, 121 kB |
| Manuscript from the archive Bosch van Rosenthal with the name of Hen. Reinis |
© Rijksarchief Gelderland, used with permission |
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- Armanni, Mara (violoncello)
- First performance October 15, 1985 at the Festival di Imperia
A 6-musician ensemble defining a new music genre by combining ancient, baroque, folk, middle-eastern and ambient, which they call progressive folk.
- Rêverie
'2004'
- Title: La Follia Part 1 La Danza, La Follia Part 2 Sonetto
- Released 2008 by Rêverie compact disc
- Duration:Part 1 3'10" Part 2 2'11"
- Recording date: unknown
- Richter, Brad (guitar) and Uzur, Viktor (cello) 'String Theory: Music from Albéniz to Zeppelin'
- Title: La Folia (for ensemble)
- Released 2010 by Blue Griffin Recording compact disc 205
- Duration: 9'44"
- Recording date:June 11-13, 2009 in Brad’s studio in Tuczon, Arizona, USA
- Brad Richter plays a Q guitar by Trevor Semple
In an interview for the French radio station Inter in the program Boomerang the 26th of January Max Richter explains that the melody was taken from the '16th Century melody of the Folía' and even hums the melody line. Source https://www.franceinter.fr/emissions/boomerang/boomerang-26-janvier-2017
The music is clearly based on the later Folía (after 1672).
- Deutsches Filmorchester Babelsberg, conducted by Robert Ziegler 'Three worlds, music from woolf works'
- Title: Modular Astronomy
- Released 2017 by Deutsche Grammophon order number 0289 479 7158 0
- Duration: 3'14"
- Recording date and place unknown
The Lampaanpolska is found in the notebook (nuoti-kiria) of this 18th century Ostrobothnian folk fiddler
- Kuusisto, Pekka (violin solo) 'Folk Trip'
- Title: Polska III Lampaanbolska (instead of the more commonly used 'Lampaanpolska') dated 18th Century
- Released 2002 by Ondine compact disc ODE 1018-2
- Duration: 2'00"
- Recording date: August 27-30, 2002 at Granite Hall, Supmentinda, Finland
- Rivoal, Yvon
- Title: La Folia
- Published by Editions Henry Lemoine LEMOI02353
- Size 20x21 cm
- Published for the first time by Rivoal July 15, 1996
This concierto for violin and orchestra consists of three parts: Prelude, Sicilienne and Rondino. Right from the start of the the Sicilienne (and in this movement only) the first 8 bars of the Folia-theme are exposed several times, although the theme of Rodirigo is extended with 4 more bars (ending in the dominanth septiem). The theme is twisted in several ways as a reflection of an image in the water.
- Castilla & León Symphony Orchestra conducted by Max Bragado-Darman 'Concierto in Modo Galante / Concierto de Estío'
- Released 2003 by Naxos compact disc 8555840
- Duration: 9'20"
- Recording date: unknown
- Ferras, Christian (violin), Barbizet, Pierre (piano) 'Christian Ferras'
- Released 2003 by Testament compact disc SBT1307
- Duration: unknown
- Recording date: unknown
- London Symphony Orchestra conducted by Agustin Leon Ara 'The Rodrigo Edition'
- Released 1992 by EMI Classics (Angel Records) compact disc (4 cd-box) 67435-2
- Duration: 7'55"
- Recording date: unknown
Written for viola, cello, double bass, 2 violins and harpsichord
Variations et Les Folies d'Espagne (2013-2014) |
Kristian Oma Rønnes wrote about this piece January 6th, 2014:
My idea with the piece was that the La Folia theme should gradually appear, not be obviously played at once as the Folias often tend to do. The piece is also written in a-minor, not the normal d-minor, which I think suits it better. (despite that the midi file performs it in a-flat minor, for making it sound as the Baroque tuning of 415)
The piece starts in the wrong time signature (2/4) and without the La Folia chord progression. The correct chord progression appears first at bar 18, but still in the wrong time signature (2/4). The first theme goes threw several variations and almost unnoticeable get it self into the correct time signature of the La Folia (3/4) in bar 66. The full La Folia theme can now finally appear since the correct time signature and chord progression have been presented. Finally on variation no. 5 as a result of the previous development of the earlier variations the main theme appears in a proud fortissimo.
The piece ends with an quiet extreme contrapuntal Coda later named: "Chaos" in bar 267. Here several of the earlier variations meet and blends them selves in with some of the newer variations, where all the parts should be played as individualistic solo parts; non should be hidden away, all the parts are equally important!
- Kristian Oma Rønnes (midi- and sound devices, sheet music)
- Published January 2014 by Kristian Oma Rønnes at YouTube
- Duration: 7'15"
- Recording date: January 2014 in Oslo, Norway
- More about the composer Kristian Oma Rønnes at his website http://www.kristianomaronnes.com/
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Duration: 2,16", 28 kB. |
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Duration: 2,05", 08 kB. |
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Duration: 2,19", 24 kB. |
I began working in December 2001 on a
set of variations on the theme known as 'La Follia'.
La Follia was an excellent choice, because it is for me an example of a
truly perfect theme. It's aural appeal alone makes me want to listen to
it over and over, making it a ready candidate for variations. It's 16
bars are the paragon of balance; 8 bars take you from tonic to dominant,
and another 8 bars take you back. It is capable of being both very
simple and very complex. It's no wonder that literally hundreds of
variations on La Follia have been written over the last 4 centuries.
My variations (completed May 26, 2002) are based on Jean-Baptiste
Lully's 'Les folies d'Espagne' of 1672 -- one of the earliest examples.
The first movement of my sonata simply presents the theme on which the
following movements are based, and is basically identical to Lully's
opening theme, except that I removed all ornamentation in my version.
The meter of almost all Follia variations is in 3. The first thing I
wanted to try was a variation in 2/4 time, which is what I did in the
second movement. Also, most Follia variations simply repeat the 'Follia
chord-progression' over and over. I had to get away from that as well in
order to accomplish the key transitions necessary in Sonata form. The
second movement opens with the familiar 16-bar chord progression, then,
during the development, departs on a transition towards the dominant A
minor, eventually returning to D minor for the recapitulation.
The third movement opens with a variation in which La Follia is reduced
down to the chord progression itself. The central section is
essentially a diminution of the theme, with a transition back to a recap
of the beginning.
The fourth movement is in the form of a Rondo, which allowed me 4
variations in ABACDCABA format. The 2 solo violins alternate throughout
the movement, giving both an equal opportunity to play the theme.
This set of La Follia variations, written in the Baroque style, is a
testament to the La Follia theme itself. No other theme in the history
of music has been so readily and widely adaptable to variation.
- Rothschild II, Jonathan David
- Published 2002 by The Frobozz Magic Sheet Music Co. Publisher number EF-R15A
- Duration: Tema Larghetto 0'43", Presto 2'16", Largo-Larghetto-Largo 2'05", Allegro 2'19"
- Sheet music in pdf format (you need
to read or print the sheet music),
13 pages in total and in 4 parts, 3 pages each violin one
and violin two, 2 pages violoncello, 4 pages harpsichord. © J.D. Rothschild II, used with permission
Tomas Vitek who detected this Folía, wrote in an e-mail March 13, 2014:
I've come across another potential La Folia entry for your website during my research. The piece is currently not featured on your list.
Below is the information that I found; it does not give any further description of the music or a score sample since it only exists in manuscript, but I presume that it shouldn't be too difficult to get additional information from the Budapest Music Center (BMC) or the composer directly
- Rózsa, Pál
- Title: "La Folia" Variations for Brass Op. 149 (for 16 performers)
- Not yet published (manuscript finished 1989 (?) because the premiere of the piece was in 1989)
- Instrumentation: 3 cor., 5 tr., 4 trb., 2 tuba - perc. (2 players)
- Duration: ca. 10'00"
- Source: Budapest Music Center website http://info.bmc.hu/index.php?node=artists&type=C&search=R%C3%B3zsa+P%C3%A1l++++++++++++++++&search_tol=&search_ig=&valaszt=nev
- Title: "La Folia" Variations for Brass Op. 149 (for 16 performers)
Rubato Appassionato: Antonia Tejada (recorder), Eyal Street (baroque bassoon), Sasha Agranov (violoncello).
Duration: 15'31" direct link to YouTube
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We found it in the Biblioteca de Cataluña in Barcelona.
The manuscript, titled "Partes de Folias", has a theme and then 13 variations. Some of these variations are very closely influenced (and even copied) by other published folias from the time (like Corelli's, for example). We added then another 16 variations which fit the character of this folia very well.
I can't give an accurate date for this folia, but it's definitely 18th century and as I said must be after Corelli's publication since there is at least one very clear quotation
- Rubato Appassionato 'El Carnaval de Madrid'
- Released 2011 by AcoustiCDelicatessen CD 001 compact disc ACD 001
- Duration: 17'01"
- Recording date: November 2009 in at the church of Saint Basil, Seville, Spain
- More about Rubato Appassionato at their website http://www.rubatoappassionato.com/
| Opening of Partite De Follia Flauto | MS de Venezia, Biblioteca Palatina, Parma |
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The Folia theme was a popular tune in Europe between the 16th and 18th centuries. There are two different types of Folias: The Early Folia (earliest described in Salinas's De musica libri septem, 1577) and the Late Folia (starting from the 1670's). The differences between the early and the late folias are more evident in the melodic and rhythmic patterns than in the harmony. The late folia is attributed to Jean-Baptiste Lully (1632-1687). It received popularity all over Europe: In France it was called foli(e) d'Espagne, in England Farinell(i)'s Ground. Pablo Miguel y Yrol (Reglas y advertencias generales, 1754) calls the earlier type folias españolas and the later type folias italianas. Folias usually have many variations. The Partite de Follia of the MS in Venice belongs to the late Folia.
Eyal Streett wrote about this composition:As you can see the two most interesting thing about this particular folia are:
1. the elaborate bass line in the theme.
2. the second half of the theme which is harmonically unique
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In addition to the given variations in the manuscript, we have added a number of variations ourselves. As you can see, the original manuscript is for recorder and basso continuo. We realize the b.c.
part with both a cello and a bassoon. This means we have to add another part so actually our version of this follia is for three parts not two.
- Rubato Appassionato 'Le Temple Du Goût : 18th Century Music From Italy And France'
- Released 2008 by MA Recordings compact disc M075A (JP)
- Duration: 13'56"
- Recording date: October 2006 in Capella de la Mare de Déu de l'Esperança, Barcelona, Spain
- More about Rubato Appassionato at their website http://www.rubatoappassionato.com/
published in 'Luz y norte musical', Madrid 1677, Ruiz de Ribayaz was a priest and vihuela-player as far as i know.
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| Theme of Folías | by Hudson Vol I, p. 95 |
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- ASNI (harp) with Laurie Randolph (baroque guitar) '700 Years of Pop'
Astrid Nielsch (ASNI) wrote about the Folia in an e-mail:
I've always been intrigued by the folia myself, when I was a teenager and living in Brazil there was a popular pop song (I forget by which band) that had the lines "quando a folia passa,. something something multidao" (when the folia passes by, it entices the crowds) and I've always wanted to know what that was about, so thanks for finally shedding light into this 20-year-old puzzle! :-)
- Released 2003 by Keep Cool! (Germany) compact disc LC 02783
- Duration: 1'57"
- Recording date: September 2002 at Martin Luther Kirche, Berlin, Germany
- The homepage of Astrid Nielsch with lots of music can be foud at http://asni.net/indexengl.html
- ASNI (harp) with Pepe Becker (soprano), Robin Ward (triple harp) 'Love, Lament & Lullaby'
- Title: Lucas Ruiz de Ribayaz' Folias and Tarquinio Merula's Canzonetta spirituale sopra la nanna
- Released 2003 by ANSI compact disc without order number
- Duration: c. 1'57" (only the Ruiz de Ribayaz)
- Recording date: April 8, 2003 live recording from a recital at St. Andrew's on the Terrace Wellington, New Zealand
- Constantinople 'Terra Nostra'
This is an arrangement for viola da gambas, guitars and violins of the folías by Sanz (originally for guitar, 1674) and Ruiz de Ribayaz (originally for harp, 1677)- Title: Folías
- Released 2007 by Atma Classique ACD22567
- Duration: 2'48"
- Recording date: November 21-23, 2006 in Eglise Saint-François de Sales, Laval, Quebec, Canada
- Duo Arpeado ( Cristina Azuma, Brazilian guitarist (Baroque guitar) and Fran¸oise Johannel, French harpist (arpa de dos ordenes)
This is an arrangement for Baroque guitar and harp of the folías by Sanz (originally for guitar, 1674), Guerau (originally for guitar) and Ruiz de Ribayaz (originally for harp, 1677)Duo Arpeado in a live performance in Paris 2011
Duration: 2'48" direct link to YouTube
© 2011 by Duo Arpeado- Title: Folias - Guerau / Ribayaz
- Released 2012 at YouTube by
- Duration: 2'48" The variations by Ribayaz 0'45" - 1'22" (two variations) and 1'58" - end (one variation)
- Recording date: November 2011 during the Festival Marin Marais in Paris, France
- Eilander, Maxine (Spanish and Italian harps, Stephen Stubbs: baroque guitar) 'Teatro Lirico'
These Folia-variations are an enumeration of two pieces: an anonymous Spanish manuscript for harp and the manuscript by Lucas Ruiz de Ribayaz with a nice intro.- Title: Folia Variations (for harp and baroque guitar, 2004)
- Released February 2006 by ECM New Series 1893 4763101
- Duration: 3'32"
- Recording date; February 2004 in Propstei St. Gerold
- See also the page Recommended Folia-recordings
- Garcia Banegas, Cristina (organ) 'De la musique des conquistadores au livre d'orgue des indiens Chiquitos'
- Released 1998 by Discographique lorrain K.617 compact disc set of 3 discs K617093/2 with the support of the French Ambassy
- Duration: 0'58"
- Recording date: May 1-3, 1998 organ of Santa Clara in Sucre, Bolivia
- The Harp Consort conducted by Andrew Lawrence-King 'Spanish Dances - Ribayaz: Luz y Norte'
In the slipcase is written:An arrangement of Ribayaz Folia by the Harp Consort
Duration: 4'36" direct link to YouTube
© 1996 by Deutsche Hamonia Mundi
The fiery passions of the 16th century Portuguese folias were still smouldering in the folias italianas style to be found in Luz y Norte, but the dance became a vehicle for the exhibition of technical virtuosity in the French Folies d'Espagne
- Released January 16, 1996 by Deutsche Harmonia Mundi compact disc 77340
- Duration: 4'36"
- Recording date: September 1994 at Valkkoog
- Zabaleta, Nicanor 'Hispaniae Musica, Spanische Harfenmusik des 16. und 17. Jahrhunderts' as part of a series: IV. Forschungsbereich Hochrenaissance (16. Jh.), VII. Forschungsbereich Westeuropa zwischen Barock und Rokoko (1650-1800)
Nicanor Zabaleta wrote for the slipcase:
Lucas Ruiz de Ribayas (born in a small town near Burgos about the middle of the 17th century) published 25 pieces conceived specifically for the harp in his work Luz y Norte músical para caminar por las cifras de la Guitarra y Arpa (Madrid, 1677). Bacas, Folias, Paradetas, Pabanas and Hachas are names of ancient Spanish dances which today have completely disappeared.
- Released 1968 ? (year not indicated at all) by Archiv Produktion LP 198 458
- From the manuscript Luz y norte músical para caminar por las cifras de la Guitarra y Arpa, Madrid 1677. All transcriptions by Nicanor Zabaleta
- Recording date: September 26-30, 1968 in Notre Dame de Liban, Paris
- Duration: 1'33"
- Harp built by Horngacher, Starnberg 1968
Dedicated to Mme et Mr Nikolai-Gourówitsch
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The sheet music, 2 parts, 34 cm |
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- Published by Kristiania : Oluf Bys in the year 1920
- Two parts 34 cm
- Part of the public domain collection made available by the University of Rochester at: http://hdl.handle.net/1802/14119
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The sheet music typeset by Alonso del Arte |
We don't know why the variations were written, but Salieri, who enjoyed a reputation as being among the more innovative composers, had evidently kept pace with 19th-century trends in orchestral writing: the complete work makes striking use of brass and woodwind colors, and even includes solos for the harp as well as the violin. [In these performances we perform a selection of variations highlighting the virtuosity and colors of our strings and woodwinds.] Salieri rarely strays from the folia theme, the variety is to be found in the brilliant way he exploits different instruments or combinations in turn, a literal anthology of symphonic possibilities. No wonder it has been compared to Ravel's Bolero. But intriguing as it is, Salieri's 'La folia' has no more been able to claim a place in posterity than its composer.
| Opening of Variazoni sull'aria La Follia di Spagna | |
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- Craton, John (arrangement for violin and piano)
- Title: 26 Variazioni sulla Follia di Spagna
- Published 2004 by Wolfhead Music http://www.wolfheadmusic.com/salieri.htm
- Pages: 34 pp. (piano pt.), 11 pp. (violin pt.), 8½” x 11”
- London Mozart Players/Bamert, Matthias 'Antonio Salieri Symphonies,
Overtures & Variations'
Steven J. Haller wrote for the 'American record guide' in the issue May
2001 (and he obviously fails to hear any beauty in the Folia theme):
Main course here, as in so many recent Salieri repasts, is the La Folia Variations. The interminable and not very imaginative shifts from winds to strings (or fast to slow) and back again that here suffice for "variations" make this one of Salieri's less impressive efforts, particularly set next to the overtures. Pesko takes about 20 minutes for the variations, while Frontalini takes 21 and Spada on ASV takes 23 (Sept/Oct 1996). Bamert without ever sounding rushed or superficial gets through it in 17:47, and (even better) actually manages to hold your interest while doing so. The others have their virtues too, but I think you'll be quite happy with Bamert, assuming you ever want to listen to the piece to begin with.
- Title: Twenty-six Variations on 'La folia di Spagna'
- Released 2001 by Chandos compact disc CH CHAN 9877
- Duration: 17'47"
- Recording date: 2001
- London Symphony Orchestra/Peskó, Zoltán with Richard Studt (violin) and Renata Schefel-Stein (harp) 'Salieri, La Follia'
- Title: 26 Variazioni sull'aria "La follia di Spagna"
- Released by Warner Fonit compact disc 50467121720
- Duration: unknown
- London Symphony Orchestra/Peskó, Zoltán 'Symfonia Veneziana
da la scuola de gelosi' revisioni di Pietro Spada
- Revisioni di Pietro Spada
- Title: XXVI Variazioni sull'aria "La follia di Spagna" (1815)
- Released 1978 LP Italia ITL 70052
- Duration: 19'10"
- London Symphony Orchestra/Peskó, Zoltán 'Symfonia Veneziana,
Variazioni Sull'Aria 'La Follia di Spagna'
Pietro Spada (Engish version by Carole McGrath Manzoni) wrote as an introduction:
The 'Variations on the Follia of Spain' are in all probability Salieri's last symphonic work and can be chronologically placed in the middle of the Beethoven period (1815). They are almost surely the only nineteenth-century orchestral variations until Brahms's celebrated 'Variations on a theme by Haydn'. The folk song, incorrectly called 'Follies d'Espagne', which provides the theme is of seventeenth century Portuguese origin, and has been used and made famous by many composers including Corelli, d'Anglebert, Scarlatti, Pasquini, Bach (in his Cantatas), Cherubini (in the 'Osteria Portoghese'), Liszt (in his 'Spanish Rhapsody'), and Rachmaninov (in his 'Variations on a Theme by Corelli' op. 45).
It is hard for us to imagine why an elderly Salieri decided to compose a piece of this type - the work itself is conceived a bit in the spirit of a study in orchestration (as the later, famous Ravel's 'Bolero'). The instrumental draft faithfully follows the theme, always based on compositional and orchestral schemes which give the piece somewhat the air of an anthology of symphonic permutations relieved with solistic interludes. We can also discover canons and classic imitations as, for example, the dance movements in the pleasing variation in the 'Siciliana' style. This may not be a work of deep expression, but it shapes itself and finds the exact definition of its limits as an intellectual 'divertissement'.
Above all, and this is what makes it especially noteworthy, it manages to completely transcend that eighteenth-century climate which had dominated a great part of Salieri's previous works- Revisioni di Pietro Spada
- Released 1982 by CBS Masterworks (licensed exclusively to CBS by Fonit-Cetra, Milan) LP 74088 CB321
- Duration: 19'10"
- Moldavian National Symphony Orchestra/Frontalini, Silvano 'Ouvertures'
Duration: 21'25" direct link to YouTube
The complete Variazioni by the Moldavian National Symphony Orchestra
© 1998 by Blue Moon Productions - Azzurra- Variazioni sulla Follia di Spagna
- Released 1998 by Tring S.r.l. compact disc CAD 006 and 2002 Blue Moon Productions - Azzurra
- Duration: 21'25"
- Recording date: 1997
- Philharmonia Orchestra/Spada, Pietro 'XXVI Variazoni sull'aria "La
Follia"
Pietro Spada wrote about Salieri's variations in the slipcase:
This was the last work by the senescent composer. A sort of brooding soliloquy but, at the same time, something of a massive study in timbre and instrumentation, much as Ravel's Bolero was to be in the 20th century. It certainly set Salieri's musical fancy ranging, from symphonic declamation to virtuoso canon, from the melancholy pace of the Siciliana to the dark, muffled timbre of a trio of solo trombones, somewhat reminiscent of Mozart's Connitato di pietra. In conclusion we have what practically amounts to an anthology of situations and instrumental colouring
- Released 1996 by ASV digital compact disc CD DCA 955
- Duration: 22'17" and every variation indexed (22)
- Sinfonia Varsovia conducted by Peter Csaba 'Die Variationen über "La follia di Spagna"
Only half of all the variations were played during the performance.- Recorded live at the Festival "La Folle Journée" January 29, 2005 in Nantes
- Broadcasted by Euroclassic Notturno October 2005 (Netherlands, Radio 4 during the night)
- Duration: 12'33"
- Spada, Pietro editor of the music
- Title: XXVI Variazoni sull'aria La Follia di Spagna a cura di Pietro Spada
- Published 1978 by Boccaccini & Spada Editori s.r.l., Roma
- WDR Sinfonieorchester Köln/Goebel, Reinhard and Elise Batnes violin
Eckhard Weber wrote for the program of the concert:Wie ein Straßenkind Karriere machen kann, zeigt der Werdegang des Volkstanzes Folia. Eine spanische Quelle aus dem frühen 12. Jahrhundert schildert ihn folgendermaßen: "Es handelt sich um einen bestimmten lärmenden portugiesischen Tanz, an dem viele Personen mit sonajas (`Schellentrommeln`) und anderen Instrumenten teilnehmen, außerdem einige maskierte Rüpel, die auf ihren Schultern als Mädchen verkleidete Jungen tragen. Sie bilden mit ausgestreckten Armen manchmal einen Kreis oder tanzen und spielen die Schellentrommeln; der Lärm ist so groß und die Musik so schnell, daß alle von Sinnen zu sein scheinen." Auch über die Bedeutung des Namesns gibt die Quelle Auskunft: "... der Tanz erhielt den Namen "folia" nach dem toskanischen Wort "folle", das eitel, verrückt, von Sinnen bedeutet bzw. jemanden bezeichnet, der einen leeren Kopf hat".
Dieser ausgelassene Tanz war so populär, dass er bereits um 1500 an den portugiesischen Königshof kam. Auch eine eigene Mode gab es für den Tanz, die bald als "vestiti alla Pourtughesi" ("portugiesisch gekleidet") bezeichnet wurde. Gleichzeitig fand unter dem Namen Folia eine harmonisch-melodische Formel, ein ostinates Bassmodell, wie dies etwas auch die Passacaglia oder letztendlich auch das Blues-Schema darstellen, Eingang in die Kunstmusik. Vor allem vom 16. bis 18. Jahrhundert erfreute sich die Folia in dieser Form zunächst in Spanien, dann europaweit großer Beliebtheit und bot die Grundlage für Lieder, Tanzsätze und Instrumentalvariationen in verschiedensten Besetzungen. Vor allem für die Gitarre und ihre Voläufer, Laute und spanische "vihuela", wurde die Folia gerne herangezogen. Alle wichtigen Gitarristen hatten im 17. Jahrhundert Folia-Stücke im Repertoire. Vermutlich mit dem gefeierten italiensichen Gitarristen Francesco Corbetta gelangte die Folia Mitte des 17. Jahrunderts nach Frankreich an den Hof des Sonnenkönigs Ludwig XIV. Hier kam die Bezeichnung "Les folies d`Espagne" auf. Spanien statt Porutgal wurde fortan als Ursprungsland gesehen. Wie in vielen Künsten strahlte der Geschmack des Sonnenkönigs auch im Fall der Folia auf ganz Europa aus: Corelli, Vivaldi, Bach, sie alle schrieben in der Folge Folia-Sätze. Die eingängige Formel bot ein zuverlässiges Gerüst für virtuose Improvisationen und Variationen. Wie bei vielen Barocktänzen, die der Folklore entstammen, verlangsamte sich durch die höhere Kunstfertigkeit in der Melodieführung das Tempo.
1815, gegen Ende seiner Laufbahn, als Antiono Salieri längt europaweite Berühmtheit erlangt hatte als erfolgreicher Opernkomponist, Schöpfer von Sakralmusik, Lehrer sowie als Wiener Hofkapellmeister, setzte auch er sich mit der Folia auseinander. Er nahms das traditionsreiche Modell als Grundlage für einen Variationszyklus, mit dem er die Möglichkeiten des klassichen Orchesters einfallsreich ausreizte. Seine 26 Variationen über "La Folia di Spagna" gerieten zu einer originellen musikalischen Charakterstudie. Das Werk beginnt sehr getragen. Diese Stimmung prägt auch noch die erste Variation in den tiefen Streichern, aber schon die zweite Variation nimmt ernormen Schwung auf. Das Ausgelassene wie auch das Virtuose kommt im weiteren Verlauf zur Geltung. Kusntvolle Solopassagen wechseln sich ab mit Bläserchorälen, Gewittermusik und raffinierten Echoeffekten. Salieri zeigt den gesamten Kosmos der Folia, zeichnet sie pathetisch, ausgelassen, zurückhaltend, graziös, wild, schwungvoll, kapriziös und dramatisch. Das Werk zeigt: Das alles ist die Folia.- 26 Variationen auf "La folia di Spagna"
- Broadcasted by WDR-Radio (Germany) January 20, 2006 and Klara Radio (Belgium) February 18, 2007
- Duration: 17'50"
- Recording date: Recorded by Westdeutsche Rundfunk during a live performance January 20, 2006 in the Funkhaus, Köln, Germany
- WiZARDS! (double reed consort) 'Classical Wizards'
Mark Weiger wrote about Salieri's variations in the slipcase:
Salieri's subsequent few compositions were mostly of a more entertaining genre (divertimenti, etc.) In fact, his Variazioni sulla Follia di Spagna of 1815 is in all probability his last symphonic work. [...]
While Salieri did write works featuring double reed instruments (Drei Trios for 2 oboes and bassooon; Picciola Serenata for 2 oboes, 2 horns, and bassoon; Cassazione for 2 oboes, 2 English horns, 2 bassoons, and 2 horns da caccia), Variazioni sulla Follia di Spagna is a set of 24 variations originally scored for orchestra. It has been deftly transcribed for a double reed sextet of 2 oboes, 2 English horns, and 2 bassoons by Jeffrey Linville as a special project for the University of Iowa's Double reed Ensemble. It has been prepared for publication through Bocal Music. The theme and variations that were used are as follows: Tema: Andante, Var. 1 Andante, Var. 2 Piu Mosso (originally #3), Var. 3 Allegro (originally #5), Var. 4 Allegretto (originally #7), Var 5 Poco Adagio (originally #8), Var. 6 Allegretto (originally #11), Var. 7 Poco piu Allegro (originally #12), Var. 8 Allegro (originally #16), Var. 9 Larghetto (originally #18), Var. 10 Allegretto (originally #20), Var. 11 Allegretto (originally #21), Var. 12 Andante Pastorale (originally #23), Var. 14 Presto (originally #24), var. 15 Allegro moderato-Adagio-Allegro.
The term Follia, which appears as early as the 15th century in Portuguese and Spanish poetic texts, dances, and song variations (usually accompanied by guitar), is of two styles: the "early follia" and the "late follia". Salieri employs the late follia style in this set of variations. The earliest example of the "late follia" is an Air des Hautbois from 1672 by Lully. In the late follia style a specific harmonic structure is maintained throughout a set of variations, almost always in the key of D minor with the second beat of the odd measures being dotted and slightly accented. This is the style which became a very popular form, taken up by the likes of Marin Marais (1701), A. Scarlatti, Liszt, Cherubini, to Rachmaninoff in his Variations on a Theme by Corelli, Op. 45 (1932).- Title: Variazioni sulla Follia di Spagna
- Arranged by Jeffrey Linville for 2 oboes, 2 english horns, and 2 bassoons
- Released 2000 by Crystal Records, compact disc CD 874
- Duration: 10'38"
- Recording date: January 8-10, 1999 at St. John's Lutheran Church in Bloomington, Il, USA.
- Sanchez, Blas
- Published 1969 by Editions Choudens, 38 Rue J. Mermoz, Paris 8, France
- Series 'L'heure de la Guitare Classique'
- Order number AC 20.318
First published in 'Instrucción de música sobre la guitarra española' in three books 1674/5. Again published in 1697. The first edition in 1674 only contained the first book of the three. The five subsequent editions are all dated in 1675 though it is not unlikely that some of them have been published somewhat later, and the other two, which contain all three books unabridged, are from 1697. The Folías appear in book 2. This second book contains 12 pages of music for plucking, with some of the most characteristic dances of the period in Spain.
These books of instructions were written for Don Juan (natural son of Philip IV), who appointed him master of guitar.
In her book Music in Eighteenth Century Spain Mary Neal Hamilton suggests that it was Sanz who gave the melody and structure to the 'later' Folia quoting page 24:
The type (of Folias de Espana) is familiar to musicians through the 'Folias de Espana', used by Corelli as foundation for a set of variations incorporated in a violin sonata, published about 1700. Before Corelli, the 'folias' was known and used in Italy by a certain Cristiano Farinelli, said to have been an uncle of the famous sopranist singer. It was a very populair melody in Italy and was brought from Spain perhaps by Gaspar Sanz himself, the famous Spanish guitarist, who lived for a time in Naples and in Rome. The tune is found in a book of 'Instrucción de música sobre la guitarra española' (Instruction in the music of the Spanish guitar), written and examples collected by Gaspar Sanz and published ten years before the birth of Bach..
And she continues on page 149:For Don Juan he wrote a book of instructions, printed in Saragossa in 1674, which contained a collection of national dances, including the original Folias de España, a tune used in the eighteenth century and to this day by innumerable European composers, beginning with the violinist Corelli.
Donald Sauter published the tablature for guitar of the second book including Folias at http://www.donaldsauter.com/gaspar-sanz.htm
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| Theme by Sanz | Arranged for guitar by Karl-Heinz Böttner, Pycrus Edition |
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- 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
- Armoniosi Concerti 'Zarambeques, Música Española de los
Siglos XVII y XVIII en torno a la Guitarra'
In the slipcase is stated:The Folia is a danza of Portuguese origin with an extensive history in Spain - there being references to it as far back as the fifteenth century. During the course of the seventeenth century the harmonic pattern known as the folías de España became widely used (the three that we include here follow that pattern). Gaspar Sanz's lovely Folías are known to all enthusiasts and on this occasion they can be heard being strummed on a guitarilla strung with four and five high-pitched courses - the tuning preferred by the author in order to "puntear con primor, y dulçura" (to pluck with delicacy and sweetness).
- Title: Folías
- Instrumentation: Juan Carlos Rivera (guitarrilla in a, stringed without basses)
- Released 2002 by Harmonia Mundi compact disc HMI 987030
- Duration: 3'42"
- Recording date: May 29 and 30, June 1 and 2, 2002 in Sala de Cámara del Conservatorio Superior de Música de Sevilla, Spain
- More about the oeuvre of Juan Carlos Rivera at http://www.juancarlosrivera.com
- Attademo, Luigi 'Folías; Sanz, Giuliani, Ponce, Gilardino, Sor,
Ohana'
- Released 2001 by the Magazine 'Guitart' compact disc GUIT 2026
- Duration: 2'15"
- You can listen to a fragment in MP3 at the website of Luigi Attademo http://www.luigiattademo.it/
- Recording date: March 25 and 29 2001 at Quality Audio, Vercelli, Italy
- Guitar by Carlo Raspagni, 1996
- See also the page Recommended Folia-recordings
- 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
- Azpiazu, José de edited the music for guitar
- Title: 'Folias - Pavanes'
- Published by Ricordi 1969,
- Score 3 p.
- Publisher No. SY2119
- ISMN M-2042-2119-6
- Barreiro, Elias 'in Guitar Classics'
- Title: 'Folias'
- Released mid 1960's by SMC Records LP 1112 MONO
- Duration: 1'17"
- Recording date: unknown
- Arrangement: Pujol
- Benichou, Andre 'Guitare Bach'
- Title: 'Folias'
- Released 1969 by Vogue LP VRLS3038 (made in England)
- Duration: unknown
- Recording date: unknown
- Böttner, Karl-Heinz edited the music for guitar
- Title: Folias II in: 'Gaspar Sanz, Gallardas con otros dances espanoles (26 Spanische Tänze und Weisen)'
- Published by Pycrus Edition GmbH 1977, Köln
- Score 3 p. (including 1 p. chord progression) 21 x 29 cm
- Publisher No. not indicated
- See the sheet music above where the opening is shown
- Bonell, Carlos edited the music for guitar
- Title: Las Folias de España in: 'Gaspar Sanz, Spanish danses and airs' (20 Spanish Airs and Dances by Gaspar Sanz)
- Published by unknown
- Score 21 x 29 cm
- Publisher No. not indicated
- Brembeck, Christian (clavichord) 'La Danza de los Poetas, harpsichord
dances'
- Title: Folia
- Released 2002 by Arte Nova in Co-Production with Bayerischer Rundfunk compact disc 74321 85298 2
- Duration: 2'09"
- Recording date: May 21-23, 2001, Studio 2 Bayerischer Rundfunk, Munich, Germany
- Clavichord after Johann Christoph Fleischer (Hamburg 1729)
- Brown, Elizabeth C.D. (Baroque guitar) 'La Folía de España'
Elizabeth Brown wrote for the slipcase:
Spanish guitarist and composer Gaspar Sanz was exposed to this new style when he went to Italy to study organ and guitar. He then returned home and published the first collection of mixed rasgueado (strummend) and punteado (plucked) guitar solos in Spain in 1674. Sanz's Folia is the quintessential baroque form: a set of melodic and rhythmic variations on a chord progression, that is both dramatic and stately in feel. This particular piece has a very unusual feature: one of the variations has the phrase "esta glosada toda se corre" (this variation always is running) engraved at the beginning. This seems to be some sort of performance direction, perhaps indicating that this passage should have a faster tempo, which alludes to the wilder roots of the folia in Spain.
- Title: Folia
- Released 2005 by Rosewood Recordings compact disc ROSE 1007-CD
- Duration: 2'23"
- Recording date: Fall 2004, at Queen Anne Christian Church, Seattle, Washington, USA
- Chiaro, Giovanni De edited the music for guitar (sheet music and tablature)
- Title: Folias in: 'Treasures of the spanish guitar'
- Published by Mel Bay 1995
- Score 4 p. (sheet music and tablature) 29 x 21 cm
- Publisher No. ISBN 0-7866-0318-6
- Constantinople 'Terra Nostra'
This is an arrangement for viola da gambas, guitars and violins of the folías by Sanz (originally for guitar, 1674) and Ruiz de Ribayaz (originally for harp, 1677)- Title: Folías
- Released 2007 by Atma Classique ACD22567
- Duration: 2'48"
- Recording date: November 21-23, 2006 in Eglise Saint-François de Sales, Laval, Quebec, Canada
- Diaz, Alirio (Rizzio-guitar) 'Four centuries of music for the classical
Spanish guitar'
- Released 1965 by Vanguard LP VSL 11010 and as a double lp-set 'The classic Spanish guitar'
Vanguard Everyman Classics SRV 357/8 SD
Re-released Sep 3, 1996 by Vanguard Classics as compact disc (AAD) # 49, GMR 2092 - Duration: 2'30"
- Released 1965 by Vanguard LP VSL 11010 and as a double lp-set 'The classic Spanish guitar'
Vanguard Everyman Classics SRV 357/8 SD
- Diaz, Alirio (Rizzio-guitar) 'Alirio Diaz, Four centuries of music for the classical Spanish guitar'
- Title: Folias
- Released by Vanguard LP VSD-71135
- Duration: 2'30"
- Diaz, Alirio (Rizzio-guitar) 'Guitarra de Venezuela'
- Title: Pavana y Folia
- Released by High Fidelity Recordings Inc. LP R812 and as a hifitape stereo tape r812 4-track 7,5 ips
- Duration of Folia: 2'56"
- Diaz, Alirio (Rizzio-guitar) '4 siècles de guitare classique'
- Title: Pavana y Folia
- Released by Musidisc Gravure Universelle LP RC784
- Duration of Folia: 2'56"
- Diaz, Alirio (guitar) 'The virtuoso guitar'
In the documentation is written:
The 17th century composer Gaspar Sanz was guitar instructor to Don Juan of Austria, and published a book, Instruccion de Musica sabre la Guitarra Espanola (1674). His Folias - a dance theme, three variations, and da capo return - is kin to the famous tune, sometimes called Folies d'Espagne, which was used for variations by a host of composers from Frescobaldi, Corelli, Vivaldi, Pasquilli and Marais to Liszt and Rachmaninoff.
- Title: Folias
- Released 1972 by Bach Guild LP HM 32 SD (originally VSD 71135/71152)
- Series: Historical anthology of music
- Diaz, Alirio (Rizzio-guitar) '5 Centuries of Spanish Guitar Music'
- Title: Folia
- Released by GMR compact disc 2091, cd 399
- Duration of Folia: 2'56"
- Diaz, Alirio (guitar) 'The art of the Spanish guitar'
- Title: Folia
- Released 1993 by Delta Music compact disc 14 129
- Duration: 3'08"
- Recording date unknown
- Diaz, Alirio (guitar) 'The Classical Spanish Guitar'
- Title: Folias (Transcription Emilio Pujol)
- Released 2006 by Vanguard Classics 2 compact disc ATMCD1802 - 0699675180225
- Duration: 3'08"
- Recording date 1977
- Diaz, Alirio (guitar) 'Alirio Diaz, five centuries of Spanish Guitar'
- Title: Folia
- Released 1996 by BCI Music compact disc BCCD 297, licensed from Bescol Prentice
- Duration: 3'08"
- Recording date not mentioned in the documentation
- 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.
- Title: Folías (in combination with the Folías by Martín Y Coll)
- 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
- Ensemble Musica Antiqua Provence (Jean-Michel Robert: Baroque guitar, Valérie Loomer: chitariglia and cittern,
Philippe Foulon: high viol, Sergio Barcellona: tenor viol, Etienne Mangot: bass viol, Dominique Gauthier: sopranino soprano and alto recorders,
Fernand Charpentier: soprano and alto recorders, David Charpentier: soprano and alto recorders, David Mayoral: percussion and tenor recorder,
Brigitte Tramier: harpsichord) conducted by Christian Mendoze 'Gaspar Sanz, Danzes Espagnoles du XVIIème siècle'
- Title: Folías
- Arrangement for ensemble by Dominique Gauthier
- Released 2004 by Integral Classic compact disc INT 221135
- Duration: 3'18"
- Recording date: without indication of year recorded in Château Mateus, Portugal
. - l'ensemble de trompettes baroques de Berlin (Hute Hartwich, Robert Vanryne, Stephan Maier, Ulf Behrens, trompets,
Tan Kutay, percussions, Simon Linné, Stanislaw Gojny, theorbo and baroque guitar, Mark Nordstrand organ).
- Title: Folías
- A live concert entitled 'Trompettes baroques' broadcasted by Espace 2 (Swiss) June 7, 2007
- Duration: 2'05"
- Recording date: July 4, 2006 in Varsovie
- Ferries, Gordon J.S. (baroque guitar) 'La Preciosa, The Guitar Music of Gaspar Sanz (c.1640-c.1710)'
Gordon J.S. Ferries wrote for the slipcase in 2005:
Two versions of the Folia, a fifteenth-century dance, exist in the baroque era; an early and a later variant with a more complex cadential formula which became standardised in Europe. Sanz's version employs features from both. The earliest extant use of this ground appears in Mudarra's "fantasia que contrahaze la harpa en la manera de Ludovico" 15 for vihuela (1546). This generally rambunctious dance again features tambourines and a variety of other instruments and appears to have been very popular on the stage. In 1611 Sebastián de Covarrubias describes porters, in disguise, carrying young men dressed as women on their shoulders. He goes onto explain that the term folia means mad or empty headed. The steps of the dance were surely meant to illustrate this point. With its emphasis on the second beat, the folia actually has more in common with the later baroque sarabande than its namesake the Spanish zarabanda.
- Title: Folias
- Released 2004 by Delphian Records compact disc DCD34036
- Duration: unknown
- Recording date: unknown
- Fresno, Jorge (Rizzio-guitar) 'Gaspar Sanz, Instrucción de música
sobre la guitarra española'
- Title: Folías (fol. 40)
- Released by Pabellon de Aragon, movieplay Portuguesa Discografica, S.A. compact disc (2-set), 3-11022/23
- Duration of Folia: 2'14"
- Recording date: March 1992 in El Monasterio de la Resurrección de Zaragoza, Spain
- Ganjavi, Reza (guitar) & Friends: Annemarie Dreyer (violin and viola),
Marianne Hübscher (flute), Matthias Schranz (viola) 'Dancing hands,
250 years of European favorites'
The first 4 variations are played on the solo guitar. The 4th variation
is repeated with guitar and violin, ending the piece with cello, flute,
viola and guitar in the first variation again.
- Title: Folías
- Released 2003 by Reza Ganjavi Music compact disc without ordernumber
- Duration of Folia: 3'22"
- Recording date: unknown (not told), Switzerland (without location), 2003
- More about the performer at:http://www.rezamusic.com
- Henderson, Eric (guitar) 'Castillian Knights'
- Title: Folias, Suite Espanola
- Released by not mentioned label or ordernumber
- Duration: 2'45"
- Recording date: Without indication of year at Westside Recording (without further details of the location)
- I Villani (ensemble with recorder, guitar, bass and percussion) 'L'altra musica antica'
This is a nice arrangement for recorder, guitar, bass and percussion of the Folia entirely based upon the piece written by Sanz for guitar solo.
Michael Angierski (guitar) wrote in an e-mail the 7th of January 2006:Duration: 2'43", 1.6 MB. (96KB/s, 44100 Hz)
A fragment of the arrangement
© 1993 I Villani, used with permission
The arrangement, which follows quite close to the Sanz original from the "Libro Segundo de Cifras sobre la Guitarra Espanola" (1673), was composed in 1992 and first performed by "I Villani" in the same year.
- Title: 'La Folia'
- Released 1993 by Hohner Records compact disc HR.08.099.172 / LC 0779
- Duration: 3'24"
- Recording date: 1993 in Sandhausen, Germany
- More about Michael Angierski at his page http://homepage.michael-angierski.info/index.htm and information about the ensemble I Villani at http://www.offsetprint.de/ivillani/index.jsp
- Indiana University Renaissance Band/John Raymond Howell
- Title: Folias
- Recorded by Indiana University, School of Music in Bloomington
- Sound tape reel 1974-1975 no. 702
- Recording date: April 11, 1975
- Kithara: Wilson, Christopher (5 course baroque guitar in E, built by
Robert Eyland 1974) and Miller, David (14 course theorbo in A built by
Stephen Barber 1982), Musica Mediterranea, Music of the Italian &
Spanish Renaissance
The seven variations of the Folia are attributed to an anonymous composer.
However two variations are obviously arrangements of two variations by
Gaspar Sanz (variation 4 and 5). The other variations might be improvisations
regarding the quote of Dinko Fabris comment
Dinko Fabris wrote for the slipcase:We are presented with the joyful use of variation, and free improvisation by the musicians on the most popular themes of the day. This is a freedom which, for several centuries, European musicians seemed to forgot.
- Title: Folias
- Released by Chandos August 1994 compact disc Chan 0562
- Duration: 3'38"
- Recording date: November 17-19, 1993 in Orford Church, Suffolk England
- La
Galanía (Jesús Fernández Baena: theorbo, Pierre Pitzl: baroque guitar)
- Title: Folías/Improvisación
- Released 2011 by Anima e Corpo Música compact disc AEC001
- Duration: 2'41"
- Recording date: unknown
- La Galanía (Jesús Fernández Baena: theorbo, Pierre Pitzl: baroque guitar)
- Title: Folías/Improvisación
- Broadcasted by the Spanish radio Quincena Musical de San Sebastián Transmisión directa desde el Convento de Santa Teresa de San Sebastián. Ciclo de Música Antigua. (direct broadcast during a live performance)
- Duration: 3'59"
- Recording date: August 10, 2012 from the Convento de Santa Teresa in Sebastián, Spain
- Lacrimae Ensemble (Regina Albanez: baroque guitar) 'Flow my tears'
- Title: Folias (with improvised prelude)
- Released 2005 by Skarster Music Investment compact disc (SACD) ACD HL 005-2
- Duration: 1'42"
- Recording date: August 2-4, 2005 at the Nederlands Hervormde Kerk Kolham, The Netherlands
- Lautten Companey 'Konzertsommer 1999'
- Folias
- Released 1999 by PricewaterhouseCooper 3 cd-box
- Duration: 3'33"
- Recording date: 1999 without indication of place and date
- Lemaigre, Philippe (guitar)
- Title: Folias
- Released by ALP DB 234
- Lindberg, Jakob (5 course baroque guitar) 'Spanish guitar music'
- Folias
- Released 2000 by BIS compact disc BIS-CD-899
- Duration: 1'46" (theme, 3 variations, theme)
- Recording date: February 1999 at Länna Church, Sweden
- Lislevand, Rolf (5 course guitar) "Encuentro Sanz & Santa Cruz"
- Released 1997 by Avidis Astree compact disc E 8575
- Duration: 1'27" (theme, 3 variations, theme)
- Recording date: November 1995 in l'Abbatiale de Beinwil, Soleure Zwitserland
- Lislevand, Rolf (baroque guitar)
- Broadcasted by KRO Radio (The Netherlands), September 10, 1998 of a live concert
- Duration: 1'20"
- Recording date: August 30, 1998 in the Ottone at the 'Festival of Ancient Music', Utrecht
- Lislevand, Rolf (guitar) 'Altre Follie'
This Folias tune of the compact disc 'Altre Follie' is a combination of different lines from the Folia
composition by Corbetta and by Sanz. The opening is for the Corbetta strummed lines followed by the theme of Sanz.
The music swiches several times between the two pieces.
Overall, one can globally identify the Corbetta elements by the strummming style and the Sanz lines by the plucked
style.
Rui Vieira Nery wrote for the slipcase:
Corbetta seems to be one of the first authors to superimpose to the traditional bass of the Folia the characteristic treble melody in triple meter, with a dotted second beat in each measure, that was to become associated with the genre from the late seventeenth century on. In fact, Gaspar Sanz' 1674 version was basically an adaptation of Corbetta's setting., which the Spanish master must have acquired shortly after its publication in Paris.
- Title: Folias (1674)
- Released 2005 by Alia Vox compact disc AV 9844
- Duration: 3'14"
- Recording date: February 28-March 3 and June 6-9, 2005 in the Collégiale of the Château de Cardona, Catalogne
- See also the page Recommended Folia-recordings
- Lopátegui, José Luis (guitar) 'Spanish Guitar Music'
- Title: Folias of Suite Espagnol
- Released unknown year by Turnabout LP TV-S 34390
- Duration of Folia: 3'15"
- Recording date: not mentioned in the documentation
- Lundestad, Sven (guitar) 'Rendez-vous'
- Title: Folias
- Released 1995 by Okapi Records compact disc ORCD 001
- Duration of Folia: 2'36"
- Recording date: November 17, 1994 and January 26 and February 10, 1995
- Mailburg, Anette (flute), Potasinski, Leszek (guitar), Gula, Wlodzimierz (double bass) 'La Fiesta'
- Title: Folías
- Released 2000 by Zuk Records compact disc 319
- Duration of Folia: 2'49"
- Recording date: unknown
- Maroto, Sebastian (guitar) 'La Guitare Espagnole'
- Title: Folia
- Released by Harmonia Mundi vinyl HMO 25.302
- Duration: 2'30"
- Recording date: not mentioned in the documentation
- Mason, Barry (baroque guitar) 'Masters of the baroque guitar
- Title: Folia
- Released 1990 by Amon Ra compact disc CDSAR 45
- Duration: 2'20"
- Recording date: December 1988 at West Dean, Sussex
- Guitar by Klaus Jacobsen, London 1977 after Vovam, France mid 17th century
- Martinez, David (guitar) 'Guitar Recital'
This is an early arrangement of the Folias by Sanz which differs not that much from the more common
arrangements for modern classical guitar. However for this recording not Sanz but Regino Sainz de la Maza
is mentioned as the composer.
In the slipcase is written:
Regino Sainz de la Maza (1896-1981)4 Danzas Cervantinas (after Gaspar Sanz) Folias, Españoleta, Marizapolos, Canarios. A leading guitarist, composer and teacher of his time, Regino Sainz de la Maza has also earned a mark in history by being the first performer of the most played concerto ever, Rodrigo's 'Concierto de Aranjuez'.
Many of Sainz de la Maza's compositions are flamenco-based, but another passion was the Baroque. and the four 'Danzas Cervantinas' constitute in effect a homage to the great master of the Baroque guitar, Gaspar Sanz (1640-1710). The dances transfer wellfrom the Baroque guitar to the modern guitar, once the six single strings of the modern guitar can be reconciled with the five double strings of the Baroque instrument.
Saionz de la Maza's rescue work was done before the Early Music movement got into its stride, and the musical values of his time were unimpeded by questions of authenticity.- Title: Folias as part of Danzas Cervantinas
- Released 2005 by Naxos Laureate Series - Guitar compact disc 8.557808
- Duration: 1'55"
- Recording date: April 22-24, 2005 at St.John Chrysostom Church, Newmarket, Ontario, Canada
- Martinez, Kurt (guitar) 'Folías'
- Title: Folias
- Released without indication of year (but it is 2003) by martinezkurt@cs.com without order number
- Duration: 3'16"
- Recording date: not mentioned in the slipcase
- See also the page Recommended Folia-recordings
- Moreno, Jose Miguel (vihuela or baroque guitar or guitar) 'La guitarra
española (1536-1836)'
- Title: Folias
- Released 1994 by Glossa, San Lorenzo de el Escorial, Espana compact disc 920103
- Duration: 3'48"
- Recording date: March 1994, at Villa Consuelo, San Lorenzo de El Escorial
- Moreno, Jose Miguel baroque guitar ) and Orphénica Lyra: Eligio Quinteiro, tiple and theorbo, Juan Carlos de Mulder, theorbo and baroque guitar, Pedro Estevan, percussion "Gaspar Sanz, Instrucción de música sobre la guitarra Española"
- Title: Folias
- Released 2008 by Glossa compact disc GCD C80206
- Duration:unknown
- Recording date: April 2000 at Sama de Langreo (Auditorio del Conservatorio de la Mancomunidad del Valle del Nalón)
- Moreno, Jose Miguel (vihuela)
Jose Miguel Moreno in a live performance of Folias and Canarios
Duration: 7'06" direct link to YouTube
© 2007 by Jose Miguel Moreno- Title: Folias and Canarios by Lucas Ruiz de Ribayaz based upon Gaspar Sanz
- Broadcasted by ORF O$uml;sterreichischer Rundfunk January 26, 2007 in the program `Resonanzen`.
- Duration: 7'06"
- Recording date: January 26, 2007 (a direct broadcasting) location unknown
- Navascués, Santiago (guitar) 'Spanische Gitarrenmusik, Santiago Navascués spielt Albéniz, de Falla, Rodrigo, Sanz, Turina'
- Title: 12 Tänze aus Instruccion de musica sobre la Guitarra Espanola: Folias
- Released 1973(?) by Ariola LP 86853 KK
- Duration: 2'45"
- Recording date: May 1973 in Berlin, Germany
- Olavide, Begoña (salterio), Paniagua,
Carlos (darbugas, psalterion) e.o. 'Salterio'
This is a Folia-medley starts with an anonymous Folia including some variations by Gaspar Sanz, the second Folia is played as an improvisation by the ensemble and the last part is the Barcelona Manuscript for salterio solo dated back to 1764.
- Released January 1999 by MA Records compact disc MA 025A
- Duration: 10'31"
- Recording date: March 1994 in the Monasterio de la Santa Espina, Valladolid, Spain
- Orphénica Lyra [Moreno, José Miguel (baroque guitar),
Mulder, Juan Carlos de (theorbo), Quinteiro, Eligio (tiple)] 'Gaspar Sanz,
Instrucción de música sobre la guitarra española' '
- Title: Folías
- Released 2000 by Glossa, in the series The Spanish Guitar Vol. V compact disc GCD 920206
- Duration: 3'12"
- Recording date: April 2000 in Auditorio del Conservatorio de la Mancomunidad del Valle del Nalón
- Parkening, Christopher (guitar) 'A Tribute to Segovia'
- Title: Suite española: Folias
- Released Nov 12, 1991 by EMI Classics compact disc 49404
- Pujol, Emilio. Transcription for guitar from guitar tablature
- Published 1928 by Max Eschig Editions, anciens 1006 M.E. 2096
- Part of: Les guitaristesespagnols du XVIIe siecle
- Score 3p., 32 cm.
- Rigano, Paolo (Baroque guitar) 'La Chitarra alla Spagnola: 17th Century Music for Baroque Guitar'
- Title: Folias
- Duration: 2'28"
- Released by Da Vinci Classics compact disc
- Year of release: 2024
- Robert, Jean Michel (lute) Tramier, Brigitte (harpsichord) "Musique
baroque pour luth, chitarrone et clavecin"
This is a nice medley of the authentic score for keyboard by Pasquini with a lute-part added and the authentic score for guitar (in this case lute) by Sanz with a harpsichord-part added. And that's not all. Every variation of Pasquini is immediately followed by a variation of Sanz and every variation of Sanz by a Pasquini-variation till all variations have been played.- Title: Variations sur "Les Folies d'Espagne"
- Duration: 3'33"
- Released by Koch Schwann compact disc 3-1544 2
- Recording date: October 1991 dans la salle de concerts, Centre Culturel de Valprivas, France
- Santos, Turibio (guitar) 'Concierto de Aranjuez: Rodrigo, Sor, Sanz,
Mudarra, de Narvaez'
- Suite Espanole: Españoleta, Rujero y Paradetas, Folias de España, Zarabanda al aire español, Toques de la Caballeria de Napoles, Canarios
- Released without indication of the year of release by Musidisc LP 30 RC 894
- Duration: 3'18" (just the Folias de España)
- Recording date: not indicated
- Sauvage, Valéry
Duration: 1'51" direct link to YouTube
The complete Folias as played by Valéry Sauvage
© 2008 Valéry Sauvage, used with permission- Title: Folias from the 'Instruccion de Musica sobre la guitarra española (libro segundo, f. 40r).
- Baroque guitar strung with nylon strings
- Released for YouTube December 30, 2008
- More about Valéry Sauvage at http://perso.orange.fr/luthval/discographie.html
- Scheit, Karl edited the music for guitar
- Title: 'Folia - Espanoleta - Matachin - Espanoleta - Preludio o Capricho - Corriente' (aus 'Instruccion de Sobre la Guitarra Espanola', 1674)
- Published 1974 by Universal Edition
- Score 8 p. in total 23,2 x 30,5 cm
- Publisher No. UE14469
- ISMN M-008-00536-7
- Schmitt, Thomas (guitar) 'Gitarrenmusik des Barock - Spanien'
- Title: Folias
- Released 1996 by Musicaphon (distributed by Qualiton) as compact disc 56819
- Duration: 1'43"
- Smith, Hopkinson (5 course guitar) 'Instrucción de música
sobre la guitarra'
- Title: Foliís, baile aristocratico algo estilizado (stylized aristocratic dance)
- Released 1996 by Auvidis Astree compact disc E 8576
- Duration: 2'25" (theme, 3 var., repetition of the 3 var., theme)
- Recording date: December 1995 in Mandelsloh, Neustadt Germany
- Smith, Hopkinson (baroque guitar) 'Sanz, Instrucción de música
sobre la guitarra'
- Title: Foliís, baile aristocratico algo estilizado (stylized aristocratic dance)
- Released 2000 by NAIVE Astree compact disc 8828
- Duration: 2'29" (theme, 3 var., repetition of the 3 var., theme)
- Recording date: unknown
- Takeuchi, Taro (5 course guitar) 'Folias!, virtuoso guitar music of
C17th on period instruments'
- Title: Folias
- Released 2002 by Deux-Elles Limited, Reading, UK compact disc DXL 1030
- Duration: 3'29"
- 5 course guitar by Martyn Hodgson , Leeds 1982 after René Voboam, Paris, 1641. he original is in the Hill Collection, Ashmolean Museum, Oxford
- Recording date: April 16 and 17 at St Martin's Church, East Woodhay, England
- Terrago, Renata (5 course guitar) 'Three centuries of Spanish guitar music'
Renata Terrago was born in Barcelona, where she studied music at the conservatory of the Liceo.
She began her career as a professional guitarist when she was
fourteen. Both in Spain and abroad, her recitals have met acclamation from the public and critics.
In 1951, the city of Barcelona awarded her the Premio Extraordinario (award for excellent achievement).
The Album cover says the following:Gaspar Sanz lived during the Seventeenth Century, and spent most of his career away from Spain. He became maestro to the Spanish Viceroy at Naples and guitar teacher to Don Juan of Austria, for who he wrote a book of instruction which contains interesting examples of Spanish dance music and folksong of that period.
- Title: Folías
- Released by Everest Productions LP without indication of year
- Duration: 1'34"
- Recording date: not mentioned in the documentation
- Terrago, Renata (5 course guitar) 'Musique Espagnole pour guitare'
- Title: Folías
- Released by Vega Serie Artistique LP HH C 30 A 249
- Duration: 1'37"
- Torre, Rey de la (guitar) 'Music by Guliani, Sanz, Sor, Tárrega, Toroba'
- Title: Folías
- Released 1958/1959 by His Masters Voice LP CLP 3607
- Duration: unknown
- Vidal, Marcelo (guitar) 'La guitarra en la iglesia'
- Title: Folías
- Released 2005 by Balcon Records compact disc BCR 62604
- Duration: 2'10"
- Walter, Fried 'Reflexe, Variationen durch
die Jahrhunderte über ein altspanisches Thema von Gaspar Sanz (1972).
Walter uses the opening variation of Sanz to create his own musical time travel. See for more information at the composer Walter or click the link. - Yepes, Narciso (ten-stringed guitar) 'Narciso Yepes, Spanish guitar
music'
- Title: 'Folias' as part of the 'Suite Española'
- Released 1997 by Belart,a Polygram company compact disc 461 2762
- Duration: 2'31"
- Recording date: 1968
- Yepes, Narciso (ten-stringed guitar) 'Guitarra Española, Vol 1'
- Title: 'Folias'
- Released 1968 Polydor International, 1992 Deutsche Grammophon 4x compact disc 439 172-2
- Duration: 2'31"
- Recording date: September 1967, Beethovensaal, Hannover, Germany
- Yepes, Narciso (ten-stringed guitar) 'Malaguena: Spanish guitar music'
- Title: 'Folias'
- Released March 2001 by Deutsche Grammophon compact disc 2894696492
- Duration: 2'30"
- Recording date: September 1967, Beethovensaal, Hannover, Germany
- Yepes, Narciso (ten-stringed guitar) 'Cinco Siglos de Guitarra Española, VL. 1'
- Title: 'Folias' as part of the 'Suite Española'
- Released 1968 by Deutsche Grammophon Gesellschaft LP ALB 216 139 365
- Duration: 2'30"
- Recording date: September 1967, Beethovensaal, Hannover, Germany
- Yepes, Narciso (ten-stringed guitar) 'The World of Guitar Vol. 1'
- Title: 'Folias' as part of the 'Suite Española'
- Released unknown by London Label LP SPA 4005
- Duration: 2'30"
- Recording date: September 1967, Beethovensaal, Hannover, Germany
- Yepes, Narciso (ten-stringed guitar) 'Barockwerke für Gitarre,
J.S. Bach, D. Scarlatti, Weiss, Sanz'
- Title: 'Folias' as part of the 'Suite Española'
- Released without an indication of the year by Deutsche Grammophon LP 2538236
- Duration: 2'28"
- Recording date: not indicated
- Yepes, Narciso (ten-stringed guitar) 'Narciso Yepes'
- Title: 'Folias'
- Released without an indication of the year by London Continental series LP KL-320
- Duration: 2'28"
- Recording date: not indicated
- Yepes, Narciso (ten-stringed guitar) 'Narciso Yepes'
- Title: 'Folias'
- Released 1956 Disques Festival LP Vinyl FLD 718
- Duration: 2'34"
- Recording date: not indicated
- Zaczek, Brigitte (guitar) 'Music for guitar from the Spanish renaissance
and rococo'
- Title: Folias
- Released 1969 by Musical Heritage Society LP MHS 991
- The works by Sanz are from his book, 'Instrucccion de musica sobre la guitarra espagnola' (Zaragosa 1674) for five-course baroque guitar. Played here on the modern guitar.
- Zayas, Rodrigo de (Baroque guitar) 'Luths - Théorbes, Vihuelas, Guitare Baroque'
Rodrigo de Zayas wrote as an introduction to the piece: (the statement of Piccinini's 'early' folí will be a misunderstanding)
Folías: the first report of a folía appears when one was danced for Queen Juana la Loca during a trip to Portugal, in the town of Evora. The Portuguese origin of this dance is therefore probable. This same folía appeared among the works for the theorbo of Piccinini written at the beginning of the 17th century long before Sanz.
- Title: Folías
- Released 1979 by Arion 3 LP-set ARN 336 018
- Duration: 1'21"
- Recording date: 1978 in la Maison de la Culture de Rennes, France
The original manuscript conserved in Naples (Conservatory Library, manuscript 9478: Primo e Secondo Libro di Toccata del Sig. Cavaglere Alessandro Scarlatti).
There should be an earlier version probably less variations or not embedded in a toccata by Scarlatti dated back to 1715.
The complete d'Ottava stesa as played by Andrea Marcon (harrpsichord)
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Theme and variazioni su "La Follia" |
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Duration: 1'30", 531 kB.( 48kB/s, 11KHz) |
| Theme of Variazioni su 'La Follia' | by unknown source |
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- Alessandrini, Rinaldo (harpsichord) 'Toccate per Cembalo'
Alessandrini plays d'ottava stesa including Follia
Duration: 22'44", Follia starting at 11'11" direct link to YouTube
© 1992 by Rinaldo Alessandrini- Title: Toccata per l'ottava stesa (1723)
- Released 1992 by Arcana compact disc A3, re-released 2010 by Arcana compact disc A323
- Duration: 8'20" as part of the Toccata per l'ottava stesa (total time 19'28") not indexed at all
- Recording date: october 8/10 1991 in the studio of Deutschlandfunk, Koln (Cologne)
- Harpsichord built by Franciscus Debbonis, Roma 1678
- Alvini, Laura (harpsichord) 'Studii e divertimenti percembalo: Francesco
Durante, Con due toccate; Variazione sulla Follia di Alessandro Scarlatti'
- Released 1994 by Tactus compact disc TC 680402
- Duration: 7'32"
- Bärtschi, Werner (piano) 'La Folia'
- Title: Folia
- Released 1983 by PAN LP ordernumber 130 051
- Duration: 7'44"
- Recording date: February 2nd in Thun Switserland, 1982
- See also the page Recommended Folia-recordings
- Battiston, Ivano (accordeon solo)
Ivano Battiston plays La Follia
Duration: 12'38" direct link to YouTube
© 2010 by Ivano Battiston
- Title: La Follia
- Published at YouTube October 6, 2010 by Ivanobattiston
- Duration:12'38"
- Recording date:24 August 2002 in Kunstlerhaus Bethanien, Berlin, Germany
- Brembeck, Christian (harpsichord) 'La Danza de los Poetas, harpsichord
dances'
- Title: Variazoni sulla Follia di Spagna
- Released 2002 by Arte Nova in Co-Production with Bayerischer Rundfunk compact disc 74321 85298 2
- Duration: 7'13"
- Recording date: May 21-23, 2001, Studio 2 Bayerischer Rundfunk, Munich, Germany
- See also the page Recommended Folia-recordings
- Catalucci, Gabriele (harpsichord) 'Festival internationnal de l'orgue ancien et de la musique ancienne VOL 5'
- Title: Follia
- Released 1999 by Festival International de l'orgue ancien et de la musique ancienne compact disc without an ordernumber
- Duration: 2'19"
- Recording date: 1998 in Basilique de Château de Valère in Sion, Switzerland
- Dawson, Lynn & The Purcell Quartet 'La Folia & Two Cantatas'
- Released 1989 by Hyperion compact disc CDA66254
- Duration: 13'04"
- Recording date: April 29/30, 1987
- Dawson, Lynn 'La Folia'
- Released 1992 by Hyperpress Pub. Corp.
- Source: CDNow with ISBN 6302005116
- Esfahani, Mahan (harpsichord)
Mahan Esfahani plays Variazoni sulla Follia di Spagna
Duration: 6'34" direct link to YouTube
© 2010 by Mahan Esfahani- Title: Variazioni sulla Follia di Spagna
- Broadcasted by BBC radio 3 in the program 'Lunchtime concert' 14 Jul 2010, 13:00 from a live performance with the title "Harpsichord Music from the court of João V" during the 'City of London Festival 2010'
- Duration: 6'35"
- Recording date: June 29, 2010 in Church of St Margaret Pattens, London England during the 'City of London Festival 2010'
- Thanks to Sagittarius for publishing the concert in the newsgroup alt.binaries.sounds.mp3.classical August 8, 2010
- Frigè, Milena (harpsichord) 'Alessandro Scarlatti, Toccate per
Clavicembalo e per Organo'
- Title: Variazioni su "La Follia"
- Released 1995 by Stradivarius compact disc STR 33386
- Duration: 9'42"
- Recording date: November 21/23, 1994 in the Aula magna del Seminario Superiore di Ivrea, Italy
- Gaggini, Marco (harpsichord)
Duration: 7'40" direct link to YouTube
Follia from Settima Toccata as played by Marco Gaggini
© 2009 Marco Gaggini and Romeoamkj, used with permission- Title: Variazioni su "La Follia"
- Recorded by Romeoamkj during Rassegna Cembalistica 2009
- Duration: 7'40"
- Recording date: March 21, 2009 at Palazzo Annibaldeschi in Monte Compatri, Rome, Italy
- Galvez, Genoveva (harpsichord) 'Espana en la Musica Europa de los Siglos XV al XVIII'
In the documetation was written by Genoveva Galvez:Duration: 7'05" direct link to YouTube
Follia from Settima Toccata as played by Genoveva Glvez
© 1977 Genoveva GalvezLa «Folía» es una danza portuguesa, cuyo origen se remonta a tiempos muy antiguos. Ya Pedro 1, al Justiciero, de Castilla, en el 1350, gustaba de bailarla, A partir de 1500 se leen alusiones frecuentes a esta danza en tratadistas de música como Salinas, en literatos (Gil Vicente, Cervantes .. . ), encontrándose, por otro lado, gra'n cantidad de ejemplós musicales de ella en vihuelistas y cancioneros. A principios del siglo XVII, se pone de moda en toda Europa, con el nombre de «Folía de España» ; casi todos los compositores escribieron sobre este tema, baste decir que, en tiempos más modernos, hasta Liszt y Rachmaninoff han utilizado el tema de la «Folía» en sus composiciones.
Alessandro Scarlatti (1660-1725), padre de Domenico, el autor de tantas bellas sonatas para e,1 clave, había trabajado con el gran Girolamo Frescobaldi en Roma; de él aprendería la técnica de la Variación, o «Partite», en la acepción italiana más antigua de esta palabra. Existe, según Willy Apel, un vínculo de unión entre Cabezón y Frescobaldi a través de la escuela de tecla de Nápoles, y de la que son exponentes magníficos un Antonio Valente y otros compositores. La «Folía», primitivamente danza, se , convierte en tema básico de composición, y se presenta como complejo armónico-melódico en el que están implicadas las cuatro voces polifónicas (según el mUSicólogo Miguel Quero!), pero cuya parte más característica se sitúa en el bajo. Este bajo de «Folía», se repite invariablemente a lo largo de la obra como un bajo «ostinato». La «Folía» de A. Scarlatti, de gran empeño virtuosístico, forma parte integrante de una de sus «Toccatas».- Title: Partite sull'Aria della Follia
- Recorded 1977 by Hispavox HHS 10-474 (LS)
- Duration: 7'05"
- Recording date: not mentioned in the documentation
- See also recommended recordings
- Garilli, Fabrizio (harpsichord) 'Il '700 Musicale Italiano'
- Title: Variazioni sulla Follia
- Released by Disco VMC 3003 mono - VSC 4003 Stereo Vedette Classica
- Duration: unknown
- Recording date: unknown
- Gerlin, Ruggero (harpsichord) 'Spanish and Portuguese Masters of the
Harpsichord'
In the documentation was written:
The Toccata No. 7 in D minor appears in the manuscript of the two books of 'Toccate per Cembalo'. The second part of this toccata comprise twenty-nine variations on the 'Folia', popular theme of an old Spanish dance, in ternary rhythm. A detailed description of this dance was given by Salinas in in the seventh book of his 'De Musica' (1577). In 1600 Cervantes mentioned it, placing it with the saraband and the chaconne, and in 1625 Giovanni Stefani used it in his 'Scherzi amorosi'. A number of composers in addition to Scarlatti took up the theme, including Fresobaldi, Storace, Pasquini, Corelli, d'Anglebert, Bach, Sanz, Lully, Vivaldi, Keiser, Pergolesi, Grétry and Cherubini.
- Title: Partitas on "La Folia"
- Released mid 1950s by L'Oiseau Lyre LP OL 50032
- Duration: 9'53" (as part of the complete Toccata in D minor)
- Recording date: mid 1950s
- More about Ruggero Gerlin at the website http://jsebestyen.org/gerlin/
- Goebels, Franzpeter edited the sheet music
From the preface:Out of the wealth of Follia compositions traceable from the late 15th century up to the turn of the 20th, we are publishing three salient works for the keyboard. Our edition is based on a critical revision of the source material.
- Title of volume: Variationen über die Follia für Klavier. (incl. C.P.E. Bach & Pasquini)
- Title: Variazioni sulla 'Follia di Spagna' (theme and 28 variations)
- Published by Schott, Mainz 1970
- In a footnote at variation 28 the editor writes: 'This may not be regarded as a suitable ending to the work. The editor follows it by a repetition of variation 24 with the perfect cadence'.
- Publisher No. ED5775
- ISMN: M-001-06326-5
- Innocenti, Stefano (organ) 'Neapolitan Keyboard Music'
- Title: Partite di Follia
- Released 2014 by Brilliant Classics
- Duration 8'22"
- Recording date: 21 July 2013 in Parma
- Jensen, Lori-Ann editor and arranger of adapted score for any three
suitable instruments.
Duration: 0'28", 02 kB.
The theme as indicated in the sheet music for koto, steel string guitar & dulcimerOpening theme by A. Scarlatti. Arranged and edited for 3 instruments by Lori-Ann Jensen
© 1995 Podium Music, reproduced with permission of Podium
- Published 1995 © by Podium Music, Canada
- Score 4 p. (66 bars), 23 cm by 17 cm
- Publisher No. 3800
- See the sheet music above, where the opening is shown
- Kipnis, Igor (harpsichord) 'Italian Baroque Music for Harpsichord'
Judith Robison wrote as an introduction:In this recording, Mr. Kipnis has made a keyboard transcription of Corelli's setting of the theme to open the variations and uses a theme from Vivaldi's Trio Sonata, Op. 1, No. 12 to close them.
- Title: Toccata in D minor
- Released 1966? by Epic LP BC 1311
- Duration: 19'40" (complete toccata) 10'39" (variations)
- Recording date: October 8, 11 and 12, 1965 at Columbia's 30th Street Studio, New York City
- Kipnis, Igor (harpsichord) 'Europäische Cembalomusik des Barock und Rokoko'
Ekkehart Kroher wrote as an introduction:
Scarlatti hinterliess kein grossartigeres Werk als die dreiteilige Toccata d-moll, deren abschliessendes 'Partite sull' aria dell' follia' 29 Variationen über das durch Corellis Violinsonate op. 5 Nr. 12 berühmt gewordene Folia-Thema bringt
- Title: Toccata nr. 7 in D minor
- Released without indication of year by CBS LP 5-box S77501
- Duration: 19'40" (complete toccata) 10'39" (variations)
- Recording date: October 8, 11 and 12, 1965 at Columbia's 30th Street Studio, New York City (not indicated in the documentation)
- Koppenwallner, Angela (harpsichord) 'Alessandro Scarlatti & Figlio, musica per il clavicembalo'
- Title: 29 Variationen über 'La Follia'
- Released 2006 by ORF Edition Alte Musik compact disc 458
- Duration: 11'13"
- Recording date: July 18, 19 2005 in Neander-Kirche, Düsseldorf, Germany
- Harpsichord built by Joel Katzman, 1995 Amsterdam
- Laganà, Ruggero (harpsichord) 'Follie, bizzarrie e stravaganze in musica, dal '500 all '800'
Source: GB-Lbl, una più tarda versione in US-NH, in Toccate per cemalo, a cura di J.S. Shedlock, London 1908
- Title: Variazioni sopra la Follia di Spagna (1723)
- 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: 8'24"
- Recording date: August 18-19 and November 15-19, 2004 in Chiesa di S. Maria Incoronata, Martinengo (Bg), Italy
- All variations nicely indexed
- See also the page Recommended Folia-recordings
- Laganà, Ruggero (harpsichord) 'Folías italianas'
Pinuccia Carrer wrote for the slipcase:
As Pasquini, so was Alessandro Scarlatti (Palermo, 1660 - Naples, 1725), an Arcadian with the name Terpandro, who played a big role within music history as a composer-teacher as well as father (Pietro and Domenico were his most well known offspring, and it was he himself who introduced them to the art of music). Alessandro Scarlatti made the toccatistica form and the Folie d'Espagne his, developing each single variation, from the point of view of keyboard technique, in a truly original manner. In order to show the harpsichord's obvious and hidden tonal and dynamic resources to their advantage he surrounds his writing with a veritable "cacophony" of chords and formulas, dictated more by him than rules. They are placed at the end of the CD and would appear to be a musical metaphor of Enconium moriae, in praise of folly, recalling Erasmus.
- Title: Toccata per cembalo d'Ottava stesa (1723) (with), Variazioni sulla Follia di Spagna
- Released 2010 by Concerto compact disc CD 2058
- Duration: 18'52"
- Recording date: October 2009 Bartok Studio, Bernareggio (Mi), Italy
- See also the page Recommended Folia-recordings
- Laganà, Ruggero (harpsichord)
Ruggero Laganà plays Variazoni sulla Follia di Spagna live in Rome
Duration: 7'28" direct link to YouTube
© 2010 by Ruggero Laganà- Title: Variazioni sopra la Follia di Spagna (1723)
- Broadcasted live of performance by Italian radio Rai Radio 3
- Duration: 8'27"
- Recording date: 28 October 2007, Palazzo del Quirinale, Roma, Italy
- Longo, Alessandro editor 'Aria con variazioni per pianoforte di Alessandro
Scarlatti'
- Title: Variations on 'Folies d'Espagne'
- Published 19? by G. Ricordi, Milano-New York
- 15 p, 32 cm
- Series: Biblioteca del pianista
- Publisher No. 103113
- Lucsaité-Mrázková, Giedré 'Italien Clavier
of the 17th and 18th Centuries'
- Title: Toccata per cembalo (1723)
- Released 1994 by ARTA Classic Records compact disc F10053-2
- Duration: 19'41"
- Recording date and place unknown
- Instrument: Double manual Flemish harpsichord after Ruckers 1627 (built in 1994)
- Marcon, Andrea (harpsichord) 'Alessandro Scarlatti, works for organ
and harpsichord'
Andrea Marcon plays A. Scarlatti 's complete Ottava stesa including the Folia starting at 13'05"
Duration: 24'03" direct link to YouTube
© 1994 by Andrea Marcon- Title: Toccata per cembalo d'ottava stesa
- Released 1994 by Divox Antiqua compact disc CDX-79403
- Duration: variations 13'05", in total 23'50"
- Recording date: April 3-5, 1991 in the Chiesa San Giacomo, Polcenigo (Friuli), Italy
- Márquez, Silvia (organ)
- Title: ''Variacions sobre La folia'' per a orgue
- Broadcasted by Catalunya Musica December 3, 2012 for Una selecció dels millors enregistraments de la nostra fonoteca. Presentació d'Ignasi Pinyol. 32è CICLE ELS ORGUES DE CATA-LUNYA
- Duration: unknown
- Recording date: July 21, 2012 Catalunya Música. Parròquia de Sant Bartomeu i Santa Tecla. Sitges, Spain
- Martin, Béatrice (harpsichord) 'Alessandro Scarlatti, Totus Amore'
- Title: Variations on "La Follia" for keyboard
- Released 2006 by Deux-Elles compact disc B000FVX71S
- Duration: 7'28"
- Recording date: June 2003 in Douai Abbey, Berkshire, England
- Norell, Judith (harpsichord) 'Scarlatti, A. & D. Harpsichord Sonatas,
Partita & Toccata'
- Title: La Folia: 26 variations and theme
- Released 1978 by Sine Qua Non LP SA 2018
- Pol, Wijnand van de (organ) 'Antichi Organi Italiani'
Wynand van de Pol plays Toccata del primo tono including Follia
Duration: 22'44", Follia starting at 14'42" direct link to YouTube
© 1971 by Wynand van de Pol
In the documentation is written about the organ:
The instrument used for this recording is an antique Neapolitan positive organ of the second half of the Settecento. It has, therefore, all the characteristics of the Neapolitan school: a narrow diameter of the pipes, the almost complete absence of tongues, low-pressured bellows. The result is a simultaneously sweet and crystalline sound. Outstanding is the rather accentuated and unique anticipatory statement of the pipes preceding the actual sound, which confers a clarity and polyphonic texture to the notes. The keyboard is disposed as follows: Principal 8', Octave 4', XV 2', XIX 1'1/3, Flauto 4' Vox Humana 8' soprani. The author of this precious instrument remains anonymous, but the tachnique and tone quality are closely related to that of Dominicus Antonius Rossi, organ builder for the Royal Chapel from 1761 to 1789.
The organ was restored in 1969 by Bartolomeo Formentelli, one of Italy's most outstanding organ builders and the only one working on a completely artisan level. Restored according to strict historical criteria, it is one of the few existing positive organs able to recreate the true essence of the music which was written for it.- Title: Toccata del primo tono: Preludio, Adagio -Presto, Fuga, Adagio cantabile ed appoggiato - Follia (Partite sull'aria della ...)
- Released 1971 by Vendetta Records LP VST 6036
- Duration: 10'36" (Adagio cantabile ed appogiato - Follia)
- Recording date: Registrazione stereofonica effecttuata nel Giugno 1971
- The Purcell Quartet (harpsichord solo Robert Woolley) 'Alessandro Scarlatti, La Folia'
Robert Woolley plays A. Scarlatti's harpsichord variations on "La Folia as part of the Ottava stesa
Duration: 13'12" direct link to YouTube
© 1989 by Robert Woolley- Title: Folia from Toccata No. 7 (Primo tono) from the Primo e Secundo Libro di Toccate
- Released 1989 by Hyperion compact disc CDA66254
- Duration: 13'04"
- Recording date: April 29/30, 1987
- The Purcell Quartet (harpsichord solo Robert Woolley) '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"
- Title: Folia from Toccata No. 7 (Primo tono) from the Primo e Secundo Libro di Toccate
- Released 1998 by Hyperion compact disc CDA67035
- Duration: 13'04"
- Recording date: April 29/30, 1987
- Raad, Nico de 'Van Hagerbeer organ, before and after the restauration'
- Title: Folia in d
- Released by TMD compact disc TMD 991101
- Duration: 1'46"
- recording date: September 1999 at the restaured Van Hagerbeer organ in the Pieterskerk, Leiden, The Netherlands (although in the container is mentioned that it was recorded at Chapel Studio Tilburg, The Netherlands which will be related to the mixing)
- Radulescu, Michael edited the edition 'Toccata nel primo tono' for organ
- Title: Preludio, Fuga , Partite sull'aria della Follia
- Published 1969 by Paideia, Brescia
- Score 31 p. 24 x 24 cm
- Series Biblioteca classica dell'organista, v. 1
- Sgrizzi, Luciano (harpsichord) 'Meister italienischer Cembalomusik des
17. und 18. Jahrhunderts' (Orbis) and originally 'Antologia della musica clavicembalistica italiana del secolo XVII' (Cycnus)
Lothar Hoffman-Erbrecht wrote for the cover of the LP (Orbis release):
Das bedeutendste Cembalowerk Alessandro Scarlattis sind aber seine 'Variazioni sulla Follia di Spagna', Variationen über die aus Spanien stammende 'Follia'. Die Follia war ein Tanz im Dreiertakt mit dem getragenen Charakter einer Sarabande; sie bestand aus einem achttaktigen Modell, das beim Tanz nach Bedarf wiederholt und variiert wurde. Bald in Spanien, sondern in Italien, wo die Follia (eigentlich = Narrheit, Laune) bald eines der beliebtesten Themen für Variationen wurde. Das bekannteste Werk dieser Art schrieb Arcangelo Corelli in seiner 12. Violinsonate, die als 'Folies d'Espagne' noch heute auf den Programmen der Grossten Geiger steht. Alessando Scarlatti aber übertrifft ihn noch an Zahl und Vielfalt der Variationen. Nach 25 Variationen, in denen der Bau und die Harmonik der acht Takte nur wenig verändert werden, besliesst die Wiederholung des Themas ein Werk, in dem wirklich alle Register der Komposition gezogen werden; Das thema wird melodisch aufgelöst, rhythmisch abgewandelt und im Charakter vielfältig verändert. Es ist das grösste und bedeutendste Variationswerk für Cembalo, das vor Bachs 'Goldberg-Variationen' geschrieben wurde, und es ist so recht geeignet, die universelle Begabung Alessandro Scarlattis ins Licht zu stellen
- Title: Variazioni sulla Follia di Spagna
- Released without indication of the year of release by Orbis LP 73987 originally released by Cycnus 60 vinyl CS 515
- Duration: 7'58"
- Recording date: not indicated at all in the Orbis release but mentioned as December 1-3, 1962 in Lugano in the Cycnus release
- More about the oeuvre and life of this harpsichord player at http://jsebestyen.org/sgrizzi/
- Sgrizzi, Luciano (harpsichord) 'Cinq Toccatas'
- Title: Variazioni sulla Follia di Spagna
- Released by Erato vinyl ERA 9089
- Duration: 7'43" (19'26" the entire toccata)
- Recording date: December 21-22, 1972 in Paris, France
- More about the oeuvre and life of this harpsichord player at http://jsebestyen.org/sgrizzi/
- Silvestri, Franz (organ solo)
Franz Silvestri live organ
Duration: 8'59" direct link to YouTube
© 2013 by Franz Silvestri- Title: Partite (Sulla Follia di Spagna)
- Published October 2013 by Franz Silverstri for YouTube
- Duration: 8'59"
- Recording date: October 2013 in Italy
- Steger, Maurice (direction, recorder); Fiorenza de Donatis, Andrea Rognoni, Anaïs Chen (violins), Stefano Marcocchi (viola), Mauro Valli (cello & violoncello piccolo], Vanni Moretto (double bass), Brigitte Gasser (violetta, viola da gamba & lirone), Naoki Kitaya (harpsichord & organ), Daniele Caminiti (theorbo, baroque guitar & archlute), Margit Übellacker (psalterium) " Una follia di Napoli 1725"
- Title: A. Scarlatti: Improvisation upon the Partite 'Follia di Spagna'
- Released by Harmonia Mundi compact disc HMC902135
- Duration: 11'12"
- recording date: unknown
- Tasini, Francesco (harpsichord) 'Alessandro Scarlatti, Opera omnia per tastiera Vol. 1'
Francesco Tasini (in a translation by Priscilla Worsley) wrote for the slipcase:To conclude, we would emphasise the grandeur of the structure of 'Toccata VII' of the 'Primo tono' (Naples, 1723) that concludes the CD, a Toccata that, in the extended version (Preludio [Presto], Adaggio [Cantabile, è appoggiato], Presto, Fuga [Presto], Adagio, Folia [29 Partite]), assumes something of the atmosphere of a 'Sonata da Chiesa'
- Title: Toccata VII, Primo tono. Toccata per Cembalo dóttava stesa, Napoli, 1723 (Preludio, Adagio, Presto, Fuga, Adagio, Follia): Napoli, Manuscript 9478
- Released 2007 by Tactus compact disc TC 661911
- Duration: 9'31" (22'36" the entire toccata)
- Recording date: August 17, 2005 in Ferrara, Italy
- Harpsichord: Italian anonymous 18th century (Ferrara)rebuilt by Roberto Mattiazzo (Bologna) in 2001
- Weimann, Alexander (organ) 'Alessandro Scarlatti, Complete keyboard works, Volume 2'
Alexander Weimann wrote for the slipcase (translated by Louis Bouchard):
Just as in the famous model of the "Toccata d'ottava stesa' folowed by the notorious Follia variations, the sequence of movements here is clearly recorded in the sources. The beginning, a rather convention.and predictable device, leads to a short connecting piece which, with each of its chord changes, defies all harmonic presumptions. The 22 variations on the ubiquitous Follia motif, more widely-known siblings (recorded in volume I). Here the focus is not on the melodic and harmonic daring, but rather on changing tone colour, movement, and the pace
- Title: Toccata, Arpeggio, Allegro, Arpeggio, Follia in D minor
- Released 2010 by Atma Classique 2 -cd-box ACD2 2528
- Duration: 12'41"
- Recording date: April 25, 26 and 27, 2007 in Ëglise Très-Saint-Rédempteur, Montréal, Canada
- Chancel organ by Wilhelm, Opus 129, 1993, 2 manuals and pedal. 15 stops, 15 ranks 752 pipes mechanical key and stop action
- Weimann, Alexander (harpsichord) 'Alessandro Scarlatti: Toccatas, complete keyboard works, volume 1'
Alexander Weimann wrote for the slipcase (translated by Louis Bouchard):
The 29 variations of this composition on the famous ostinato model, well loved by many composers, take the theme harmonically, rhythmically, tachnically, and emotionally to its limits. Scarlatti explores new keyboard possibilities (in Variation 17 to 19) and opens up the tonal infexibility with abrupt acciaccature (in variation 24). The piece builds up up tension over the last five variations and comes to a sudden and rough halt descending abruptly and, to our unbelieving ashtonishment, ending in an open question without returning to the original key.
- Title: Follia en ré mineur
- Released 2005 by Atma Classique compact disc 7 22056 23212
- Duration: 7'27"
- Recording date: October 14-17, 2003 in the Église Saint-Alphonse-Rodriguez, Saint-Alphonse, Québec, Canada
- Harpsichord built by David Werbeloff, Boston 2002 after a harpsichord by a late-17th-century anonymous Italian maker attributed to Giacomo Ridolfi, Musical Instrument Museum, Berlin, Germany
- Weimann, Alexander (harpsichord) as part of the ensemble 'Tragicomedia',
' Capritio, instrumental music from 17th century in Italy' by Tragicomedia
- Title: Variazioni sulla 'Follia di Spagna' A. Scarlatti
- Released 2001 by Harmonia Mundi USA compact disc 907294
- Duration: 7'00"
- Recording date: June 2000 at Skywalker Sound, Nicasio, CA USA
- Weimann, Alexander (harpsichord) as part of the ensemble 'Tragicomedia',
'Concert at Bremen'
- Title: Variazioni sulla 'Follia di Spagna' A. Scarlatti
- Concert by Tragicomedia as part of their program 'Capritio'
- Concert as part of the Festival 'Pro Musica Antiqua'
- Broadcasted by the dutch radio NPS in a coproduction with Radio Bremen September 05, 2001
- Duration: 6'32"
- Recording date: May 06, 2001 at the Kirche Unser Lieben Frauen, Bremen Germany
|
The sheet music as published by Hofmeister |
Information about Schaffner is difficult to find. I have only been able to find a short bio of him in Fetis' Biographie universelle des musiciens et bibliographie générale de la musique: Volume 8, pg. 71.
Schaffner (Nicolas-albert), born in Silesia in 1790, learned to play several instruments in his youth, particularly the violin and clarinet, on which he acquired a certain degree of skill. He lived in Breslau [now Wroclaw, Poland] for some time, then traveled to Germany and arrived in Paris in 1815, where he was appointed director of music for a regiment of the royal guard; but he gave up this job at the beginning of 1817 to succeed Alexandre Piccini in his position as conductor of the Porte - Saint Martin, Rouen theater . He wrote stage music in the form of melodramas and pantomimes like The Prince and the Private; Daniel, or the Pit of Lions; Azendaï; Cabane of Monlainard; Marshal Villars; the Outlaws and the Bride; Little Red Riding Hood; The Invisible Brothers, etc. The reasons that made him give up his position as the director of the orchestra of the Rouen theater in 1821 [is unknown], but he [nonetheless continued] performing his functions until 1834. The following year he
No date of Schaffner's death is given by Fetis when he was writing his Biographie quoted above, which was published in 1844. Regardless, Schaffner's La Folie must have been composed well before the publication date of Frederic Hofmeister's score in 1872, although I can not find any references to the composition which might indicate the year in which it was written.
It is interesting that Schaffner's La Folie does not start with a "theme," i.e., using the Folia in its traditional format (like, say, Marin Marais did in his version). The concept of "variations before (or without) a theme" otherwise belongs to stylistic developments more common in the the 21st century. It is a virtuoso piece, displaying a highly advanced violin technique, demanding skills close to those introduced by Paganini. Paganini's first public performances as a soloist began in 1810 and he eventually visited Germany and France 1829-31, where Schaffner was located according to Fetis.
The question is whether Schaffner was ever able to hear one of Paganini's performances for himself; Paganini was notoriously careful about letting his written music out of his own sight, because of the lack of copyright protection in his day. He only allowed some of his works to be published, like the 24 Caprices, which were published in 1819.
On one hand, Schaffner's variations share traits with Paganini's Caprices, like fast arpeggios from the lowest to the highest register of the violin and melodic passages accompanied by simultaneous double stopping in faster note values, playing in the extreme high register of the violin and flying spiccato. On the other hand, Schaffner does not use extensive double-stopping in octaves and tenths - although one variation requires the player to stretch to play a tenth double stop - nor does he make extensive use of harmonics.
Thus most of Schaffner's stylistic traits could have come from composers
- Hofmeister, Frederic publisher of the music
- Title: La Folie. Thirty Caprices for Violin, Op.26
- Published 1872 in Leipzig
- Number of pages: 13 including title page in A4 format.
- No recordings or other acoustical examples are found so far
- Baak Griffioen, Ruth van (recorder and voice flute), Amano, Toshi (baroque violin), Sarah Glosson (viola da gamba and baroque cello),
Marshall, Thomas (harpsichord) 'Baroque on Fire, 17th- and 18th- century Italian and German chamber music'
' - Introduction to La Folia (Tom) and Variations on La Folia
- Released 2000 by GCB Records
- Duration Introduction 2'33", La Folia 5'19"
- Recording date: live concert August 29, 2000 Bruton Parish Church, Duke of Gloucester St. Williamsburg Virginia
- Lasocki, David editor of score. Figured bass realized for keyboard instrument;
includes part for violoncello, viola da gamba, or bassoon.
- parts: 1 Adagio, 2 Grave, 3 Vivace, 4 Allegro,
- Published 1979 by Nova Music, London
- Score 11 p. and 3 parts, 31 cm
- Publisher No. N.M. 107
- Legene, Eva (recorder), Krainis, Bernard (recorder), Scott, Christina
(harpsichord)
- Title: Variations on La Follia for two recorders and basso continuo, op. 6 no. 6
- Recorded by the Indiana University, School of Music in Bloomington
- Sound reel tape 1987-1988 no. 25
- Duration: 4'42"
- Recording date: July 2, 1987
Detected by Bret Werb, this rather unknown composition. The Folia theme is quoted in the opening and closing of the Gigue movement. Quoting the Folia opening twice ending in the dominant septiem,. Closing the gigue in the tonica to make it full circle.
- Elbipolis Barockorchester Hamburg
- Title: Gigue (1713)
- Released 2012 by Challengecompact disc ordernumber 72531
- Duration 1'43"
- Recording date: unknown
The use and construction of the Folia in this composition is somewhat similar to the one by Nicolas Bacri with the fragmentations, the evolution and the revealing of the theme itself towards the end.
Kees Schoonenbeek wrote about his composition:
From the very start of the composition there is the reflection of the Folia-theme because the left hand of the piano plays an inversion of the theme, harmonizing with another inversion of the oboe-part, which results in a somewhat alienated effect. Some fragments of the Folia theme emerge as the composition is unfolding. In the conclusion of the composition the Folia-theme is finally stated.
- Schoonenbeek, Kees
- Published 1979 by Donemus, Amsterdam
- Duration: ca. 06'30"
In the second part of this composition the Folia-theme itself is introduced.
- Schoonenbeek, Kees
- Published 1989 by Haske Publication, Heerenveen, The Netherlands
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| © Stichting Het Joop Schoutenhuis
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This composition with theme (Andante) and 9 variations (I, II Allegretto, III Allegro, IV, V Scherzando, VI Allegretto, VII Adagio, Fughetta, Largo) is kept rather close to the Folia chord progression and melody line in the traditional tonal style.
Joop Schouten frequently played this composition during concerts in the close intimacy of his private residence.
Although the composition isn't recorded yet (February 2005) for any official release (which is planned within a year by Stichting Het Joop Schoutenhuis), it seems worth to give visitors an impression of the composition. The only tool available for me was to turn it into a midi-file, lacking dynamics, proper voicing, use of stops, failing the elementary acoustic sound of an organ etc.
All praises to Johan Vos and Aart de Kort, two organ players who gave valuable advice especially about the tempi of the parts. I realize it must have been horrible for them to hear this composition in the limited midi-format.
- Stichting Het Joop Schoutenhuis
- Published (year unknown) in 'Joop Schouten, Orgelwerken, deel II' (Works for organ, part II) by Het Joop Schoutenhuis, Prinses Annalaan 232, 2263 XS Leidschendam, The Netherlands
- 9 pages, size 21 x 29 cm
- Duration: ca. 07'30"
- Balyon, Piet (organ)
A live performance by Piet Balyon in the Agneskerk, The Hague Harderwijk (NL)
Duration: 9'00" direct link to YouTube
© 2010 by Wim & Piet Balyon- Published at YouTube by wimbalijon1925, 1 December 2010
- Duration: ca. 09'00"
- Recorded live at the Agneskerk, Den Hague, The Netherlands
- Kort, Aart de (organ)
A live performance by Aart de Kort in the Grote Kerk in Harderwijk (NL)
Duration: 9'48" direct link to YouTube
© 2012 by Aart de Kort and René Citeur
- Recorded during a live performance by René Citeur
- Duration: 09'48"
- Recorded live July 26, 2012 at the Grote Kerk in Harderwijk (Bätz organ), The Netherlands
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Duration: 7'31", 09 kB. |
In the slipcase was written about the piece:
.Der Name "Folia" taucht schon um 1500 in der portugiesischen Dichtung und in Hofchroniken als Bezeichnung eines Tanzes
auf. Da er als laut, wild und verrückt beschrieben wird, gehörte die Folia als Tanz in die Gruppe der Fruchtbarkeitszeremonien. -
Oie Spanier haben den Tanz übernommen.
Die Folies d'Espagne wurden von den Spaniern nach sarabandenähnlichen
Dreivierteltaktmelodien sehr leidenschaftlich getanzt. Die barocke Folie d'Espagne hat ihren Charakter - wie
verchiedene andere Tänze auch - völlig verändcrt , als sie am Hofe Ludwigs XIV gesellschaftsfáhig wurde. Die Melodie und das
harmonische Gefúge wurden bereits 1553 von Diego Ortiz beschrieben. Ähnlich wie die Chaconne und die Passacaglia ist die
Folia nach dem Variationsprinzip aufgebaut.
Durch die Musikgeschichte zieht sich die Folia wie ein roter
Faden. Lully 1672, Gaspar Sanz 1674,.John Playford 1685,
Arcangclo Corelli 1700, Marin Marais 1701, J. S. Bach 1722 in
der "Bauernkantate" und G. F. IIändel etwa zeitgleich in der
"Ode to St. Cecilia'" seien hier als Beispiele angefügt. Die hier auf
der Theorbe eingespielten Variationen von La Folia sind im Stil
der Zeit von Thomas Schulz improvisiert.
Die Choreographie stammt von Raoul Auger Feuillet: "Chorégraphie ou I'art de décrire la danse par caractères, figures et signcs demonstratifs", Paris 1700. Dem Thema der ersten Tanzvariation ist einc originale Kastagnettenstimme hinzugefügt. Ria Schneider (Köln) hat zu den Variationen 2 -6 weitere
Kastagnettenstimmen geschrieben (Kastagnetten-Spielbuch
Ria Schneider, Musikvcrlag Zimmermann 1991). Im Endeffekt
lasscn sich dic Folia-Variationen sowohl (nach Feuillet) tanzen
oder auch mit den Kastagnetten "klappern".. Die höchstc Kunst
ist jedoch, beides miteinander zu kombinieren.
- Ensemble Buon tempo
"Höfische Lustbarkeiten, Gesellschaftstänze aus Renaissance, Barock, Rokoko & Biedermeier
- Title: La Folie d'Espagne
- Released 1998 by Verlag der Spielleute compact disc CD9803
- Duration: Einleitung (reference for the dancing lady) 0'35", Thema 0'38", Var 1 Andante 0'29", Var 2 Très grave 0'41", Var 3 Andante 0'31", Var 4 Modarato 0'25", Var 5 Grave 0'51"
- Recording date: October 1998 in Berlin, Germany
- Sebestyén, János (organ)
Robert Tifft wrote about this Folia-improvisation:
János Sebestyén has performed throughout the world as organist, harpsichordist and pianist and is a veteran broadcaster for the Hungarian radio and television. He is one of the few performers today that incorporates improvisations into nearly all of his recitals. His free improvisation on the Folia theme was the final selection of a program performed on March 9, 1993 at the National Auditorium in Madrid, Spain. The improvisation begins with the unadorned theme quietly stated. A series of variations ensue, each one becoming more elaborate and gaining in intensity. The first variations are simple embelishments of the Folia melody with one incorporating aspects of a Spanish fandango. The keyboard figuration becomes more elaborate, eventually leading to the theme boldly stated by the vibrant Spanish reeds. An almost hymn-like statement of the theme follows, leading to a quiet passage of introspective character. The Folia melody gradually reappears in its hymn-like guise, modulating to a major key, for a triumphant conclusion utilizing the full organ.
You can find more background information and acoustical samples (mp3-format) at the excellent webpage 'J ános Sebestyén - organist, harpsichordist, pianist' including a complete discography: http://www.jsebestyen.org
- Broadcasted 1993 by the Spanish Radio RNE
- Duration: 12'28" (without the applause)
- Recording date: March 9, 1993 at the National Auditorium in Madrid, Spain
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Duration: 12'42", 11.91 MB. (128KB/s, 44100 Hz) |
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István Lantos and János Sebestyén |
- Sebestyén, János (piano) and Lantos, István (piano)
A sparkling improvisation built around the Folia-theme which evolves towards a derivation of the 'folia'-progression of Händel (Sarabande from harpsichordsuite nr. 11 in D minor, Book II, 1727) before ending in the folia-theme in a brilliant style.- Recorded live 2000
- Duration: 5'46"
- Recording date: May 31, 2000 at the Sala de Columnas del Círculo de Bellas Artes, Madrid
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Duration: 5'46", 5.29 MB. (128KB/s, 44100 Hz) |
| Opening of Variations on La Folia in D minor page 13 Ms Selosse |
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Terence Charlston wrote in the slipcase about the Folies d'Espagne:
The monumental set of variations on the "La Folia" ground which open dthe collection deploy a rich panoplyof textures and technical devices. They run to 24 variations including the opening statement and the theme is written as mainly equal crotchets throughout. The set is very similar to its concordance in the Hogwood MS, although Selosse is five variations longer, and only 14 sections are shared between the two sources. The two sources also disagree on certain small details of the text. Of the 10 variations unique to Selosse, sections 15 and 16 are particularly expressive, and the order and reworking of the last third of the work arguably strengthens its conclusion.
Johan van Veen wrote about this recording:
This exciting and historically important new CD, entitled ‘La Chasse Royale’ presents a newly discovered manuscript of music by Antoine Selosse. Although it seems possible that Antoine Selosse (the Jesuit musician Antonio Mason alias Selosse, 1621-87, who was active at the English Jesuit College of Saint Omer in the 1680s) is the ‘Selos’ to whom the contents of the manuscript were attributed in the first flyleaf inscription, various factors mitigate against his authorship of the whole collection.
The repertoire chosen for inclusion in Selosse’s remarkable book covers a broad spectrum of the genres popular in seventeenth century Europe and reveals a wide range of national influences and styles. It consists of mainly dance pieces (often with variations of their own) and these are grouped by key. Few pieces have a specific title and no composers are named but the authorship of only one piece can be stated with confidence: Bull’s popular The King’s Hunt 3 and the suites in G major (13-14) and D major (16-19) are strikingly similar, on stylistic grounds, to works by John Roberts.
Most compositions in the manuscript are anonymous; only John Bull as the composer of The King's Hunt is known with certainty. It is possible that some pieces may have been written by Antoine Selosse himself, in particular the liturgical works. These were clearly intended for the organ, but otherwise the choice of the keyboard is left to the performer. That will always be a matter of debate.
- Charlston, Terence (harpsichord) 'La Chasse Royale'
- Title: Variations on La Folia in D minor
- Originally by anonymous Ms. Selosse
- Released 2010 by Deux-Elles 2-cdbox ordernumber DXL1143
- Duration: 10'59"
- Recording date:June 14 and September 3, 2009 in St Botolph's Aldgate & Holy Trinity Church, Weston, Hit, England
Valentín Serrano wrote about his composition in December 2004:
Although I'm not a composer, I like the Folía theme so much that I tried to write a little composition about the theme a year ago.
Just for fun and to understand the music better. My friend Ale Delgado, who is a student at the conservatory pointed me
in the right direction and gave me some general instructions. Still it took me great effort to master the composition
the way it got its final shape.
Well, here you are. Regard it as a present for the work with the Folía pages, which is one of my favourites pages.
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Duration: 1'38", 8 kB. |
- Serrano, Valentín
- Recorded with the software Sibelius
- Duration: 1'38"
- Recording date: 2003 at the Spanish city of Cuenca
This composition is clearly inspired by the music of the Baroque era. In every variation the theme is hard to miss and it takes you on a musical journey to the 'Beethoven' variations (6'10") to finish off in a typical symphonic manner.
Glen Shannon wrote about his composition:
It is a 14-variation piece composed for the American Recorder Orchestra of the West (AROW), a new group which began in May 2000 in northern California. The twelve parts consist of one sopranino recorder, 2 sopranos (descants), three altos (trebles), three tenors, one bass in F, one Great Bass in C, and one Contrabass in F. A Recorder Orchestra is an expanded recorder ensemble with more of the unusual large and small sizes for added tone colors.
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Duration: 7'41", 58 kB. |
- Shannon, Glen
- Published by Screaming Mary Music 2001
- Score 48 p. (including cover) and 12 parts of 3 p., 29 cm
- The score can be browsed at http://www.sibeliusmusic.com/cgi-bin/showscore.pl?scoreid=3829 You need a browser plug-in called Scorch, but they provide a link to download it.
- Publisher No. SMM400
This quintet is a reduction of the recorder orchestra version for 12 instruments. Each player except the bass recorder player is assigned two instruments and must switch between them as the piece progresses.
Glen wrote about this version December 6, 2006:
Charles Fischer (Unicorn Music, http://www.buyrecorders.com) commissioned it and it was completed in 2005.
He believed in the quality of the music and wanted a version that was much more portable, noting that 5 players with Bass being the largest size is much more
obtainable than 12 players and super-size recorders.
The recording is indeed a live performance in concert, recorded Aug. 15, 2006 at Arlington Community Church in Kensington, California.
I'm glad you like the quality of the recording; the mics could have been closer. A friend of mine fixed up the original for me. My fellow
players were excellent and their playing added so much more to the sound than I could have hoped for.
Each part switches between two recorders of adjacent size in order to cover everything in the original 12-part version, from smallest to largest:
Si/S means Sopranino/Soprano (Soprano = Descant in the UK)
S/A = Soprano/Alto (Alto = Treble in the UK)
A/T = Alto/Tenor
T/B = Tenor/Bass
B = Bass (this part does not change instruments)
S and T are one octave apart in the key of C (meaning lowest note, all fingers down, is C); Si, A and B are octaves apart in the key of F.
Duration: 8'44" direct link to YouTube
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Duration: 8'37", 8.29 MB. (128KB/s, 44100 Hz) |
- Shannon, Glen (recorders Si/S) Bauer, Annette (recorders S/A) Molinari, Rebecca (recorders A/T) McMahon, Mark
(recorders T/B) Feldon, Frances (recorder B)
- Published by Screaming Mary Music SMM140 $15.00
- Recording date of live performance: Aug. 15, 2006 at Arlington Community Church in Kensington, California
This work was commissioned by the Bavarian Radio Symphony Orchestra and was premiered at te same year by that orchestra under David Shallon in Munich in the framework of their Musica Viva series of concerts.
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Duration: 1'11", 1124 kB.( 128kB/s, 44100Hz) |
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Duration: 1'48", 1698 kB.( 128kB/s, 44100Hz) |
The work is written for a large symphony orchestra and is
published by the Israeli Music Institute (IMI) but can be obtained shortly
by Peters Edition, Frankfurt.
Unfortunately, the record issued in Israel of this and other works of mine
conducted by Gary Bertini is no more on the market and there is no CD yet.
However the recording exists in the Bavarian radio and the Israeli broadcasting
authorities.
Noam Sheriff's La Folia variations consists of a prologue, eight variations
and an epilogue. The theme itself makes its appearance only after the fourth
variation. The first half is composed rather of strictly conceived variations
which unfold in the direction of the theme while the second half is more
like a 'Folia', a madness, so to speak.
- The Düsseldorf Symphoniker, conductor Noam Sheriff 'Noam Sheriff, "La Follia" Variations, Concerto for Violoncello and Orchestra, Akeda, Wenn das Pendel der Liebe schwingt'
- Released 2002 by Col Legno compact disc 20065. More information at the page http://www.col-legno.de
- Duration: 18'58"
- Recording date: June 25 till July 2nd, 2000 in Tonhalle Düsseldorf, Germany
- The Jerusalem Symphony Orchestra, conductor Gary Bertini 'Noam Sheriff: La Folia Variations for Orchestra
Akdamoth, Music for woodwinds, trombone, piano & bass'
- Released 1985 by Jerusalem Records (manufactured in England by Nimbus) LP ATD 8601 DIGITAL (digitally remastered from analogue originals)
- Israel music anthology volume 9
- Duration: 17'55"
- Recording date not mentioned in the documentation
- Sheriff, Noam
- Published 1985 by the Tel-Aviv Israel Music Institute, Israel
- Also published in Hebrew
- Publisher No. IMI 6493
Noam Sheriff wrote for the slipcase:
1 had already planned to compose variations for orchestra
several years ago. This plan became a reality when, to my surprise, David
Shallon (a former pupil of mine) asked me to write just such a work for
a concert of the Munich "musica viva" which he was to conduct.
The "La Follia" Variations are in fact dedicated to him.
When I started the work, 1 didn't yet have a distinct idea on what theme
or motto actually to base the variations. That initial uncertainty was indeed
appropiate to the situation: variations in search of a theme. And the more
1 occupied myself with my musical sketches, the more it became clear to
me that 1 was really looking for something well-known, that was resting
forgotten and undetected in my memory. Only when the third variation had
already taken shape on paper 1 suddenly realized that this enigmatic, indistinct
theme was La Follia: that simple, beautiful melody, so familiar to every
music-lover.
But as soon as 1 asked myself the question, "Why precisely La Follia?",
1 could not find a satisfactory answer. It is somehow a mystery. Looking
closely at the melody itself, one cannot but wonder why it has been the
source of inspiration for so many compositions since the 16th century: from
Stefani's Folies d'Espagne (1622) to Frescobaldi, Lully, Corelli, Geminiani,
Bach and Cherubini, on to Liszt, Nielsen, Rachmaninov and several contemporary
composers like Henze. 1 was particularly happy to discover later that La
Follia's first emergence goes back to the year 1505 in a work by the Portuguese
poet and musician Gil Vincente. In this work, whose music is thought lost,
four biblical figures - Abraham, Moses, Solomon and Isaiah - are singing
a four-part Follia. My composition consists of a prologue, eight variations
and an epilogue. The theme itself makes its appearance only after the fourth
variation. In this respect, as welf as in others, this is a symmetric composition
throughout although I wish to emphasize that in this case "symmetry"
has manifold meanings. If I were, for instance, to explain more exactly
the balance between emotion and form, I would say that the first half is
composed rather of strictly conceived variations which unfold in the direction
of the theme while the second half is more like a Follia, a madness, so
to speak. Should I again ask myself the question, "Why indeed La Follia?",
1 can only try to give an answer by means of my music.
To all this, I would like to add the beautiful and poetical words by Gregorio
Paniagua: "All the composers in the whole world, who write their own
Follia, have hardly any clear idea of what they are doing. They are like
a tree which will ripen without worrying about its sap. Like the tree, they
absorb everything in the midst of the storms of spring, not being afraid
that another springtime would perhaps never come. And spring does arrive
and they are overcome by a mellow tiredness and they are patient without
worries and so calm, as though they were in the presence of eternity. This
way they are able to carry in themselves their Follia (their madness) and
their loneliness. They tolerate the pain that both these are causing them
and they succeed to lend beauty to the sounds of their lament" (quotation
taken from the liner notes to Paniagua's CD La Follia de la Spagna).
Sidera Noctis is Mauro Martello and Roberto Pusterla flutes, Mariagrazia Onesto keyboard,
Antonella Bersoli: viola da gamba The composition leans very much upon a summary of the scores by Vivaldi's, Corelli's and Bellinzani's Follia with more modern instruments.
La Follia |
- Sidera Noctis
- Released 2011 by Sidera Noctis in mp3-format
- Duration: 4'42"
- Recording date: unknown
Folías was premiered with the New World Symphony with Alasdair Neale conducting
in Miami September 21st, 2002. Other performances were scheduled with the
Dallas Symphony, the Indianapolis Symphony, and the Bilbao Symphony in Spain.
In one aspect this Folia is unique. It is written for a large orchestra and the guitar as a solo-instrument. The orchestral part is written for the large section of strings, percussion, woodwinds, two horns and two trumpets. As far as I know this is the only guitar concerto that uses the Folia-theme as the subject.
When you hear this piece for the first time it will sound very familiar because there are simply no surprises in the music. It all sounds suspiciously smoothly, predictable and lighthearted. The woodwinds are waking the listener up now and then when they copy some Rodrigo-idiom. The rest you all have heard before I am sure but in a different context. It is like an exercise to implant style figures of the classical guitar-orchestral idiom into the Folia-theme by someone who has listened a lot to the guitar concertos of Rodrigo.
The composition is divided into 11 sections with unequal duration and different techniques. The opening does not start right away with the Folia-theme as most folia-compositions do. In the opening the prominent guitar backed up by cautious strings is trying to find its way in a quasi improvisation but the winds (trumpets) firmly sets in the theme to put the guitar on track with some fast variations of the Folia-theme starting in bar 29. In every section and variation the Folia-theme is clearly stated and all techniques for the guitar pass along from tremolo to rasgueado and punteado but the most interesting part is the shifting from the minor to the major and back again to the minor key. I guess this music will find its way easily to waiting rooms of dentists. Roberto Sierra wrote about his composition:
Folías is the second guitar concerto I composed for Manuel Barrueco. Like its predecessor, Concierto Barroco, the newer work has strong Baroque influences. The melodic-harmonic theme known as 'La Folía was widely used in the Iberian Peninsula since the sixteenth century. Countless composers wrote variations on 'La Folía', among them Scarlatti, Carl Philipp Emmanuel Bach, Arcangelo Corelli, and Marin Marais. It was the work of Marais which served as point of departure and inspiration in my treatment of 'La Folía' theme; in fact, some of the variations in my piece have their roots in Marais' 'Les Folies d'Espagne' (1701). In terms of instrumental writing, the guitar yields itself as a perfect vehicle for the haunting theme. In 'Folías' I evoke both the world of the Baroque and that of our own time
Eladio Scharrón called it a masterwork, comparable with the best achievements of twentieth century composers like Rodrigo and Ohana.- Barrueco, Manuel (guitar) and Orquesta Sinfónica de Galicia conducted by Víctor Pablo Pérez
- Released 2005 by EMI compact disc ordernumber 5577862
- Duration: ca. 11 minutes
- Recording date: unknown
- Barrueco, Manuel (guitar) and the New World Symphony conducted by Neale,
Alasdair
- Duration: ca. 11 minutes
- Worldpremiere September 21, 2002 in Miami, USA and broadcasted simultaneously at Internet2
- Barrueco, Manuel (guitar) and the Dallas Symphony Orchestra conducted
by Cortese, Federico
Laurie Shulman wrote in an introduction for the Playbill by the Dallas Symphony Orchestra conducted by Federico Cortese for three performances with Manuel Barrueco:
(© Laurie Shulman, First North American Serial Rights Only, and used with permission)
The work that we hear this evening (Dallas, March 13, 14 and 15, 2003) has both an Iberian flair and a strong connection to the music of the past. Folias is one of those tunes, like Paganini's 24th Caprice, that has inspired many composers writing in different eras and certainly different musical styles. In the case of Folias, the roots extend back much farther than Paganini's unforgettable melody: to the fifteenth century. The term Folia, which is of Portuguese origin, is related to the Latin root for 'fool' or 'madness', and refers to a dance that was likely a court 'fool's dance'. The music that has inpired composers from the Baroque era to the modern day is a harmonic pattern related to two additional dances: the passamezzo antico and the romanesca. In the late seventeenth and eighteenth centuries, Alessandro Scarlatti, Marin Marais, Arcangelo Corelli and Johann Sebastian Bach were among the many composers who took this harmonic pattern as the basis for variations sets. In the pre-classical and classical eras Grétry and Cherubini adapted it. Franz Liszt followed in the romantic era with his Rapsodie espagnole. Twentieth-century iterations include Carl Nielsen's opera Maskarade and Rachmaninoff's Variations on a Theme by Corelli, Op. 42. Now Roberto Sierra, in the twenty-first century, has taken his bow to Folias as well.
- Duration: ca. 13 minutes
- Played in the Eugene McDermott Concert Hall, March 13, 14 and 15, 2003 in a program with Dvoráks Symphony No. 6 and Haydns Symphony No. 94.
- Sierra, Roberto (for Guitar & Orchestra - piano reduction)
- Published by Subito Music Number 1301864CK
- Score 36 pages Folio format
| Opening of one voice of La Folia, Neue Variationen nach Farinelli-Corelli |
© Gustav Bosse Verlag, 1969 Reproduced with permission |
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- Kula, Karl (edited the sheet music)
- Title: La Folia, Neue Variationen nach Farinelli-Corelli für 4 oder 8 Violinen
- Published 1969 by Gustav Bosse Verlag, Postfach 10 14 20 D-34014 Kassel
- Score 4 voices, 4 p. each, 31 cm
- Publisher No. Bosse Edition 332-22, ISMN M-2011-9599-5
- Libbert, Jürgen (arranged the music for two guitars)
- Title: La Folia, Neue Variationen über ein altes Thema für zwei Gitarren (1973/1974)
- Published 1986 by Verlag Zimmermann
- Publisher No. ZM25520, ISMN M-010-25520-0
- Two identical parts of 10 pages each
In the description of the YouTube publication was written:
This composition was created five days before they got married, and most of the variations are improvised. The variations start in a Renaissance style changing throughout the ages until it climaxes in a 21st century style.
Improvised Variations on "La Folía"
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- Lucia Caruso (harpsichord) and Pedro H. da Silva (Potuguese guitar)
- Title: Improvised Variations on "La Folía"
- Published at YouTube 13 August 2012 by ManhattanCamerata
- Duration: 6'58"
- Recording date: not mentioned in the documentation
- More about Pedro da Silva and Lucia Caruso (Manhattan Camerata) at http://www.manhattancamerata.com/MANHATTAN_CAMERATA/Home.html
- No published music of La Follie di Spagna found.
- Published in Fétis, François-Joseph, Biographie universelle des musiciens…, tome 8, 2e édition, Paris, 1868, p.51
- Thanks to François-Emmanuel de Wasseige for detecting this item in literature
More about the composer Nicholas Van Slyck you can find at the website: http://vanslyckmusic.com/
Trudi Van Slyck wrote in an e-mail June 8, 2008:
As to the form, there is an introduction (not called such) ending in a thin double bar, then the statement of the theme.
The Allegro is next (really the first variation but not called that). Vivace is next (second variation), then Moderato which is the theme again in canon.
Ritmico is the name of the next section followed by Parlando, senza misura. Next is Allegro which leads into the last section with no new tempo name.
It functions as a coda and is the theme again in big chords with decorative scale figures between the phrases.
It is a sizable piece of twelve printed pages. I played the piece on the piano in a concert which I don't think was recorded and I have been told it is
played by a harpsichordist at McGill in Canada. Also I know it was played on the organ many times in Europe by David Pizarro in 1967-1970,
and also by some of his organ students.
Diferencias was composed in 1966 and edited in 1982 - probably for publication in 1984.
I have looked at the original 1966 manuscript of Diferencias and there really is some difference though the basic piece is the same.
In the early version the variations are numbered 1 - 6. In the printed edition several arpeggios have been added to the last variation.
Also there are places which have been moved down an octave and places where an octave passage has been expanded. I also have found
a few misprints in the printed edition. It seems the more I look the more I find.
The truth is that Irma recorded the printed (revised)edition with the added arpeggios. The original 1966 version was never recorded as far as I know.
It is not a major revision but notes are added.
- Rogell, Irma (harpsichord)
The complete diferencias as played by Irma Rogell
Duration: 7'50" direct link to YouTube
© 1982 by Trudi Van Slyck
Duration: 0'48", 1.1 MB. (192KB/s, 44100 Hz)
Diferencia No. 2 as part of Diferencias, played by Irma Rogell
© 1982 Van Slyck, used with permission
Irma Rogell wrote as an introduction to the piece for the vinyl recording:Duration: 0'45", 1 MB. (192KB/s, 44100 Hz)
Diferencia No. 4 as part of Diferencias, played by Irma Rogell
© 1982 Van Slyck, used with permission
In the Handel Suite, it is interesting to note that the Courante is itself a variation of the Allemande in that it uses the same melodic and harmonic material, transforming it from 4/4 time to 3/4 time.
However, it is in the Sarabande that we finally come to the third and later type of variation, beloved of Bach, Beethoven and Brahms: the use of a familiar tune, usuallv borrowed from someone else's composition, followed by as many variations on this tune as the composer wishes to invent
. In this dance, Handel uses the well-known Iberian folktune 'La Folia' as his theme, setting it forth in simple unembellished block chords. There follow two variations. The first is in lute style, meaning that the chords are broken up into their component parts and each notc individually struck, creating a lacy texture. The second returns to the chordal treatment in the treble, while the bass roams over the keyboard in a rising and falling pattern, creating a sweeping effect of agitation and restlessness.
It is this same tune, 'La Folia' which becomes the theme for Van Slyck's 'Diferencias', or Variations. Striking the same tonality of D, the theme sounds forth from the lowest depths of the keyboard, mysteriously altered by chromatic ambiguities and dissonances which imbue it with a sombre chilling intensity.
There is a startling transition of color as the theme sounds out in both hands high in the treble, but muted by the lute stop, as though rigid and still numb from its encounter with Death. In a miraculous moment. the theme frees itself from its static imprisonment and with a sudden flow of eighth notes moves into a singing sweetness, a return to life. There follow variations of dramatic contrast: exuberance, serenity, agitation, tenderness. With gathering energy, the music moves demonically to an impassioned climax before sinking again into dissonant depths of darkness. A theme from an eighteenth century dance, seen in a glass darkly.- Released by Mnemosyne Records vinyl Mn-6
- Duration: 7'52"
- Recording date: December 1982 in Newton, Massachusetts, USA
- Irma Rogell performs on the Pleyel harpsichord built for her according to the specifications of her teacher, Wanda Landowska.
- Slyck, Nicholas Van
- Edited by Irma Rogell
- Published 1984 by The Willis Music Company (Hal Leonard Music Publishing)
- 12 pages
- Ordernr. WMCo 11106
Duration: 4'57" direct link to YouTube
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- Small World Project (Sébastien Dufour: ukulele, Patrick Graham: percussion, Frédéric Samson: double bass) 'Small is still beautiful'
- Title: Follias (trad.)
- Released 2008 by Fidelio Records compact disc FACD023
- Duration: 5'20"
- Recording date: Not mentioned in the documentation at l'Eglise St-François-de Sales, Laval, QC (whatever that might be)
Is here the Folia theme involved? It is like the Folia a sarabande and it is written in a modern idiom. It may well be that Leo Smit had the Folia in mind composing this piece but better judge for yourself.
Duration: 2'20" direct link to YouTube
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- Doris Hochscheid (cello), Ernest Rombout (oboe) 'Complete works'
- Title: Sarabande
- Released 1999 by Donemus 4 cd-box oder number CV 90-93
- Duration: 2'20"
- Recording date: 1999 in Muziekcentrum Frits Philips, Eindhoven, The Netherlands
Nothing is said about the Folia-theme in the slipcase: 'Camino (Soler)' is all that is stated.
Very straightforward performance of the Folia-theme in 4/4 time (instead of the 'normal' 3/4 time) holding all the chords double as long where the progression normally changes after every bar. All four lines end up with the dominant 7th finally ending in the tonic as an extra bar.
Starting with a plucked walking bass with a smooth guitar playing single melody notes only in the first two lines, the lines three and four with bowed tones of the bass and the arpeggios of the guitar cannot conceal that this short improvisation is without any significance.
- Pedro Soler (flamenco guitar) and Renaud Garcia-Fons (bass) 'Suite Andalouse
pour contrebasse et guitare flamenca'
- Released 1994 by Al Sur compact disc ALCD 137
- Duration: 2'32"
- Recording date: September 1994 at Studio Cargo, Montreuil, France
Probably inspired by the variations of Marin Marais because his Folies d'Espagne was part of Sollima's concerts in Hanoi and Hong Kong in the year 2007.
- Diezig, Sebastian
Sebastian Diezig wrote as documentation of the YouTube punlication:
The piece was written in 2007 and has an unusual scordatura requiring the cellist to tune the C string down to a G which gives this double bass sound in the bass lines. I was awarded the special price for the performance of this particular work at Janigro Competition 2008 in Zagreb.
Sebastian Diezig plays La Folia
Duration: 6'52" direct link to YouTube
© 2011 by Sebastian Diezig- Title: La Folía
- Published at YouTube 7 October 2011 by MrCellissimo
- Duration: 6'52"
- Recording date: 2 October, 2011 in Neuchâtel, Chapelle de la Maladière.
- More about Sebastian Diezig at his website http://sebastiandiezig.com/wordpress/
The first piece which David Solomons composed on the Folia theme is intended as the Finale of his Folia Suite. Who knows how many pieces will be pushed forward?
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Duration: 3'30", 2465 kB.( 96kB/s, 22KHz) |
Well, it was written today (23 May 2004), in my bedroom located in Sale, England
David W. Solomons continues: I chose the Folia because I've always liked the basic melody
(I think I've known it for decades) and because Joe Dillon (of the Delian
Society) mentioned your site. More generally, also, I like the use of basso
ostinato, and I suppose that La Folia could be regarded as a glorified version
of an ostinato. I suppose the best ever pure ostinato is in Dido's Lament
from Purcell's Dido and Aeneas (which I sing in my alto arrangement on my
site www.dwsmp3.com/dido.htm ). There is also one that I use quite a lot
myself, a chromatic one and yet totally tonal - one of the best examples
of my use of that one is the Amble round Mercury here: www.dwsmp3.com/recorder.htm
I suppose it helps to give structure to a piece much in the way a blues
riff does. So maybe I'll start a series using the La Folia ostinato over
the next few years, who knows...
BTW I wonder whether the ostinato feel of la Folia relates to the original
meaning - madness due to the mind going round the same theme, unable to
break out.. hmm?
- David W. Solomons
- Released at the website of the composer, no cd planned as yet for that piece
- Equipment used: Finale 2004 software and musicmatch to create the mp3pro-file
- Duration: 3'30"
- Recording date: May 23, 2004 Sale, England
- More about the oeuvre of the composer/performer http://www.dwsolo.com/
David was so captivated by the charms of the Folia that he decided to start his open Folia project where his 'Baroque-Bossa Nova of La Folia' is the finale: see his Folia-page La folia page: http://www.dwsolo.com/serif/lafolia.html
One of my projects is to make my own La Folia variations in a sort of multi-forces suite (a-cappella, song, guitar quartet, jazz band, tuba quartet, string quartet and who knows what else...).
David wrote about this part of his Folia-suite:
This is for voices and guitars. It introduces the theme as a repeated verse on voice 1 and then adds a couple of vocalize additions above and below it. The cuckoo style interpolations by voice 3 presages the madness of the third movement....
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Duration: 1'53", 1328 kB.( 96kB/s, 22KHz) |
David wrote about this part of his Folia-suite:
This re-introduces the theme and then adds various neo-renaissance divisions, ending up with the main theme a quaver apart between parts to give the effect of dreaming empty headedness (or possibly even madness itself?). The guitarists are also asked occasionally to tap their guitars - hence that knocking sound!
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Duration: 2'51", 2005 kB.( 96kB/s, 22KHz) |
David wrote about this part of his Folia-suite:
This a-cappella version uses three altos and one (sort of) bass, a-cappella, i.e. me singing on multitrack. It explores a couple of alternative modes for the theme: Octatonic and Dorian and it also explores the theme of madness a little - Beware!
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Duration: 2'47", 1964 kB.( 96kB/s, 22KHz) |
David wrote about this part of his Folia-suite:
This string quartet version starts in the major (Ionian) mode in a fast 5 time and explores some slightly Brittenesque ideas. After a short interlude which grasps helplessly for the home key the time changes to 7/8 and the mode returns to a sort of minor (aeolian) and the feeling of madness becomes almost "acceptable". The major theme in 5 time returns and we are prepared for the planned climactic and crazy 5th movement (.... which is yet to be composed - hang on in there...!)
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Duration: 3'45", 2641 kB.( 96kB/s, 22KHz) |
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Duration: 4'55", |
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Duration: 3'49", |
Mad scene loosely based on the medieval Farce of Pierre Pathelin from Variations on La Folia |
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Duration: 5'11", |
David wrote about la folia variations for string quartet in October 2014:This string quartet movement from my La Folia (madness) variations is accompanied by various images by Giuseppe Arcimboldo of faces created using fruit, vegetables, birds and other things. It starts in the major (Ionian) mode in a fast 5 time and explores some slightly Brittenesque ideas. After a short interlude which grasps helplessly for the home key the time changes to 7/8 and the mode returns to a sort of minor (aeolian) and the feeling of madness becomes almost acceptable".
A full performance of Variations on La Folia for string quartet |
- Musicians in Costa Rica in many styles including folklore and contemporary "The Fruitful Pond: Music By David W. Solomons".
- Title: La folia variations for string quartet
- Released 2014 by CD-Baby order number 889211010288, Amazon.com and iTunes
- Duration: 3'24"
- Recording date: 2014 in Costa Rica in a live performance and edited by Marco Perez (a.k.a. Freddie Gorra).
- More information about the piece and score and parts available at: http://dwsolo.musicaneo.com/sheetmusic/sm-171894_variations_on_la_folia_for_string_quartet.html
If you really think your brass quintet is that professional, good and disciplined, this is the ultimate piece you would love to play as the tour de force of capabilities! David wrote about Modal Madness in October 2012:
Brass Quintet in various modes based on the La Folia (madness) theme, ranging through the Dorian, Octatonic, Superlocrian, Neapolitan Minor and even an invented mode specially created for the horn player, who, in the theatrical version is evidently most affected by the modal changes.
This recording involves an electronic preview of the brass parts and the glissandi are not reproduced but the vocal parts are performed by the composer.
I look forward to a fully live production.
A full performance including text-elements and sheet music
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- Solomons, David W.
- Uploaded to YouTube by the composer October 1, 2012
- Title: Modal Madness (being variations on La Folia) for brass quintet, in which the players occasionally sing and make appropriate comments
- Duration: 5'15"
- Recording date: September 2012
- The score and parts of plain version without singing and theatricals is available for brass quintets who are not into the theatrical sort of thing at http://dwsolo.musicaneo.com/sheetmusic/sm-171650_modal_madness_for_brass_quintet.html
Original manuscript in Biblioteque Nationale Paris.
First published by Heugel, Paris between 1810 and 1823.
The minuet has no musical connection whatsoever with the Folia-theme. There is even some debate going on till the present day if Sor intended to connect the Folies d'Espagne with the menuet.
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Bergmann Edition |
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5 pages in pdf-format (including menuet) with fingersetting
of theme and first variation |
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Duration: 3'53", 08 kB (including menuet), sequenced
by M. Knezevic |
| Opening of Les folies d'Espagne et un menuet |
|---|
 |
- Attademo, Luigi 'Folías; Sanz, Giuliani, Ponce, Gilardino, Sor,
Ohana'
- Title: Les Folies d'Espagne Variées e un Minuet op. 15a
- Duration: 1.re Variation 0'27", 2.me Variation 1'00", 3.me Variation 0'29", 4.me Variation 0'45", Menuet: Andante 2'00"
- Recording date: March 25 and 29 2001 at Quality Audio, Vercelli, Italy
- You can listen to the first variation in MP3 (542 kb) at the website of Luigi Attademo http://www.luigiattademo.it/
- Guitar by Carlo Raspagni, 1996
- See also the page Recommended Folia-recordings
- Bote & Bock Verlag
- Title: Las Folias de Espana
- Published by Bote amp; Bock, distributed by Schott Music Distribution, Mainz
- Publisher No. bb0923
- ISMN: M-2025-0923-4
- Brown, Elizabeth C.D. (19th century guitar) 'La Folía de España'
Elizabeth Brown wrote for the slipcase:
Thanks to the efforts of several very successful guitarists who also composed, the guitar enjoyed a resurgence in popularity in the early 19th century. The Spaniard Fernando Sor was such a guitarist, and was also one of the better composers. Although Sor actively performed and was considered a virtuosic guitarist, he also devoted himself to composition, producing several successful operas, ballets, symphonies and various chamber pieces in addition to his works for guitar. Perhaps as a result, his guitar compositions are in a sophisticated style that goes beyond merely showcasing the instrument's idiomatic capabilities. Published in Paris in the early 1820's, Sor's version of the folía exhibits a classical approach to the theme and variation form, with each variation serving as its own entity, often sharply contrasting in mood from the others. Since folías are always in a minor key, Sor is unable to include a major variation as further contrast, a common practice of the time. This may be why he chose to end the composition with this charming Menuet in the parallel major.
- Title: Les Folies d'Espagne, Variees, et un Menuet
- Released 2005 by Rosewood Recordings compact disc ROSE 1007-CD
- Duration: 4'27"
- Recording date: Fall 2004, at Queen Anne Christian Church, Seattle, Washington, USA
- Caceres, Oscar (guitar)
- Les folies d'Espagne op. 15 a
- Released 1990 by Adda compact disc 581214/17
- Casseus, Frantz editor of 'World's favorite selected masterpieces for
the classic guitar'
- Title: Las Folias de Espana
- Published 1970 by Ashley Publications Inc.
- p. 108-110 (3 p.)
- Clifford Essex Music
- Published by Clifford Essex Music Co. 195? or 196? London, as part of The Clifford Essex classic series of Spanish guitar solos by the world-famous masters and popular composers.
- Score 2 p., 30 cm
- Publisher No. 618 Clifford. Cover has label with imprint Mills Music.
- Fetherolf, Robert (guitar) 'Classical Guitar Recital'
- Title: Variations On La Folia and Minuet
- Released 2001 by Full Sail Music 634479725210
- Duration: 4'58"
- Recording date: unknown
- Jappelli, Nicolia (Romantic guitar) 'Fernando Sor, Pièces de
Sociétè'
- Title: Les Folies d'Espagne variees, Op. 15/a
- Released 2002 by Frame compact disc FR0242-2
- Duration: 3'18"
- Recording date: January 2002 in San Angiolo Vico l'Abate
- Guitar by Bernhard Kresse after a 'Stauffer' Legnani model
- Jeffery, Brian editor of 'Fernando Sor, complete works for guitar' in
a facsimile edition
- Title: Les Folies d'Espagne, variees, et un menuet ... Oeuvre 15
- Published 1977 by Shattinger International music corporation
- Volume 1, p. 134-136 (3 p.)
- Karstens, Thomas (guitar) 'Pasión Española'
- Title: les Folies d`Espagne variées op. 15 (from tecla edition edited by Brian Jeffrey)
- Released 1995 by Abadone compact disc abcd 93206, distributor Audio Electronic G.m.b.H.,P.O.B. 101338, D-40004 Düsseldorf, Germany (optionally the cd can be ordered at: Karstens@uni.koeln.de)
- Duration: 3'51"
- Recording date: August 1995 at Castle of Morsbroich, Leverkusen, Germany
- Martinez, Kurt (guitar) 'Folías'
- Title: Les Folies d'Espagne
- Released without indication of year (but it is 2003) by martinezkurt@cs.com without order number
- Duration: 4'48"
- Recording date: not mentioned in the slipcase
- See also the page Recommended Folia-recordings
- Papas, Sophocles T. revised and figured the manuscript
- Published by Columbia Music Co.
- Score 3 p., 31 cm
- Scheit, Karl revision and editor of fingering theme, 4 variations and
menuet for guitar solo
- Published by Universal Edition c.1983 Wien
- Score 5 p., 31 cm (also 8 p., 23,2 x 30,5 cm)
- Publisher No. 16709
- ISMN: M-008-00615-9
- Segovia, Andres (guitar) '1950s American recordings volume 2'
- Title: Variations sur les Folies d'Espagne & Menuet, op. 15a : Menuet en mi majeur
- Released 2007 by Naxos Historical series ADD compact disc 8111090
- Duration: 1'46"
- Recording date: 1952, 1954 and 1955 in New York for the Decca label
- Segovia, Andres (guitar) 'Nocturno'
- Title:Folías de España
- Released by Intercord (Germany) LP LC-1109
- Duration: 3'48"
- Segovia, Andres (guitar) 'My favorite Spanish encores'
- Released 1973 by RCA Red Seal New York LP ARL1-0485
- Duration: 3'48"
- Segovia, Andres (guitar)
- Title: Folias de Espana Op. 15 A
- Released by Intercord Int. 160815
- Recording date: May 1973
- Simov, Simeon (guitar) 'The Spanish Guitar - Fernando Sor'
- Released October 1, 1996 by Laserlight compact disc 14298
Album Notes: This disc is also available as a part of Laserlight 15-929.
- Released October 1, 1996 by Laserlight compact disc 14298
- Smith Brindle, Reginald revised and edited the manuscript
- Published by Schott c.1982, New York
- Score 6 p., 30 cm
- Publisher No. Edition 11448 for guitar solo
- ISMN: M-2201-1041-2
- Teicholz, Marc (guitar) 'Guitar Collection, Sor'
- Released 1996 by Naxos compact disc 8.553354, re-released June 2005 by Naxos compact disc 8.553722
- Duration: 2'47" (excluded the menuet) variations not indexed at all
- Recording date: February 21/26, 1995 at St. John's Church, Newmarket (Canada)
- Walkerova, Luise (guitar) 'Luise Walkerova - Leo Witoszynskyj, Kytarovy Recital'
- Title: Las folias de España
- Released 1971 by Supraphon 2 LP-set 1871/2
- Duration: unknown
- Recording date: May 29 - June 2, 1971, Studio Domovina, Prague
- Weiser, Aurelia (guitar) 'Fernando Sor (1778-1839)'
Duration: 1'19", 1.6 MB. (160KB/s, 44100 Hz)
The opening of Folie d'Espagne op. 15
© 2008 Aurelia Weiser, used with permission- Title: Folie d'Espagne op.15
- Released 2008 by Aurelia Weiser compact disc LC 18340
- Duration: 3'52"
- Recording date: September 6, 2007 in the Kammermusiksaal of the Hochschule für Musik Würzburg, Germany (Tonmeister Jürgen Rummel).
- More about Aurelia Weiser (and how to order the cd) at her website http://www.aureliaweiser.de/
- Yamashita, Kazuhito (guitar) 'F.Sor Complete Works for Guitar (16CDs),
Vol 1'
- Title: Les folies d'Espagne op. 15 a
- Released 1988 by Victor as compact disc VDC 14-16
- Duration: 4'39" (included the menuet)
- Recording date: December 1987 Kitakata Plaza Main Hall, Japan
Oeps, I did it again by Britney Spears |
The second part of the Folia chord progression is fully exposed in the refrain although the meter is 2/4 instead of the 3/4 Folia-theme. However many variations on the Folia-theme are written in 2/4 meter so no excuses to leave this tune out.
- Spears, Britney
- Released April 2000 as a single and as compact disc track
- Duration: c. 3'30" vocal version and 3'29" instrumental version
- Recording date: unknown
Subtitle/Note: Variation of theme by Marin Marais from Pièces de Viole (1681)
Colin Spiers wrote about his composition in an e-mail 19 August 2016:
The piece of mine you mention is a relatively early work that I wrote to develop composition technique through writing variations (a very useful way of doing this, because it enables the composer to work on thematic, structural and textural transformation processes in particular). The reason I chose the La Folia theme is because I like the simplicity and beauty of the harmonic progression. I used Marais's version because it is less familiar to pianist's than, say, Rachmaninov's so-called 'Corelli' variations. I had also performed excerpts from the Marais version with a gamba player and produced my own realisation of the figured bass, a process that set me off on the path of the original composition.
I should finally mention that I am unhappy with this piece, but may one day find the time to reduce its duration so that the best variations only are kept.
- Spiers, Colin
- Theme and 40 variations,
- Dedication note: Michael Dudman in memoriam
- Published 1981, difficulty: advanced
- Duration: c. 35 minutes
-
A preview of the first 20 variations is available on the AMC site; the direct link is: http://awscdn.australianmusiccentre.com.au/documents/ds_7886_10121.pdf
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The score is available from the Australian Music Centre: Variations on La Folia : for piano solo by Colin Spiers : Work : Australian Music Centre
- Sprung, Arnd
- Duration: c. 12'30"
La Folia, 7 variations for violoncello solo |
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The sheet music |
- Stahel, Michal (baroque cello)
- Released 2012 by Pavlík records compact disc without ordernumber
- Duration: 5'06"
- Recording date: October 1-6, 2012 in the Concert hall of the Imrich Csáky Castle in Veľký Biel, Slovakia
- More about the composer at http://www.michalstahel.com/
The composition is a passacaglia over two 'grounds': La Folia and the gregorian Dies irae at the same time.
- Stegemann, Michael
- First played: Nov. 19, 1997 in the Gedächtniskirche in Berlin by Wolfgang Zoubeck (a wellknown german organ-player and composer)
- Duration: c. 9'00"
- Étrennes contenant les danses favorites de la troupe de Ravel: cahier 1, arrangé pour piano par l'éditeur. Includes 27 dances
- Published 180? by H.C. Steup, Amsterdam, The Netherlands
- 5 volumes, 25 cm
- Collection dr. D.F. Scheurleer (Inv. 3826)
- Part of the collection of the Royal Library in Den Hague, The Netherlands NMI 21 F 11
Andrew Stiller wrote about his composition:
My piece was inspired by Marin Marais' wonderful set of folia variations for gamba, but is not based on or imitative of it. The title is a deliberately over-literal translation of the French 'les folies d'espagne', which I used both in homage to Marais and in recognition of this being a guitar piece. It is a 'folly', too, because for most of its length it treats the theme 'foolishly'--not as a ground bass but as a simple sequence of notes (G D G F Bb F G D) that has 'adventures': very fast repetitions in the minimalist fashion, for example; transpositions, distortions, various kinds of contrapuntal manipulation. The guitars are required to use scordatura, so that the range goes down to a low D, and quarter-tones are available. In places, the music modulates into tonalities with quarter-tone tonics, in other places the quarter-tones are used to imitate the upper partials of drums: there is a quote from Ravel's Bolero, and a spoken line from Windsor McKay's Dreams of the Rarebit Fiend. A long rock-'n-roll passage leads to a climax invoking the great lute tradition of the 16th-17th century, in the middle of which a simultaneous cross-relation (Fis against F) finally forces the theme to acknowledge its tonal roots and produce the traditional cadence that had hitherto been missing. Following this resolution the last five bars are repeated, then the last four, the last three, the last two, the last...
More about the oeuvre of Andrew Stiller, the founder of Kallisti Music Press at: http://www.kallistimusic.com/Stiller.html- Castellani-Andriaccio Duo (guitar)
- First performed (2 guitars): February 14, 1992 at the Smithsonian Institution
- Duration: c. 14'00"
- Yet to be recorded, the four guitar version remains unperformed
- Stiller, Andrew
- Published 1981 (two guitar version) and 1984 (four guitar version) by Kallisti Music Press, Philadelphia
- 25 pages (two guitar version) in two parts
- 30 pages (four guitar version) in four parts
- Spielbuch für Gitarre, Heft II 3752 (28 pages in total)
- Published 1939 Edition Schott s.s.s.35998
- 4 pages: number 22, 23, 24, 25, size 28x19cm (landscape)
A Folia from Norway for solo voice. The meaning of the text is unknown (no translation from the Norwegian language)
- Løvlid, Unni (voice solo)
Norwegian Folia for solo voice Unknown source 
- Published at YouTube: https://www.youtube.com/watch?v=UFkv_gqA_8E
- Publishedat YouTube by the Goethe-Institut Norwegen April 18, 2018
- Sheet music unknown source
- Strauß, Marlo (1957- )
- La Follia per Mandolino solo, theme and 10 variations (1991)
Marlo Strauß wrote about La Follia per Mandolino solo:One day I had to write and play a continuo for Corelli´s Follia-variations. To study and really understand the whole thing I wrote these variations first to make sure that I really know the theme and its character.
Duration: 1'38", 481 kB.( 40kB/s, 22KHz)
Theme as indicated in the sheet music and variation 9 as played by Leoniek Hermans
© Marlo Strauß/Leoniek Hermans, used with permissionTheme of La Follia per mandolino solo © Grenzland Verlag, used with permission 
- Hermans, Leoniek (mandolin) 'Schmetterlinge'
- Released 1997 by Grenzland Verlag Theo Hüsgen Aachen, GVH KM - 2009
- More about the oeuvre of the composer at http://marlostrauss.kulturserver-nrw.de/
- Published by Grenzland Verlag compact disc AM 005
- Duration:
Thema - Adagio 0'49"
Variation 1 0'46"
Variation 2 - Allegro 0'25"
Variation 3 0'27"
Variation 4 - Vivace 0'23"
Variation 5 0'18"
Variation 6 - Poco allegro 0'29"
Variation 7 - Allegro 0'33"
Variation 8 - (nur auf der a'-Saite zu spielen) 0.25"
Variation 9 - Adagio 0'52"
Variation 10 - Allegro 0'38"
Thema - Adagio 0'49"
- Recorded 1994-1996 in Studio A, Stein
- Stubbs, Stephen (? - )
- Improvisation I on the Folia bass (2004)
Most Folia variations are played to show off the virtuosic capabilities of the performers. These variations are mainly designed to impress the listener and are not intended as an organic unity. The improvisations of Stubbs c.s. seem to have a different approach; to give an inner reflection of the music in a floating sober style.
- Stephen Stubbs (baroque guitar), Maxine Eilander (Spanish aand Italian harps),
Erin Headly (viola da gamba, lirone), Milos Valent (violin, viola) 'Teatro Lirico'
- Released February 2006 by ECM New Series 1893 4763101
- Duration: 7'45"
- Recording date; February 2004 in Propstei St. Gerold
- See also the page Recommended Folia-recordings
- Improvisation II on the Folia bass (2004)
- Stephen Stubbs (baroque guitar), Maxine Eilander (Spanish aand Italian harps),
Erin Headly (viola da gamba, lirone), Milos Valent (violin, viola) 'Teatro Lirico'
- Released February 2006 by ECM New Series 1893 4763101
- Duration: 6'44"
- Recording date; February 2004 in Propstei St. Gerold
- See also the page Recommended Folia-recordings
- Svenblad, Ronnie (? - )
- Sinclairvisan (2001)
See for more detail about the tune Sinclairvisan Anonymous traditional
Ronnie Svenblad wrote about the tune:
I made a record with Swedish folk songs and Sinclairvisan is a well known folksong in Sweden. I think it is a great song. The first time I heard it was by Jan Johansson on the record "Jazz på svenska"
Duration: 4'28", 5.38 MB. (160KB/s, 44100 Hz)
The complete set of variations
© 2001 Ronnie Svenblad, used with permission- Svenblad, Ronnie (keyboard and computer-programs)
- Released on the website http://www.electromancer.com/showTrack.php?id=1108852955 (no longer available)
- Duration: 4'28"
- Recording date: 2001 in Sweden in the genre Ambient/New Age
- Svoboda, George (Jiri) (1954- )
- Folias (6 variations for two classical guitars)
In September 2000 George Svoboda wrote in an e-mail:Folia has always been a fascinating form to me. There is something eternal in those harmonies. I wrote that piece in 1994. It is not the greatest piece of music but we (Fred and I) had fun playing it!
Duration: 0'54", 03 kB
Theme as indicated below in the sheet music
Theme of Folias © G. Svoboda, used with permission 
- Benedetti/Svoboda Duo (2 guitars) 'Scirocco - Desert Wind'
- Released 1994 by SBE Records compact disc SBECD002
- Duration: 4'55"
- Recording date: Summer 1994 at Gandharva Studios, San Diego, California US
- Swerts, Piet (1960- )
- La follia per violino solo (1990)
- Swerts, Piet
- Published by CeBeDeM (Aarlenstr.75-77 1 verd. 1040 Brussel + 32 2 94 230 94) c.1992, Brussels
- Eight variations
- Score 8 leaves of music, 31 cm
- Duration c. 8'00"
- Sychra, Andrei (1773-1850)
- Les folies d'espagnes (c.1825) theme and 3 variations for semistrunnaia gitara
S. Walsh wrote about this piece in an e-mail March 2004:
There is a Folia-version for semistrunnaia gitara - a Russian seven-string guitar tuned DGBDGBD - by A. Sychra (1773-1850). He was the founding father of the Russian guitar and wrote hundreds of pieces. He taught the instrument and some of his pupils became composers too.
This particular piece is in 'Journal de Petersbourg' no. 33 and consists of the theme and 3 variations in E minor. Most of the title page is in Russian but it clearly states ' Journal de Petersbourg pour la guitare par A. Sychra'. The collection has 144 pieces in all. I think they were published in instalments. A lot of the pieces are very attractive but this setting of La Folia seems a bit dull.
The edition that is in the Library of Congress has the dates 1828-29 pencilled in by a librarian. But Oleg Timofeyev's liner notes to his cd 'The golden Age of the Russian Guitar' (Dorian Recordings) dates the start of this collection of pieces starting in 1818. I doubt if Oleg Timofeyev has ever recorded this particular piece which is not Sychra at his best.- Journal de Petersbourg
- Edition available in the Library of Congress
- Duration c. 1'50"
- 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
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 filmThe 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
In the film the Folia is used in four scenes:
- 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.
- 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.
- 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.
- 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.
- 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)
- 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 DreamThe 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)
- 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
- Text in English:
- 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 
- 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
- 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.
Tárrega, Franscisco(attributed incorrectly) (1852-1909)- 'Estudio sobre un fragmento de Fossa' for classical guitar
- 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
See for the background of the Sinclairvisan Anonymous traditionalSven Bertil Taube sings Sinclairsvisan
Duration: 7'20" direct link to YouTube
© 1962 by Sven Bertil Taube- Taube, Sven Bertil 'Skillingtryk'
- 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
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.
- Taylor, Jason R. (1975- )
- Variations on La Folia for solo guitar (1993)
- 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)
- 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.
- 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.
- 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).
Helmut M. Timpelan wrote about this composition in July 2004:
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.
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.- 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)
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…”- Evelyn J.L. Puefken and Timpelan, Helmut M.
- The original solo violin arranged for keyboard-instruments by Helmut Timpelan with a composed castanet part by Evelyn JL Puefken
- Duration: ca. 8'00".
- Containing: Score and separate castanet part, preface and basic explanation of notation and fingering of the castanet part (in german language)
- Volume: 14 p. , 21 x 29 cm
- Published by © timpelan-puefken, 2010
- The website of E.J.L. Puefken http://www.ballettprojekt.de/#
- 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
- 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.- 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 ensembleHelmut 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. .
- 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.
- 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/
- 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.- 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- 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/
- 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.- 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.
- Trovesi, Gianluigi & Tommaso, Bruno
- C'era una strega c'era una fata (there was a witch, there was a fairy)
- 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
- 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
- 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- 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- 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
Daniël De La Cuesta wrote in an e-mail June 15, 2014: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!
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. K 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
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:
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
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.
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. .
- 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
- 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
- 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
- Uccellini, Marco (1603-1680)
- Synfonia 5 'A Padouana' (for three violins and basso continuo) from Opus 8, Synfonie Boscarecie
This Opus was first published in Venice in 1660, but no complete copies of that print has survived. Instead, our knowledge of this work stems from the second and third print made in 1669 and 1677.
In traditional literature is stated that Lully was the first composer who introduced the famous 'later' Folia theme. It is already questioned what the contribution of Philidor, the wind-instrument specialist at the court was for the composition Folies d'Espagne for four winds. The collaboration between Philidor and Lully resulted in the exposition of both the chord progression and the standard melody. However the 'later' Folia chord progression was already used in the Fitzwilliam Virginal book dated back to c. 1618. Faconieri (Falconiero) introduced his 'later' Folia chord progression in 1650 and this piece by Uccellini was published 12 years earlier than the Lully composition.
Duration: 1'21", 7 kB.
Midi made by Johan Tufvesson
Torsten Nowicki wrote October 16, 2005:The sheet music, 2 pages
© Johan Tufvesson edited the music
Made available by Johan Tufvesson
During my research on 17th century instrumental music I recently stumbled upon something: --> Sinfonia 5 from "Sinfonie Boscarecie" (1660) by Marco Uccellini. This little gem uses exactly the later model of the folia, as you can clearly see: http://icking-music-archive.org/scores/uccellini/ucop8sc.pdf (No 5) and hear http://icking-music-archive.org/scores/uccellini/ucop8_mid.zip
- Tufvesson, Johan after the second edition from Antwerpen 1669
- Complete music published at the internet of the Synfonie Boscarecie at http://icking-music-archive.org/scores/uccellini/ucop8sc.pdf
- Duration: c.1'20"
- Uematsu, Nobuo (1959- )
- Vamo' alla flamenco, Black Mage Village, Limited Time
Sometimes there is a world within our world we know little about. This definitely is true out of my perspective for all the computer games. The games are often provided with instant music but there seem to be some composers who are specialized in this field and recognized for their contribution to make a game into a success. The Japanese Nobuo Uematsu seems to be one of them. Three tunes from the game 'Final Fantasy 9'.Black Mage Village
Duration: 3'13", 33 kB.
© Josh the Videogamer, January 2001Black Mage Village
Duration: 3'23" direct link to YouTube
© 2000 by Nobuo UematsuLimited Time
Duration: 3'03". 10kB.
© Bryan Bilocura, January 2003Limited Time
Duration: 3'03" direct link to YouTube
© 2000 by Nobuo UematsuVamo' alla flamenco
Duration: 2'06", 40 kB.
The tune ends rather abruptlyVamo alla flamenco
Duration: 3'11" direct link to YouTube
© 2000 by Nobuo Uematsu
Michael Huang wrote at his Uematsu webpage (http://www.nobuouematsu.com/main.html):Who is Nobuo Uematsu you asked? Well, if you ever played any of the Final Fantasy series on Snes, Playstation or Sony Playstation 2, then you have the privilege of hearing his great musical compositions. Nobuo Uematsu's innovative use of harmonization and enchanting melody is one of the reason Final Fantasy stand out from the normal mundane RPG crowd and raise the standard on video game music.
- Uematsu, Nobuo 'Final Fantasy IX'
- Title: Vamo' alla flamenco
- Released 2000 by Square Enix compact disc 4-set sscx-10043
- Duration: 2'08"
- More about the oeuvre of Uematsu at http://www.nobuouematsu.com/cd.html
- Niwa, Asako 'Final Fantasy IX'
This official, licensed 320 page collection presents all of the music from the Final Fantasy 9 soundtrack as musical notation for piano. The minimal descriptive text and song titles are in Japanese but the musical notation will be readable by anyone familiar with written musical notation.- Title: Vamo' alla flamenco
- Arragement for piano solo
- Released by Doremi year unknown
- Van de Moortel, Arie
- See Moortel, Arie Van de (composers letter M).
- Van Slyck, Nicholas
- See Slyck, Nicholas Van (composers letter S)
- Vandecauter, Herman (1953- )
- La Folia variations for ukulele
That the Folia theme is very suitable for plucked instruments is rather well-known but that the ukulele would be an obvious choice, one can only imagine after hearing Herman Vandecauter plays his Folía variations in a range of different techniques like the style brisé (arpeggio) and tremelo (tremelando) style. I wonder anyway if there is someone else than Herman who can sit as calm as a statue while playing in such a swinging way.- Vandecauter, Herman
Herman wrote about his Folia composition::Duration: 6'41" direct link to YouTube
Herman Vandecauter plays his La Folia variations
© Herman Vandecauter, used with permission
My ukulele version is more or les based on Marin Marais version. Actualy I did make the first version for the mandolin but since I became an ukulele adept I found out that it sounds even nicer on the ukulele some 7 month ago! I was already familiar with Gaspar Sanz & Francois Lecocq versions for guitar.
It is a home made recording but I play those variations in public as well- Title: La Folia variations
- Duration: 6'41"
- Recorded 2009 in Belgium for YouTube
- More about Herman Vandecauter you can find at http://www.ukulelebelgium.be
- Vangelis
- See Papathanassiou, Evangelos Odyssey (composers letter P)
- Veracini, Francesco Maria (1690-1768)
- Sonata XIIa as part of 12 Sonatas after Arcangelo Corelli, opus 5 for violin and Basso continuo
This Italian violinist was considered one of the top violinists during his lifetime. He was an arrogant and independent individual who did hold positions in various places, but would rather not be in service to any one except himself. His musical compositions for the violin show an influence from Vivaldi. Veracini composed approximately sixty violin sonatas, concertos, oratorios, cantatas, and songs. The violin sonatas were lucid examples of the galant style and indicate not only an influence of Vivaldi but Casini as well. Performing into his elder years, Veracini denounced homophony.
His arrangements of Corelli's Opus 5 is considered one of his major works. However there are few derivations in his Sonata XII based upon La Follia. Variation 18 and 19 are the most remote but in general they are following the footsteps of Corelli.
Duration: 0'50", 5 kB.
The most remote variations 18 and 19 by Veracini after Corelli Duration: 11'51", 46 kB.
The complete set of variations by Veracini after Corelli- Kolneder, Walter edited the music for violin, harpsichord and cello (viola da gamba)
Walter Kolneder wrote about these sonatas:
The manuscript "Dissertazioni del Sg. Francesco Veracini sopra l'opera quinta del Corelli" in the Biblioteca Comunale in Bologna (the late Liceo musicale) does not contain - as occasionally presumed - ornamentations of the famous sonatas by Corelli but a new version of them. The fugal movements especially have been revised to such a degree that they could be described as new compositions. Like similar works by Bach, they are the expression of a profound and critical mind and in their thoroughness without comparison in the music of the baroque.
- Published 1962 by Schott, Mainz, Germany
- Pages: 15 in total
- Size: 40x29cm
- Publisher Number ED 5171
- Vidal, Paul Antoine (18th century)
- Vingt variations des folies d'espagne (pour guitarre) or Air des folies d'Espagne
The sheet music Air des folies d'Espagne
© Public Domain
Source The Petrucci Library- Vidal, M. 'Nouveux Principes De Guitarre', Pour connaitre l'étendu
De l'instrument, le doigté et le pincé, Soit pour L'accompagnement,
Soit pour les Piéces Avec tous les accords mineurs et majeurs;
un prélude dans chaque ton, un Grand prélude général,
et vingt variations des folies d'espagne, où l'on a fait entrer
les principales difficultés de l'instrument '
- Deviés a Madame Roque de Fournier
- Pages: 21 in total
- Prix 7# 4 A Paris Chez l'auteur professeur de Musique et Matre de Guittare aux soirees epagnoles magazin de Musique rue de richelieu entre la rue de menans et la rue neuve St Marc.
- Published circa 1790
- Vigeland, Nils (1950- )
- La Folia Variants (1996) for guitar solo, parts: Cadenza, Sonata, Dances
This composition requires not only lots of technique and concentration of the performer but of the listener as well because the music is not very accessible and certainly not intended as elevator-music. Borders are redefined and the tonal qualities of the guitar (as the title of the cd ' Resonance' suggests) are explored to the maximum.
Angelo Gilardino, a recent folia-composer for guitar, once pointed out that variation techniques have developed over the years: 'from the viewpoint of a composer, the variation that makes a direct use of the theme, with only some sort of ornamental treatment of either the melody or the harmony or both, is considered nowadays more a school exercise than a true creative work. The true variation is more elaborated, taking the theme as a background reference, and creating entirely new structures after it.'
This quote is definitely true for this composition of Vigeland. The Folia-theme itself is never quoted and I wonder if the composer isn't overestimating the knowledge of the listener. For those familiar with the theme the subject is hard to miss in especially the third movement 'Dances'.
Daniel Lippel wrote about this composition in February 2002:
Nils Vigeland wrote La Folia Variants in 1996 for guitarist Anton Machleder, who never played it. I subsequently played the premiere in October 2002 at the Manhattan School of Music. The piece is in three movements, Cadenza-Sonata-Dances. It is based on the rhythm- quarter-dotted quarter-eighth. Truthfully, the folia theme is not really discernible in 90% of the piece, it is more taken as material to jump off from. It is not published at this point, nor it is it recorded, though I plan to release the first recording in Fall 2003. I don't know if Vigeland plans on publishing the score. The piece is approx. 12 minutes long, and 16 pages. The piece starts in "tonic". I include the quotation marks since it is not explicitly in any key per se, but to the extent that it is, it starts on tonic harmony. So if it were in D minor, it would start melodically d-d--d, c#-c#---, d-d--d, e-e--. The appearances of the actual theme are masked but when they do appear, this is the form they appear in.
- Lippel, Daniel (guitar) 'Resonance'
Dan Lippel wrote for the slipcase: Duration: 1'19", 1272 kB. (128KB/s, 44100 Hz)
The opening of the third movement 'Dances' (see the homepage of Dan Lippel for the 2nd movement)
© Daniel Lippel 2004, used with permission
Nils Vigeland's La Folia Variants basks in the richness of sonority on the guitar. The first movement "Cadenza" uses rhythm to evoke the flow of speech, as repeated bell-like harmonics ebb and flow. "Sonata" opens with lush chords, and builds patiently to a prolonged climax over a pedal point, before returning to the intimacy of the opening. "Dances" is a virtuosic tour de force of three dance sections, each more fleet than its predecessor. The centuries old folia theme appears frequently throughout the work, sometimes buried in dense textures, and sometimes cloaked in unexpected garb.
The composer writes, "La Folia Variants" takes more as a point of departure rather than a foundation the famous tune, subject of innumerable pieces. Not being a guitarist, my intrigue with the instrument is in the difference in resonance between notes that are harmonically powerful in the tuning of the six strings and those which are not. This, more than anything else, led me through the composition of the piece."- Released 2004 by Focus Recordings compact disc FCR101
- Duration: Cadenza 2'36", Sonata 5'36" Dances 7'28"
- Recording date: January 2-5, 2004 at the HUSEAC Studios, Harvard University, Massachusetts, USA (world premiere recording) The worldpremiere during concert was in October 29, 2002 at the Manhattan School of Music
- More about the activities of the guitarist Daniel Lippel at http://www.danlippel.com/
- Villasol, Carlos (1961- )
- Elogio de la folía (1994) for harpsichord
- Chenlo, María Teresa (harpsichord)
- Duration: 6'33"
- Recording date: Worldpremiere November 28, 1995 in Casa de América in Madrid, Spain
- Elogio segundo de la folía (1998) for flute, clarinet, violin, violoncello and piano
- Grupo LIM
- Duration: 6'40"
- Recording date: Worldpremiere November 9, 1998 in Escuela Superior de Ingeniero in Bilbao, Spain
- Viñao, Ezequiel (1960- )
- Fantaisie (1998)
Commissioned by the pianist Kalichstein for his concert program with the Folia-theme. He intended to play the Rhapsody Espagnol by Liszt and the 12 variations on la Folia by C.P.E. Bach next to the Fantaisie.- Kalichstein, Joseph
- Worldpremiere January 13, 1999 New York
Visée, Robert de(attributed incorrectly) (c.1650-c.1725)
- Folies d'Espagne (attributed to de Visée)
It is rather doubtful if de Visée, who was a pupil of Francesco Corbetta, actually published any form of the famous Folia although he was a leading musician for the baroque guitar, one of the instruments perfectly suited for an interpretation of La Folia. His Livre de Pieces pour la Guitare dated 1689 is unfortunately lost. Marc Pincherle in his biography of Corelli pointed out that in the eighties the follias had become so commonplace that Robert de Visée refrained from introducing them into his livre de guittare of 1682 page 5:Il en court tant de couplets (de variations), dont tous les concerts retentissent que je ne pourois que rebattre les folies des autres
It's a pity that Toyohiko Satoh does not mention in the slipcase of the recording how he came to the conclusion that the manuscript (source not mentioned) could be derived from De Visée.
or in English:
One will certainly not come across any more Folies d'Espagne. So many strains of them abound, cluttering up all the concerts, that I should only be repeating the follies of others.
So I wrote a letter to Mister Satoh and he was so kind to reply the 11th of
May 1998 and explained why he attributed it to de Visée.
In the Ms. Rés 1106, the source for his recording, the name of the composer is indeed missing. Although, when you look at the charasteristics of this composition some of the variations might have been done by de Visée. The interpretation of the performance is in some variations played in the spirit of de Visée. The Paris manuscript Vm 6265 has only 4 variations, but Rés 1106 has 6 variations including the last strumming variation. That final variation is written in thick chords only, but if de Visée (he was a guitarplayer too) played it, he surely used the strumming technique for it.
Richard Hudson did include the score of the closely related piece for Theorbo in his study as Folia nr. 94, French c.1690 (source Bibliotheque Nationale, Paris manuscript Vm 6265, pp 11-13). Satoh plays the same first three couplets, only the last strumming variation is a deviation as written down in thick chords in Ms. Rés 1106.
Mister Satoh suggested that one of the reasons for the de Visée not to sign the piece could have been that he was afraid that his composition was compared with other folia-masterpieces. For T. Satoh it isn't that important who wrote the piece, because La Folia was public domain, borrowed and adapted by many composers in that era. De Visée might be regarded as the exponent of all French Theorbo players at the end of the 17th century and since the piece was written during his lifetime, for a common audience it does appeal more to attribute it to de Visée than to some anonymous composer, except perhaps for some musicologists.Theme by Anonymous for Theorbe (c.1690) collected by Richard Hudson 
- Jacobs, Fred (theorbo) 'Robert de Visee, Pieces de Theorbe'
This might be a transcription of the music by Lully. In any case de Visee never composed a Folia as written down in the preview of his published music.
The title of this cd is another attempt to mistify the origins of this tune.
- Title: Les Folies d'Espagne
- Released 2008 by Metronome compact disc METCD1072
- Duration: 3'13"
- Unknown
- Satoh, Toyohiko (theorbo: kind of lute with 6 double strings on the
fingerboard and 8 single strings on a double lenght diapason)
'Toyohiko Satoh 4; lute, guitar & theorbo; Robert de Visée'Duration: 4'02" direct link to YouTube
Toyohiko Satoh plays an anonymous manuscript with Folies d'Espagne
© 1995 Toyohiko Satoh- Released 1995 by Channel Classics Records B.V. compact disc CCS 7795
- Duration: 4'00"
- Recording date: June 4-6, 1990 in Bethaniënklooster, Amsterdam
- Lindberg, Jakob (Theorbo) 'Robert de Visée, theorbo solos'
Jakob Lindberg wrote as an introduction to the piece in 2024:
All the pieces recorded here are from Vaudry de Saizenay's manuscript, except for the short Prelude in C minor that introduces La Plainte and Folies d'Espagne which ends this recording. They are instead from a manuscript in the Bibliotheque National de France in Paris (Res. 1106). It contains 70 pieces for theorbo by de Visee. Most of these can also be found in Vaudry de Saizenay's manuscript, but not Folies d 'Espagne. De Visee resisted the temptation to include a setting of this popular chord progression in either of his guitar publications. In the first book of 1682 he explains that so many of these same couplets are played over and over in every concert that I could only strum the folies of others'. The setting in A minor for theorbo, however, does not include any strumming and the five variations that follow the theme evolve idiomatically and cover the full range of the instrument. The last variation is presented as block chords and I have chosen to arpeggiate these harmonies, using a pattern similar to the one de Visée specifies for the last couplet in the Chaconne in G major (track 24). Nearly half a century has passed since my unforgettable up-close encounter in Paris with the original theorbos in the Musee du Conservatoire. Having perfonned this music on my own theorbo for many years, I can't help but be seduced by the grace of the instrument's lines, the resonance of its sonorities, and by the unmistakably French elegance of this remarkable composer.
- Title: Folies d'Espagne
- Released 2024 by BIS label BIS-2562 SACD
- Duration: 4'13"
- Recording date: 29th March - 1st April 2023 at Länna Church, Lännaby, Sweden
- Zayas, Rodrigo de (Baroque guitar) 'Luths - Théorbes, Vihuelas,
Guitare Baroque'
Rodrigo de Zayas wrote as an introduction to the piece:
6 variations sur les Folies d'Espagne: French theorbo.
There is a double reference made to Spain here: first by the theme and variations form and then by the folía. The probable Portuguese origin of this dance was long since forgotten. This late example of the French school of lute music shows it at its best and also it demionstrates what was to become the style of the 18th century French school of harpsichordists among whom the Couperin and Rameau.- Title: Six variations sur les Folies d'Espagne (théorbe à la française)
- Released 1979 by Arion 3 LP-set ARN 336 018
- Duration: 4'34"
- Recording date: 1978 in la Maison de la Culture de Rennes, France
- Viso Soto, Margarita Mónica (1957- )
- Diferencias sobre las folías de Españia (1999/2007)
Margarita Mónica Viso Soto
Margarita Viso Soto wrote about her composition in January 2015:I started the composition in 1999 but it was not finished right away. Eventually the composition (the final one or two pages) was finished only 8 years later. In 2007 I had the feeling that I had to complete the composition.
Every "Diferencia" (variation) is a tribute to one of the great composers of music. I don't remember every one: Cabezón and others like Händel, Corelli, Couperin, Beethoven, Bellini and Rachmáninov. The last diferencia was not associated with a particular composer and can be filled in by the listener.
The reason to choose the Folía theme is that I would like to make an appropriate composition for the occasion that a collegue pianist retired: a close friend of mine. She is Catalanian and I am Galician. Then I needed some musical theme that is common ground for the both of us, which was not an easy task. Las folías de España is a magnificent theme and I found it perfect for my project.
The performer in the YouTube film Antonio Queija is a great pianist.- Antonio Queija Uz (piano-solo)
Duration: 9'40" direct link to YouTube
Antonio Queija Uz plays Diferencias sobre las folías de Españia by Margarita Viso Soto
© 2013 Margarita Viso Soto- Title: Diferencias sobre las folías de Españia
- Published 2013 at YouTube by Margarita Viso Soto
- Duration: 8'32"
- Recording date: 30 November 2012 in Salón Rexio do Círculo das Artes. Lugo, Spain
- Vitale, Marcello (? - )
- Folia passeggiata sopra D, improvisation (2004) for Baroque guitar solo
- Vitale, Marcello (Baroque guitar) 'All' Improvviso L'Arpeggiata'
Christina Pluhar wrote for the slipcase (translation by Mary Pardoe):
Folia: In 1611 Covarrubias Horozco explained that the name 'folia', meaning 'mad' or 'emty-headed', was appropriate because the dance was so fast and noisy that the dancers seemed out of their minds.
The source that have come down to us do not enable us to determine wheter the 'folia' is of European or South American origin. The name first appeared in Portugal in the fifteenth century in connection with singing and dancing, and it soon spread to Spain. But the 'folia' may have been one of the first dances imported into Portugal from the New World. Portuguese 'folia' texts appear in the works of Gil Vincente (written between c1503 and c1529), and Spanish texts in the 'Recopilación en metro' by Diego Sanchez de Badajoz (published posthumously in 1544).
In the seventeenth century the 'folia' was popular in Spain as a sung dance, accompanied by the five-course guitar and 'sonajas' (metal discs attached to a wooden ring). In early seventeenth-century Italy many 'folias' were written in 'alfabeto' notation for the guitar. These pieces call for rhythmic improvisation from the guitarist.
In the eighteenth century the instrumental 'folia' became a noble, courtly theme. Its extraordinary, timeless harmony served as a basis for virtuoso compositions in Italy and France.- Duration: 2'40"
- Released 2004 by Alpha compact disc Alpha 512
- Recording date: November 2003 and January 2004 at Paris, France
- Instrument built by Pasquale Scale, Praiano 2002
- Vitali, Tomaso Antonio (1663-1745)
- Follia opus 4 no. 12 in d minor
- Ehrhardt, Susanne (recorder) Ogeil, Jacqueline (harpsichord) Waugh,
Margaret (cello) 'La Follia, variations by Corelli, Vitali, Vivaldi, Scarlatti'
From the slipcase:'La Follia' has proven to be one of the most popular and enduring harmonic progressions from the Renaissance and Baroque period. Throughout history 'La Follia' has been used by many great composers including Corelli and Vivaldi, right through to Liszt and Rachmaninoff. This CD contains a wide selection of 'La Follia' variations by Baroque composers, including one of the most well known settings, by Corelli, 'La Follia' from Sonata Op 5, No 12. This work is Corelli at his best, displaying an endless imagination through a succession of variations in ever changing moods and metres. Likewise the setting by Vitali also featured, contains a wealth of variation and invention
- Title: Concerto di sonate a violino, violincello, e cembalo Op 4 no. 12 'Follia'
- Released 1998 by Move Records compact disc MD 3211
- Duration: 6'21"
- Recorded at Move Records studio, Melbourne, Australia without indication of any dates
- Kuudennen kerroksen yhtye (Pulakka, Maria: violin; Pulakka, Lauri: cello;
Mattila, Anssi: harpsichord)
- Published 1992 by the 'Classica magazine Suomen Kuvalehti' Classica CL 101
- Duration: 7'36"
- Recording date: July 1992 in Kuhmo Church at the Kuhmo Chamber Music Festival, Kuhmo Finland
- Vivaldi, Antonio (1678-1741)
- Trio Sonata in d minor opus 1 No. 12 RV63 'La Follia' (1705). Theme and 19 variations.
The sheet music can be found in public domain at the Petrucci-Library
First published in Suonate da camera a tre, due violini e violone o cembalo in a collection by the Venetian music publisher, Giuseppe Sala.The opus 1 was dedicated to Annibale Gambara, a Veronese nobleman. This collection of twelve sonatas written for two violins - eighter with or without continuo, became widely known throughout Europe and has been published four times: by Estienne Roger in Amsterdam (around 1715 and after 1723) and by Le Clerc Le Cadet in Paris (around 1739 and then in about 1751). This Opus 1 collection contains the earliest known sonatas by Vivaldi. As indicated on the title-page of the collection, they could be played by two violins and violoncello (originally a violone) or by two violins and harpsichord. The original score contains only the bass part without its realization for keyboard.
Vivaldi's 'La Follia' opens with a theme (adagio) followed by 19 variations of 16 bars each, all of them in the key of D minor, in both the slow and the fast movements. The melody is unadorned and linear. In some of the variations the two violins take turns in bandying melodic motifs from one to the other (Nos. 13 and 19), or play in unison of a third, while in others (Nos. 8, 15, 16, 18) the first violin withdraws from the sonorous fabric, leaving the other two parts to take over the simple role of a harmonic support.A live performance of La Petite Bande with Sigiswald Kuijken playing the Violoncello da Spalla
Duration: 9'44" direct link to YouTube
© Makoto Akatsu (violin I), Sara Kuijken (violin II), Benjamin Alard (hpschd). Sigiswald Kuijken (spalla)
Duration: 0'45", 03 kB.
The theme of Vivaldi's Follia as indicated in the sheet musicTheme of La Follia in arr. for two recorders and b.c. arrangement Martin Nitz, 1987 
- The Academy of Ancient Music/Hogwood, Christopher 'Vivaldi: Concerto
per flautino, 2 cantatas, trio sonata La Folia, Marcello: oboe
concerto'
Christopher Hogwood wrote for the slipcase:
His first published work was, as might be expected for strings, a set of twelve 'Suonate da camera a tre' (c. 1705), which begs comparison with Corelli's opus 5 set of solo sonatas, published five years earlier, because both sets end with variations on the popular bass pattern known as 'La Folia'. Vivaldi's Trio Sonata in D minor 'La Folia' RV 63 includes maximum virtuoso figuration for both violins and continuo, with occasional punctuation in the form of slower variations - an Adagio with some very Corellian suspensions, a Larghetto which gives all its attention to the first violin, and a Siciliano.
- Title: Trio Sonata in D minor 'La Folia' RV 63
- Released 1989 by L'Oiseau-Lyre series Florilegium compact disc 421 655-2 (release US October 1997 2894557272)
- Duration: 9'09"
- Recording date: June 1980
- The Academy of Ancient Music: Manze, Andrew (violin and director), Podger,
Rachel (violin), Carter, William (baroque guitar), Ross, Allister (harpsichord),
Evans, Judith (bass), McGillivray, Alison (cello)
- Title: Trio Sonata in D minor 'La Folia' RV 63
- Duration: 8'45"
- Recording date: February 15, 2003 in the Concertgebouw, Amsterdam, The Netherlands
- Broadcasted directly by the dutch broadcasting company VARA 'De Matinee rechtstreeks'
- Accardo, Salvatore (violin), Gulli, Franco (violin), Canino, Bruno (harpsichord),
Saram, Rohan de (cello)
- Released by Philips 6768007
- Allora 'Winfried Hackl & Allora: Il flauto Amoroso
- Released 1996 by SBF Records, Austria compact disc 450295
- Duration: 10'19"
- Recording date: Live recording Autumn 1994 from a concert in the Kloster Chapel of Baumgartenberg
- Ambrosini, Marco (viola d'amore), Delfino, Riccardo (viola da rota),
Posch, Michael (flauto dulce), Campagne, Augusta (harpsichord), Wimmer,
Thomas (viola da gamba)
- Title: Trio Sonata for 2 Violins and Basso Continuo in D minor, Op. 1 no 12/RV 63 'La Follia'
- Released April 1996 by Preiser Records compact disc CD 90276
- Apollo's Fire (Jeannette Sorrell directing from the harpsichord, David Greenberg violin)
- Title: Concerto Grosso 'La Folia' (after Vivaldi's Trio Sonata "La Folia" Op 1/12)
- Arrangement by Jeannette Sorrell
- Broadcasted by WCLV February 10, 2009
- Duration: 11'03"
- Recording date: February 4th, 2006 at St. Paul's Episcopal Church, Cleveland Heights
- Apollo's Fire conducted by Jeannette Sorrell, with Julie Andrijeski violin and Susan Napper cello "Vivaldi & Friends"
The Independent (London) wrote:It's a noble tradition, as illustrated by the inclusion of both Bach's "Concerto in A minor for Four Harpsichords", and Vivaldi's "Concerto in B minor for Four Violins" on which it was based. But the showstopper is the vivid "La Folia": I love the strings' halting introductory bars and the way the ensemble picks up speed, building to dizzying whirls evocative of the Moorish dance it's named after.
Julie Amacher wrote for the Minnesota Public Radio November 8, 2011:.Jeannette Sorrell finds Vivaldi's rhythms and harmonies exhilarating. She proves this in her own arrangements of two of Vivaldi's concertos, the first of which opens this new recording. "La Folia" (which can be translated as "madness") is a dramatic Portuguese dance with Moorish influences. Legend has it that Portuguese girls would collapse after completing this frenzied dance which is full of seduction and dramatic courtship. The melody went on to catch the attention of many composers, including Vivaldi. Sorrell's arrangement turns his original trio sonata into a concerto grosso so the entire ensemble can join in "madness."
- Title: La Folia, concerto grosso (after Vivaldi's Sonata, Op. 1/12)
- Arrangement by Jeannette Sorrell
- Released 2011 by Avie compact disc ordernumber AV2211
- Duration: 10'55"
- Recording date: while “La Folia” was recorded live in a church in 2008, the other tracks were recorded at the same location in 2000 with no audience (source Fanfare, Maria Nockin).
- Armonia Atenea, conductor and harpsichord George Petrou with the program "Leidenschaft und Seele"
- Broadcasted live concert by the Austrian radio station ORF September 6, 2012 in the program "Alte Musik im Konzert"
- Duration:11'27"
- Recording date: August 25, 2012 in the Riesensaal of Hofburg, Innsbruck as part of "Innsbrucker Festwochen 2012"
- L'arte dell'arco, conductor Hogwood, Christopher (Federico Guglielmo
(violin), Giovanni Guglielmo (violin), Pietro Bosna (cello), (all instruments
from the collection of the Ospedale della pieta, Veneti)
Fredrico Marincola (theorbo), Christopher Hogwood (cembalo) 'Antonio Vivaldi:
Suonata da camera a tre op.1/vii-xii L'arte dell'arco'
- Released 1997 by Deutsche Harmonia Mundi compact disc 05472 77350 2
- Duration: 9'49"
- Recording date: May 28-30, 1997 in Sala degli Affreschi, Villa Cordellina Lombardi, Montecchio Maggiore
- Aston Magna
- Released by Nonesuch compact disc 9790562
- Recording date: September 1982
- L'Astrée ( Francesco D'Orazio violin, Alessandro Tampieri violin and baroque guitar, Alessandro Palmeri cello,
Francesco Romano theorbo, Giorgio Tabacco harpsichord)
- Title: Sonata a tre in re minore "La Follia" per due violini e basso continuo op. 1 n. 12 RV 63, Tema and Variazioni I - XIX
- Broadcasted by RAI radio 3 (Italy) April 3 and October 30, 2005
- Duration: 9'01"
- Recording date: unknown at Cappella Paolina del Palazzo del Quirinale di Roma, Italy
- Augusta Campagne (Ambrosini, Delfino, Posch and others) 'A. Vivaldi'
- Title: Trio Sonata for 2 violins and b.c in d Op. 1 no. 12 RV 63 'La Follia'
- Released April 23, 1996 by Preisler compact disc 90276
- Les Boréades de Montréal: Francis Colpron (recorders and
director), Hélène Plouffe (Baroque violin), Susie Napper
(Baroque cello), Eric Milnes (harpsichord) ' In Stilo Moderno'
François Filiatrault wrote in 2000 for the slipcase (in a translation
by Sean McCutcheon):
For the generation after Corelli, the trio sonata became the genre in which young composers showed their skill in simultaneously shaping melodies and weaving counterpoint. Thus just after Antonio Vivaldi was ordained a priest and just before he became maestro di violino at the Pietà in Venice he published his first work, a collection of 12 sonatas for two violins and basso continuo. The last of these sonatas is a set of variations on La Follia, a popular theme of the day. It is founded on a sequence of four chords, in the manner of a chaconne. Vivaldi may not have been just copying Corelli who, in his opus 5, had also published variations on this theme; Vivaldi may implicitly have been claiming at the beginning of his career that he was Corelli's equal.
- Title: Sonate en trio opus 1 no. 12 en ré mineur RV 63, Váriations sur La Follia
- Released in 2001 by Atma Classique compact disc ACD 22217
- Duration: 9'45"
- Recording date: September 14-16, 1999 in church Saint-Augustin de Mirabel, Québec, Canada
- Borysov, Vadym (violin). Rubanova, Yulia (violin) Zhukova, Elena (harpsichord), Poludenny, Artem (cello)
Live concert of the ensemble with Borysov and Rubanova violin
Duration: 10'53" direct link to YouTube
© 2014 by Elena Zhukova- Title: La Follia
- Published by Elena Zhukova at YouTube February 2014
- Duration: 10'53"
- Recording date: unknown
- Baroque Chamber Players: Sirucek, Jerry (oboe), Pellerite, James (flute),
Grodner, Murray (double bass) Hornibrook, Wallace (harpsichord)
- Title: Sonata in D minor, op 1. no. 12 ('La Follia')
- Recorded by Indiana University, School of Music in Bloomington
- Sound tape reel, 1973-1974 no. 339
- Recording date: February 25, 1974
- Baroque Fever: Spissky, Peter (baroque violin), Eike, Bjarte (baroque violin), Pitt, Thomas (bass violin), Rasmussen, Allan (harpsichord)
Heikki Levanto wrote about this recording:
These guys play very active, aggressive, energetic - feverish - way, which I greatly like. I have a number of recordings of the Vivaldi variations, and this is clearly my favourite. First time I heard it in concert, I was rather shocked about it, and definitely needed a drink. That is not meant in a negative way! Highly recommended!
- Title: La Follia variations Op.1 No. 12 (suonate da camera)
- Released 2004 by DR - Danmarks Radio, KOK OT productions compact disc 08200501
- Duration: 14'17"
- Recording date: January 7-9, 2003, in Kastelskirken, Koebenhavn, Denmark in cooperation with Danmarks Radio
- Baroque Fever: Spissky, Peter (baroque violin), Eike, Bjarte (baroque violin), Pitt, Thomas (bass violin), Rasmussen, Allan (harpsichord)
- Title: La Follia variations Op.1 No. 12 (suonate da camera)
- Broadcasted by BBC radio 3, 2006
- Duration: 9'50"
- Recording date: During a live concert November 16, 2003 in Esbjerg conservatory, Denmark
- Baroque Fever: Spissky, Peter (baroque violin), Eike, Bjarte (baroque violin), Pitt, Thomas (bass violin), Rasmussen, Allan (harpsichord)
- Title: Triosonat d-moll op. 1:12, "La follia"
- Broadcasted by Sveriges Radio P2 January 10, 2007
- Duration: 9'35"
- Recording date: During a live concert November 11, 2006, Sabbatsbergs kyrka, Stockholm, Sweden.
- Barrios Guitar Quartet
An arrangement for four guitars of an extract of Vivaldi's Follia.Live concert of the ensemble
Duration: 4'17" direct link to YouTube
© 2014 by Barrios Guitar Quartet- Title: Sonata op. 1 Nr. 12 "La Follia" RV 63
- Arrangement by Stefan Hladek
- Published by Barrios Guitar Quartet at YouTube January 2014
- Duration: 4'17"
- Recording date: unknown
- The website of Barrios Guitar Quartet http://www.bgq.de/index_e.html
- Capella Savaria/Németh, Pál 'La Primavera'
- Title: Sonata in D minor (La Follia) RV 63 op. 1 no. 12
- Released 1991 by Do-la Studio compact disc DLCD 178
- Duration: 9'21"
- Recording date: February 19-20, 2001 at the Saleyian Theatre, Szombathely, Hungary
- Capella Savaria/Németh, Pál
- Recorded live by the Hungarian broadcasting company in Hungary
- Duration: 9'49"
- Recording date: unknown date and place in Hungary (facts are not known to the dutch NPS)
- Broadcasted August 15, 2000 by NPS Radio 4 in the program 'Euroclassic Notturno'
- La Cetra d'Orfeo: Michel Keustermans (recorder and director), Hervé Douchy (violoncelle), Jacques Willemijns (harpsichord), Jurgen De Bruyn (theorbo and baroque guitar),
Stephan Pougin (percussion), Laura Pok (recorder), Ingrid Bourgeois (violon).
Michel Keustermans wrote for the slipcase (translation by Rachel Stacchini-Betton-Foster): Duration: 1'48", 1.7 Mb. (128kB/s, 44100 Hz)
Fragment of the ending of Vivaldi's La Folia with percussion and recorders in the lead
© 2007 La Cetra d'Orfeo, used with permission
Vivaldi's Folia, op 1 No 12 is a typical example of a form of variations from the 18th Century Contrary to those of the 17th Century (Falconieri) these variations are distinctly different, even though they are sometimes linked, following on from one another. The different tempi and the characters follow each other with varying feelings of tenderness, vivacity and virtuosity to the delight of the instrumentalists.
- Title: La Folia, op 1/12
- Released 2007 by EOLE compact disc EAD002
- Duration: 9'30"
- Recording date: May 2006 at Chapelle du Bois
- See also the page Recommended Folia-recordings
- Dall'Osto, Diego (a rearrangement of Vivaldi's Folia)
- Danubius ensemble 'Baroque trio sonatas'
- Released August 1993 by Naxos compact disc 8.550377
- Recording date: August 1989 in the Czecho-Slovak Radio Concert Hall
- All variations indexed
- Dabubius ensemble 'Venice a Musical Tour of
the City's Past and Present'
For this documentary 7 variations, especially the slow ones, are being used. And the choice of music is no coincidence because initially the set of variations by Vivaldi
was published in Venice.
From the slipcase:
Chapter 11: Carnival
Carnival, the four weeks leading up to Shrove Tuesday and, formerly, to the traditional limitations of Lent, was once a season of relaxation, a historical custom now revived, even in the snow in St. Mark's Square.
Music Vivaldi: Trio Sonata 'La follia'
La follia or les folies d'Espagne was once the most popular dance tunes of the Baroque period, serving composer after composer as a basis for imaginative variations. For Corelli it provided material for a violin sonata, while even in the twentieth century Rachmaninov had recourse to the same theme in a virtuoso work for solo piano.- Released 2004 by Naxos DVD in the series 'A Musical Journey'
- Duration: c. 5'00" in chapter 11 Carnival
- Recording date: not mentioned in the documentation but probably August 1993
- Ensemble 415 (Kathi Gohl, Chiara Banchini, Véronique Méjean, Jesper Christensen) 'Vivaldi, Sonate a tre La Follia
Sonate a due violini'
- Released 1991 by Harmonia Mundi compact disc HMX 290853
- Duration: 11'18" variations not indexed at all
- Recording date: January 1991
- Ensemble 415 (Kathi Gohl, Chiara Banchini, Véronique Méjean, Jesper Christensen) 'Vivaldi, Sonate a tre La Follia
Sonate a due violini'
Ensemble 415
Duration: 11'18" direct link to YouTube
© 1991 by Ensemble 415- Released 2008 by Harmonia Mundi compact disc HMX 290853
- Duration: 11'18" variations not indexed at all
- Recording date: January 1991
- Ensemble 415 (Kathi Gohl, Chiara Banchini, Véronique Méjean, Jesper Christensen) 'Vivaldi, Sonate a tre La Follia
Sonate a due violini'
- Compilation released by Classic FM, track from Harmonia Mundi compact disc HMX 290853
- Duration: 11'20" variations not indexed at all
- Recording date: January 1991
- Ensemble 415/Banchini, Chiara 'Sonates et Concertos Italiens'
- Released October 1, 1996 by Harmonia Mundi compact disc
290853
Album Notes: This set is offered at a special price: 3 discs for the price of 2.
The discs that comprise it are available separately as Harmonia Mundi 901366, 901307 and 901548.
- Released October 1, 1996 by Harmonia Mundi compact disc
290853
- Ensemble 415/Banchini, Chiara 'A history of Baroque Music'
- Released October 1999 by Harmonia Mundi 5 pack compact disc HM 2958011
- Duration: 11'18" variations not indexed at all
- Recording date: January 1991
- Ensemble Dreiklang Berlin 'Fantasia'
- Title: La Follia (for three recorders)
- Released October 1997 by Hänssler Classic compact disc CD 98.147
- Duration: 6'59"
- Recording date: unknown
- Ensemble Kapsberger
- Broadcasted by Spanish radio 'ELS concerts: Temporada Euroconcert' October 17, 2008
- Duration: 8'52"
- Recording date: March 26, 2008 by Catalunya Música at Palau de la Música Catalana, Spain
- Ensemble La Ciaccona: Maurice Steger (recorder), Markus Fleck (violin), Andreas Fleck (cello), Naoki Kitaya (harpsichord) 'Musique instrumentale du baroque dans le style italien'
- Title:Sonata XII en ré mineur "La Follia", RV 63, pour flûte à bec, violon et basso continuo
- Broadcasted by RSR in corporation with Espace 2 from a live concert in Château de Grandson, as part of the series Concerts de Grandson
- Duration: 8'15"
- Recording date: February 3, 2008 in Château de Grandson, Switzerland
- Ensemble La Cigale (Madeleine Owen: director and Baroque guitar/Theorbo, Marie-Michel Beauparlant Baroque cello), Sara Lackie Baroque harp, Vincent Lauser recorders, Sari Tsuji Baroque violin)
- Title: Sonata en trio en ré mineur, Trio Sonata in D Minor, La Follia, RV 63
- Released 2021 by Analekta 2 9 159
- Duration: 9'28"
- Recording date: May 5, 6, 7, 2021 at the Ëglise de Sainte-Julie, Sainte-Julie, Québec, Canada
- Ensemble Oni Wytars 'La Follia, the triumph of Folly'
(recorder in the lead, including vocals)
- Title: Sonata "La Folia"
- Released 2013 by Deutsche Harmonia Mundi compact disc 88765449782
- Duration: 10'01"
- Recording date: October 1-3, 2011 in Kurtheater, Bad Kissingen, Germany
- Ensemble Oni Wytars
(Belinda Sykes, Jule Bauer & Gabriella Aiello: vocals, Marco Ambrosini: Viola d'amore a chiavi (nyckelharpa), Katharina Dustmann: Percussion, Carlo Rizzo: Tamburello,
Peter Rabanser: Baroque Guitar, Michael Behringer: Organ, Jane Achtman: Viola da gamba,
Riccardo Delfino: Hurdy Gurdy, Jane Achtman: Viola da gamba
Ian Harrison: Cornet)
Ensemble Oni Wytars Live 18 December 2013 in Bielefeld
Duration: 10'02" direct link to YouTube
© 2013 by Ensemble Oni Wytars- Title: Sonata "La Folia" by Antonio Vivaldi and Cecco Angiolieri
- Released April 2014 by oniwytars at YouTube
- Duration: 10'02"
- Recording date: December 18, 2013 in the Rudolf-Oetker-Halle, Bielefeld, Germany
- In coorporation with WDR III and Kulturambt Bielefeld
- Florilegium
- Title: Trio Sonata in d minor (op.1 No. 12) La Follia (1705)
- Broadcasted by BBC Radio 3 December 19, 2006
- Duration: 9'47"
- Recording date: July 15, 2001 in Kuhmo Church, Finland during a live concert performance
- Florilegium
'Vivaldi, Concerti'
- Title: Trio Sonata in d minor (op.1 No. 12) La Follia (1705)
- Released 1995 by Channel Classics Records compact disc IODA
- Duration: 9'40"
- Recording date: unknown
- The Four Nations Ensemble: Andrew Appel (harpsichord and director),
Ryan Brown (violin), Claire Jolivet (violin), Loretta O'Sullivan (cello)
and Colin St. Martin (flute) 'Händel Compar'd: Händel &
Vivaldi - Cantatas, Sonatas'
- Released 2000 by ASV Ltd., compact disc CD GAU 211
- Duration: 9'27"
- Recording date: March 1999 at St. Mary's Church in Hudson, New York, USA
- Gatti, Enrico (violin) and Ensemble Aurora (Rossella Croce violín, Judith-Maria Becker cello, Monica Pustilnik archlute,
Guido Morini harpsichord) 'Antonio Vivaldi Venice, Vivaldi and the Sonatas op. 1'
Michel Talbot wrote for the slipcase (p. 86-87):
Nous arrivons finalement au <<joker du jeu de cartes>> : une longue série de variations sur mélodie et la basse de La Folia constitue l'intégration de la Sonate 12. Son prototype est évidemment la Folia de Corelli, qui conclut les sonates pour violon opus 5 (de 1700) de compositeur romain. L'oevre de Corelli provoqua de nombreuses imitations, mais il semble bien que Vivaldi ait consulté directement l'original, à en juger par les nombreux parallélismes dans le dessin et le style des mouvements individuals. Dans un sens, la version de Corelli est la plus sophistiquée des deux, particulièrement pour la fluidité de sa musique. Mais Vivaldi fait bon usage du violon supplémentaire pour produire certains effets de contrepoint et de dialogue absents dans le discourse musical du modèle. Il est intéressant de souligner la façon dont Corelli prête une attention spéciale à la linéarité, ou l'saspect <<horizontale>> de la musique, tandis que le jeune Vivaldi privilégie l'harmonie, la <<verticalité>> en produisant un effet plus rude mais aussi plus passioné. Vivaldi continua à écrire des series de variations, certaines très visionaries dans leur organisation soignée et logique, mais aucune n'atteint le niveau de cette Follia (de nouveau , Vivaldi <<vénitianisé>> Lórthographie!). Il s'agit vraiment d'un acte extraordinaire d'auto-affirmation d'un compositeur jeune et ambitieux.
- Title: Sonate XII, Follia in Ré Mineur
- Released 2007 by Glossa 2-set compact disc and book GES 921203-S
- Duration: 9'56" (all tracks indexed separately: tracks: 20-39)
- Recording date: October 10-16, 2006 in L'Abbazia de S. Basilide, S.Michel Cavana (Langhirano), Italy
- Göteborg Baroque
Göteborg Baroque Live August 18, 2012 in Skara, Sweden
Duration: 8'50" direct link to YouTube
© 2012 by Göteborg Baroque- Title: La Follia
- Recorded August 18, 2012 and broadcasted June 2013 by the Swedish Radio P2
- Duration: 8'50"
- Recording date: August 18, 2012 in Eggby church, Skara, Sweden
- More about Göteborg Baroque at theit website http://www.goteborgbaroque.se/english/
- Hespèrion XXI conducted by Jordi Savall and others 'Altre Follie'
Rui Vieira Nery wrote for the slipcase:
With the development of the virtuosic repertoire for the violin at the turn of the century it was only natural that the Folia should be included in it. In 1700 the great Arcangelo Corelli (1653-1713) used it as the basis for a series of exceedingly virtuosic variations with which he concluded his most influential collection of solo sonatas for violin and continuo, the famous Op. 5, the contents of which are known to have circulated in manuscript for more than a decade prior to this printing. In 1704 one of the most representative composers of violin music of the German and Dutch school, Henricus Albicastro, an artistic pseudonym of Johann Heinrich von Weissenburg (ca. 1660 -ca. 1730), published a sonata "La Follia", which displays a clear Corellian influence in its virtuosic writing. And it was not by accident that a year later, in 1705, the young Antonio Vivaldi (1678-1741) also chose to conclude a decisive publication in which he placed the highest hopes for the future of his artistic career, his Op. 1 collection of trio-sonatas, with yet another magnificent set of Folia variations.
- Manfredo Kraemer (violin), Mauro Lopes (violin), Balazs Mate (violoncello), Xavier Puertas (violone), Xavier Díaz-Latorre (guitar), Carlos García-Bernalt (harpsichord)
- Title: Sonata "La Follia" Op.1 n.12 RV63 (1705)
- Released 2005 by Alia Vox compact disc AV 9844
- Duration: 9'44"
- Recording date: February 28-March 3 and June 6-9, 2005 in the Collégiale of the Château de Cardona, Catalogne
- See also the page Recommended Folia-recordings
- Hope, Daniel (violin) and Chamber Orchestra of Europe 'Violin Concertos'
In the slipcase is written:
Probably derived from a Portuguese Folksong, this theme has formed the basis of instrumental and vocal variations since the late 16th century. By following Corelli's celebrated set of 1700 with its own just five years later, Vivaldi was establishing his position in a competitive game. 'Vivaldi's variations are redically different', Hope observes. 'They have a charmless playfulness in the way the violins 'toss the ball to and fro', and the slower, more poetic variations are deeply moving. Each one has its own personality, and its own language'.
- Title: Trio Donata in d minor for 2 violins and continuo, Op. 1/12, RV 63 'La Folia'
- Released 2008 by Deutsche Grammophon compact disc order number 477 7463 GH
- Duration: 9'22"
- Recording date: March 2008 in St Paul's Church, Deptford, London, England
- Hornibrook, Wallace arranged the music for handbells
- Title: 'Variations on 'Folia' by Antonio Vivaldi for handbells 3-4 octaves'
- Duration: c. 5 minutes
- Published 1981 by Harold Flammer Incorp. in the person of Bob Currier
- 6 p. (about half of the repeats are written out), full set of 5 parts, adagio theme with 8 variations
- Publisher No. HP-5109
- I Furiosi (Aisslinn Nosky (violin), Julia Wedman (violin), Felix Deak (cello) with guests Lucas Harris (lute and theorbo) and James Johnstone (harpsichord) 'Crazy'
In the slipcase was written:Every Baroque composer worth his salt wrote a version of Les Folies D'Espagne, or La Folli´a or some variant of Folly. The ground bass is a repeated pattern which allows for any number of deviations to occur, thus creating variations, some of which can be truly crazy. I FURIOSI has chosen to record the adaptations by Antonio Vivaldi and Andrea Falconieri.
- Title: Trio Sonata Xll 'La Folia', RV 63
- Released 2008 by Dorian compact disc DRN 90802
- Duration: 8'36"
- Recording date: December 10-12, 2008 at Humbercrest United Church, Toronto, Canada
- I Sonatori de la Gioiosa Marca
Sonatori de la Gioiosa Marca at You Tube
Duration: 9'02" direct link to YouTube
© 2001 by Sonatori de la Gioiosa Marcas- Recorded live by MDR (Poland) during the Internationale Ludwig-van-Beethoven-Osterfestival
- Duration: 9'15"
- Recording date: April 11, 2006 from the Nationalphilharmonie, Warschau, Poland
- Broadcasted July 26, 2006 by the NDR/WDR-radio, Germany
- Il Giardino Armonico
Live performance of Il Giardino Armonico in Tilburg
Duration: 9'27" direct link to YouTube
© 1994 by Il Giardino Armonico- Recorded live by the NCRV-radio broadcasting company, the Netherlands
- Duration: 9'27"
- Recording date: February 2, 1994 in the Aula of the Catholic University Brabant, Tilburg The Netherlands
- Broadcasted July 24, 1999 by Radio 4 in the program 'Middagconcert'
- Il Giardino Armonico
- Recorded live by unknown broadcasting company
- Duration: 9'41"
- Recording date: June 4, 2005 in the German Church Stockholm, Sweden
- Broadcasted March 22, 2006 by Radio 4 AVRO in the program 'Middagconcert'
- Il Giardino Armonico 'Concerti da camera Vol. 2'
- Released 1991/1992 by Teldec series 'Das Alte Werk' compact disc 9031-73268-2
- Duration: 9'30"
- Recording date: April 1991 at the Studio 1, RTSI Lugano
- Il Giardino Armonico 'Famous chamber concertos'
- Released 1993 by Teldec compact disc 4509-91852-2
- Duration: 9'30"
- Recording date: April 1991 at the Studio 1, RTSI Lugano
- Il Giardino Armonico 'Il Giardino Armonico'
- Released 2006 by Warner Classics boxset 11 cd, cd 4 2564-63264-2
- Duration: 9'30"
- Recording date: April 1991 at the Studio 1, RTSI Lugano
- Il Giardino Armonico 'Vivaldi, Concerti da camera'
- Released 2009 by Nuova Era 2 cd-box order number 8010915
- Duration: 9'30"
- Recording date: April 1991 at the Studio 1, RTSI Lugano
- Imaginarium Ensemble conducted by Enrico Onofri 'La Follia'
Enrico Onofri wrote for the booklet:
The other piece chosen for this recording from Vivaldi's Opus 1 the more famous La Follia on the other hand, is a sonata in three parts in the form of theme and variations. Its thematic material is clearly very similar to that used by Corelli in the homonymous Sonata for Violin and Bass from his Opus V (both sonatas being composed on the same ground bass), except that Vivaldi's version is pervaded by a sense of tension and excitement not found in Corelli's work. In paying hommage to this very famous work by the Romagna born composer. Vivaldi, in fact, brings a nervousness to the ancient Iberian theme of La Follia through an obsessive journey which has little time for lyrical epissdes and leads to a series of final variations which are similar to Corelli's version but more pounding, hyperbolic and impatient
- Title: Sonata no 12 en ré mineur op I: La Follia
- Released 2010 by Deutsche Harmonia Mundi compact disc 7652162
- Duration: 10'06"
- Recording date: May 28, 29 and 30 and June 1st 2009 in Cascina Giardino, Cremona, Italy
- La Folia: Jean-Christophe Lamacque (violin), Agnès Lamacque (violin), Françoise Depersin (harpsichord),
Carole Carrive (cello) 'Sonate en trio'
- Title: Sonata no 12 en ré mineur op I: La Follia
- Released 2000 by La Folia SACEM compact disc without order number
- Duration: 10'06"
- Recording date: July 2 and 3, 2000 in l'Eglise de Lévis Saint-Nom, France
- London Baroque: Ingrid Seifert (violin), Richard Gwilt (violin), John
Toll (organ), Charles Medlam (cello), director Medlam, Charles 'Vivaldi
triosonatas'
- Title: Trio Sonata for 2 Violins and Basso Continuo in D minor, Op. 1 no 12/RV 63 "La Follia"
- This disc was formerly available on EMI Reflexe 47973, re-released September 1995 by Virgin Classics compact disc CDM 61171,re-released August 2000 by BIS 2cd-box BIS-CD-1025-26
- Duration: 09'29"
- Recording date: June 1985 at EMI Abbey Road Studio no. 1, London, England
- Maute, Mathias (recorders) and Rebel directed by Jörg-Michael Schwarz
'Antonio Vivaldi: Shades of Red, Concertos & Sonatas for Recorder
& Strings'
- Title: Sonata in d minor La Folia, Op. 1, No. 12, RV 63 (originally) for 2 violins and continuo
- Released 2005 by Bridge Records compact disc 9173
- Duration: 10'05"
- Recording date: February 18-22, 2003 in Stamford, CT at St. John's Lutheran Church
- Maute, Mathias (recorder) and ensemble Caprice
- Title: Sonata in d minor La Folia, Op. 1, No. 12, RV 63 (originally) for 2 violins and continuo
- Broadcasted: March 24, 2009
- Duration: 10'03"
- Recording date: Spring 2008 in WGBH Studio One, Boston, USA
- Mensa Sonora/ Maillet, Jean 'Trio Sonatas (12) for 2 violins and basso
continuo, Op. 1'
- Released by Pierre Verany compact disc (2x) PV 798021/22
- Recording date: February 1997
- Mercury Baroque conducted by Antoine Plante
- Title: Variations on La Follia
- Broadcasted by Houston Public Radio program 'Front Row' 2006
- Duration: 9'42"
- Recording date: Live during a concert in 2004 (location and date unknown
- Moscow Baroque (Doljnikov, Igor: baroque violin, Lomakina, Elena: baroque
violin, Vainrot, Mark: viola da gamba, Martynova, Olga: harpsichord) 'Moscow
Baroque Live concert'
The 'Moscow Baroque' virtuoso musicians play the music of the Baroque
era on real antique instruments in an authentic manner. Having painstakingly
studied the peculiarities of playing music which are characteristic for
different European schools of that period, they have re-created the sound
and general atmosphere of that era.
Unfortunately, because of the very serious economical crisis in Russia, 'Moscow Baroque' cannot publish the recordings of 'Apotheose de Lulli' and 'Apotheose de Corelli' by Francois Couperin, made at the Kondrashin Classical Recordings firm.- Released by audiograbber
- Duration: 8'51" (9'05" included the applause)
- Recording date: 1999
- The item can be listened and ordered online at http://www.audiograbber.com/music/classical/period_music/baroque/
- Müllejans, Petra (violin), Swantje Hoffmann (Violin) Stefan Mühleisen (cello) Torsten Johann (harpsichord)
- Title: Sonate RV 63 für 2 Violinen und B.c. d-moll
(La Follia)
Live performance in the Wallfahrtskirche Mariae Krönung, Oberried
Duration: 10'03" direct link to YouTube
© 2012 by Baden-Württemberg SWR2 - Broadcasted June 15, 2013 by Baden-Württemberg SWR2, Germany: Konzert in Kloster (Oberried) program "Triosonaten"
- Duration: 9'32"
- Recording date: October 14, 2012 in Wallfahrtskirche Mariae Krönung, Oberried, Germany
- Title: Sonate RV 63 für 2 Violinen und B.c. d-moll
(La Follia)
- Musica Alta Ripa 'Antonio Vivaldi, Concertos & Chamber Music'
- Title: Sonate RV 63 für 2 Violinen und B.c. d-moll (La Follia)
- Released 1999 by MDG compact disc MDG 309 0927-2, DVD MDG 909 0927-5
- Duration: unknown
- Recording date: unknown
- Musica Antiqua Köln/Goebel, Reinhard 'Concerti da camera'
- Released 1980 by Archiv LP 2533 463
- Recording date: 1980
- Musica Antiqua Köln/Goebel, Reinhard with Hajo Bäss (violin),
Reinhard Goebel (violin)
'Flute concertos, Vivaldi, Mancini, Barbella'
- Released in US August 2002 by Archiv compact disc 2894717292
- Duration: 9'11"
- Recording date: unknown
- Musica Antiqua Köln/Goebel, Reinhard 'Pachelbel: Kanon & Gigue
- J.S. Bach - Handel - Vivaldi'
- Title (catalogus DGG): Trio Sonata in B minor for 2 Violins and Continuo, Op.1/11 , RV 79 'La Follia'
- Released 1983 by Archiv compact disc 410 502, re-released 1995 by Archiv Masters compact disc 447 285-2
- Duration: 8'45"
- Recording date: April 1982 in the Friedrich-Ebert-Halle, Hamburg-Harburg, Germany
- Musica Petropolitana: Reshetin & Filtchenko (violin), Sokolov (cello),
Shneyerova (harpsichord) 'Italian Trio Sonatas'
- Released 1994 by Erasmus compact disc WVH151
- Duration: 9'23"
- Recording date: not indicated at all in the slipcase
- Musica Petropolitana: Reshetin & Filtchenko (violin), Sokolov (cello),
Shneyerova (harpsichord) 'Musica Petropolitana, St. Petersburg'
- Released 1996 by unknown (promotion cd) without ordernumber
- Duration: 8'29"
- Recording date: 1996, WDR live recording
- Musica Sonora: Pellerite, James (flute), Sirucek, Jerry (oboe/English
horn), Skernick, Abraham (viola) Hornibrook, Wallace (harpsichord)
- Title: Sonata da camera in D minor, op. 1 no. 12 ('Follia')
- Recorded by Indiana University, School of Music in Bloomington
- Sound tape reel, 1982-1983 no. 537
- Duration: 11'29"
- Recording date: February 20, 1983
- Musikschule Bonn
''La Follia, Junge Interpreten spielen Alte Musik"
- Zwei Altblockflöten und B.C.:Regina Nitsche (recorder), Claudius Kamp (recorder), Markus Alexandru (harpsichord) and Gabriel Craxton (violoncello)
- Title: Sonata "La Follia" op. 1, 12. RV63
- Released October 2007 by Musikschule Bonn compact disc without ordernumber
- Conducted by Meike Herzig
- Duration: 9'48"
- Recording date: August 2007 in Studio Katharco, Bonn, Germany
- Pappas, Iakovos (harpsichord-solo) 'Suonate da Camera a tre Opus 1,
versione per clavicembalo solo di Iakovos Pappas'
- Iakovos Pappas made all arrangements
- Released 1993 by Arkadia (Milan) compact disc (2x) CD CDAK 120.2
- Duration: 12'22" (all variations indexed)
- Recording date: September 15 and 16, 1992 at Salle Alegria de Beracasa 'Le Corum' Montpellier
- Partner, Werner see Partner (composer letter P) for his arrangement for 5 accordions
- Title: Trio Sonata in D minor (Variations on 'La Folia') RV63 Opus 1 No. 12
- Released 1998 by Hyperion compact disc CDA67035
- Duration: 09'28"
- Recording date: September 24/25 1985
- Petrosjan, Isabella (violin), Grobholz, Werner (violin), Ladwig, Sebastian (cello), Clemente, Peter (harpsichord) 'Die Aufnahmen sind ein live-mitschmitt der Schleissheimer Schlossmusic des Jahres 1970'
- Triosonate in d-moll für 2 Violinen, Violoncello und Cembalo op. 1, Nr. 12: Variationen Über 'La Follia'
- Released unknown by Teldec Telefunken Decca 2x vinyl TST 76 829
- Duration: 9'40"
- Recording date of live performance: 1970 in Schleissheimer Schlossmusic
- Poulet, Gérard (violin), Steindler, Olivia (violin), Steindler, Vivien (violin), Dumont, Isabelle (viola da gamba), Intrieri, Stefano (harpsichord)
'Odyssée baroque'
Olivier Fourés wrote for the slipcase in a translation by John Tyler Tuttle:His Folia was one of his very earliest works. Published in 1703 in Venice it brings his first printed collection to a close, paying an obvious tribute to Corelli's opera cinque. In spite of his youth, it already attests, with its 19 variations on this Iberian dance, to the rhythmic richness, variety an lyricism, simplicity and originality and inexhaustible verve of one of music's greatest geniuses.
- Sonata Op. 1 No 12 "Folia"
- Released unknown
- Duration: 9'12"
- Recording date unknown date and place
- The Purcell Quartet: Mackintosh, Catherine (violin) Wallfisch, Elizabeth
(violin) Boothby, Richard (cello) Woolley, Robert (harpsichord) 'Antonio
Vivaldi, Variations on La Folia'
The Purcell Quartet plays all variations by Antonio Vivaldi
Duration: 9'28" direct link to YouTube
© 1985 by The Purcell Quartet- Title: Trio Sonata in D minor (Variations on 'La Folia', RV63)
- Released 2007 by Hyperion, series Helios compact disc CDH55231 (re-release of CDA66193)
- Duration: 9'29"
- Recording date: September 24/25 1985
- 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" - Red Priest see composers letter R(ed Priest)
- Societas Musica Chamber Orchestra of Copenhagen/Hansen, Jorgen Ernst
'The Concerto grosso and trio sonata'
- Title: Trio sonata, op. 1, no. 12, D minor
- Released 1959 by Vanguard recordings 2 LP-set Bach Guild BG 584
- Solistes de Moscou Montpellier
- arrangement by Prato, G.
- Released by Arkadia compact disc CDAK 1162
- Recording date: May 1992
- Sonatori de la Gioiosa Marca (Fava and Falcone violin, Vestidello cello,
Rado archlute and guitar, Rosato harpsichord) 'Follie all'italiana, sonatori
de la Gioiosa Marca'
- Title: Follia
- Released 2001 Erato Disques, Paris, France compact disc 8573 85775-2
- Coproduction Erato and Westdeutscher Rundfunk Köln
- Duration: 8'54"
- Recording date: June 11-14, 2000 Chiesa di S. Vigilio, Col San Martino Italy
- Trio Sonnerie: Huggett, Monica (violin), Benjamin, Emilia (violin), McGillivray, Alison (violoncello), Cooper Gary (harpsichord) with Carter William
(theorbo)
- Title: Sonata op. 1 No 12 RV 63 in D minor La Follia
- Released in 1999 by CPO compact disc CPO 999 511-2
- Duration: 10'25"
- Recording date: June 7-10, 1997 & April 13-17, 1998, Forde Abbey, Dorset, England
- Spissky, Peter (violin), Eike, Bjarte, (violin), Pitt, Thomas (cello),
Rasmussen, Allan (harpsichord)
- Title: La Follia
- Broadcasted by the dutch radio The Concertzender April 20, 2002 (European Broadcasting Union)
- Duration: 9'16"
- Recording date: july 14, 2001 by the Danish Radio in the Christian's Church, Copenhagen Denmark
- St. Mark's United Methodist Church Handbell Choir/Hornibrook, Wallace
director (guest recital)
- Title: Sonata in D minor op. 1 no. 12: Variations on Folia
- Recorded by Indiana University, School of Music in Bloomington
- Sound tape reel, 1981-1982 no. 65
- Duration: 6'30"
- Recording date: July 20, 1981
- Tafelmusik Baroque Orchestra/Lamon, Jeanne 'Italian Concerti Grossi'
Stephen Marvin: violin I and ormamentation, Jeanne Lamon: violin II, Christina Mahler: violoncelle, Paul O'Dette: lute, Charlotte Nediger: harpsichord.- Released 1991 by Canadian Broadcasting Corporation/Societe Radio-Canada SMCD 5099
- Duration: 9'36" all variations indexed
- Recorded in St. Mary Magdalene Church, Toronto.
- The Sebastians (Daniel S. Lee violin, Nicholas DiEugenio violin, Kyle Miller viola, Ezra Seltzer cello, Charles Weaver theorbo & guitar, Jeffrey Grossman harpsichord & organ)
- Title: La Folia, op. 1, no. 12, RV 63
- Released October 2018
- Duration: 9'30"
- Recording dates: 23–25, 2015 at Wilton Presbyterian Church, Wilton, CT
- Voices of Music:
Carla Moore, baroque violin by Johann Georg Thir, Vienna, Austria, 1754
Katherine Kyme, baroque violin by Johann Gottlob Pfretzichner, Mittenwald, 1791
William Skeen, five string baroque cello, Anonymous, Italy, c1680
David Tayler, baroque guitar by John Rollins, after Jean Voboam, Paris, 1687
Hanneke van Proosdij, harpsichord by Joop Klinkhamer, Amsterdam (1996), after Ruckers-Goujon, Neuchâtel, Switzerland
Voices of Music wrote about this performance at the YouTube page:Follía by Voices of Music and in a choreography by Carlos Fittante
Duration: 11'14" direct link to YouTube
© 2013 by Voices of Music, used with permissionIn 1705, eager to make his mark as a composer of both opera and instrumental music, the young Vivaldi published his first set of twelve trio sonatas as Opus 1. The last sonata, which is a highly virtuosic set of variations on the "La Follia" dance pattern (titled only "Follia" in the print), is one of his most famous works; Vivaldi takes Corelli's variations on the same theme-and-bass pattern from Corelli's Opus 5 (1700), which was already a famous work, and adds figuration of even greater complexity.
- Title: La Follia (La Folia)
- Choreography Carlos Fittante
- Dancers Robin Gilbert, Carlos Fittante
- Costumes Carlos Fittante, Stephen Campos
- Masks: Jane Stein based on baroque originals carved by Renu of Singapadu, Bali, Indonesia
- Released at YouTube March 26, 2013 by Voices of Music
- Duration: 11'14"
- Recording date: unknown date
- the website of Voices of Music http://www.voicesofmusic.org/
- Orlando Furioso, Act 3, Scene 4, RV 728, musical drama in three acts, libretto by Grazio Braccioli, Theather San Angela, Venice the year 1727
A live performance of the Follia scene by Ensemble Matheus and reconstructor Jean-Christophe Spinosi
Duration: 4'17" direct link to YouTube
© Camera Lucida productions Duration: 0'39", 622 kB. (128KB/s, 44100 Hz)
The Folia-fragment from the opera Orlando Furioso conducted by Spinosi, act 3, scene 4 (complete act 3'25"
In this particular performance 7 bars of the Folia-theme are exposed- Ensemble Matheus conductor and reconstructor Jean-Christophe Spinosi
'Orlando Furioso'
- Title: Atto terzo, Scena 4, recitativo (Orlando, Alcina, Ruggiero, Bradamante)
- Released 2004 by Instituto per beni musicali in Piemonte, Naïve, compact disc OP 30393
- Duration: 0'13"
- Recorded June 2004 in Englise Abbatiale de Daoulas, Bretagne, France
- I Solisti Veneti, directed by Claudio Scimone (who revised and edited
the opera down from the original 5 or 6 hours) 'Orlando Furioso' (Orlando
is sung by Marilyn Horne)
Donald Sauter wrote me about this fragment:Vivaldi actually titled the opera 'Orlando'. 'Orlando Furioso' was the name of an earlier opera with music by G. A. Ristori and a libretto by Grazio Braccioli. Vivaldi made modifications to that opera in 1714, and in 1727 wrote completely new music to Braccioli's libretto, which is why Scimone calls it 'Orlando Furioso'.
The last lines are directed to the sorceress Alcina. The 6 'la's are sung to the Folia tune, just making it into the 3rd measure. This snippet can be found about .9 inch (2.3 cm) from the end of side 5 of the recording.
In Act 3, Scene 4, Orlando says this in his madness (English translation by Edward Houghton):Italian text English translation All'invito gentil che Amor le fa
Madame la Crudelta
Con guardo torvo e minaccioso aspetto
Disse 'Petit fripon; je ne veux pas!'
Ed il rigor, presa belta pre mano
Lascio con passo grave e ciera brutta
Il mio povero amore e bocca asciutta.
Deh, appaghi ella il mio amor
meco danzando
Danziam, Signora, la follia d'Orlando.
Suonate! suonate!
La la la la la la (in atto di danzare)I Solisti Veneti
To the kind invitation which love gave
Madame Cruelty
With sullen glance and threatening look,
Said: 'Petit fripon; je ne veux pas!'
And Monsieur Severity, taking my beauty by the hand,
With solemn steps and an ugly face,
Left my poor love with a dry mouth.
Ah, this woman here may satisfy my love by
dancing with me.
Let us dance, madam, the folly of Orlando.
Play ! Play!
La la la la la la (dancing)Ensemble Matheus
To the gracious invitation of love
Madame Cruelty
with grim gaze, and threatening expression
said " Little rogue, I shan't"
and Severity, taking beauty by the hand,
with grave step and ugly expression
left my love unrequited.
Ah, her satisfy my love
in a dance.
Let us dance, my lady, Orlando's "follia".
Play ! Play!
(dancing) La la la ra la
- Released by Musical Heritage Society LP set MHS 3918/19/20
- Duration: 0'05"
- Modo Antquo directed by Federico Maria Sardelli
Duration: 0'53", 836 kB. (128KB/s, 44100 Hz)
The Folia-fragment from the opera Orlando Furioso conducted by Sardelli, act 3, scene 4
In this particular performance 16 bars of the Folia-theme are exposed- Title: 'Orlando'
- Released 2008 by CPO 3 cd-set 777 095-2
- Duration: 0'10" (entire opera 3 hours)
- Recording date:July 14-24, 2002 in Chiesa del Santissimo Crocifisso, Barga, Italy
- Venice Baroque Orchestra, directed by Andrea Marcon (Inga Kalna soprano (Angelica), Romina Basso mezzosoprano (Medoro),
Manuela Custer mezzosoprano (Alcina), Anna Rita Gemmabella mezzosoprano (Bradamante), Marie-Nicole Lemieux contralto
(Orlando), David D.Q. Lee alto (Ruggiero), Lorenzo Regazzo bass (Astolfo))
Duration: 0'53", 836 kB. (128KB/s, 44100 Hz)
The Folia-fragment from the opera Orlando Furioso conducted by Marcon, act 3, scene 4 (complete act 3'25"
In this particular performance 7 bars of the Folia-theme are exposed- Title: 'Orlando'
- Broadcasted live in the Netherlands by TROS/NPS/AVRO radio in the program 'ZaterdagMatinee' May 3, 2008
- Duration: 0'10" (entire opera 3 hours)
- Recording date: May 3, 2008 in The Concertgebouw, Amsterdam, The Netherlands
- La Volta
- See Hübscher, Jürgen (composers letter H)
- Waitzman, Daniel (? - )
- Sonata in G major on La follia for flute and harpsichord or fortepiano (or pianoforte)
- Waitzman, Daniel
- Published by D. Waitzman c.1995, New York
- Score 23 p. and 1 part of 5 p. 28 cm
- Walter, Fried (1907-1996)
- Reflexe, Variationen durch die Jahrhunderte über ein altspanisches Thema von Gaspar Sanz (1972).
Originally written for Guitar and 'big' Orchestra, Walter himself transcribed it for Guitar-ensemble and Winds ad.lib.
Duration: 0'43", 01 kB.
The opening of reflexe with the theme of Sanz as indicated in the sheet musicOpening of 'Reflexe' arranged for 2 guitars by Helmut Richter © H. Richter, reproduced with permission 
- Richter, Helmut (guitar) & Wölki, Marko (guitar) 'Reflexe,
Alte Musik des 20.Jahrhunderts'
Helmut Richter wrote about the track 'reflexe':I made the transcription for two guitars after talking with Fried Walter, who was pleased to hear about it and approved of the transcription afterwards. Walter takes the theme (Gaspar Sanz) and adapts it into variations according to the chronological style of later musical periods and composers in sometimes a very humorous way. He was not trying to duplicate the different musical styles in a scientifical historical context, but rather intended to create the means for an enjoyable journey through the musical history. However, you can always hear the 'melody' on top of things but in quite different rhythms. There is a theme and 8 Variations: 1550 Renaissance (1'45"), 1650 Barock (1'23"), 1750 Rokoko (1'58"), 1850 Fandango (1'34"), 1820 Biedermeier (1'37"), 1890 Wiener Walzer (2'06"), 1925 American Banjo (1'06"), 1965 Beat (1'08"), 1972 Avantgarde (1'23"), ...und noch einmal das Thema (1'01").
- Released 1997 by Richter/Wölki compact disc 001. This cd can be ordered at Zupfmusik Diskothek, M. Herzog Dagobertstr. 8a, 76833 Siebeldingen, Tel/Fax : 06345-8817, or by sending a mail to Helmut_Richter@t-online.de
- Duration: 15'01"
- Recording date: October 1997, in the evangelischen Kirche in Oberhausen - Schmachtendorf, Germany.
- Walter, Fried
- Published as a facsimile for mandolin orchestra by Edition Zimmermann 1987, Frankfurt (Germany)
- Score 35 p.
- Publisher No. ZM 2681
- Warnock, Tony T. (1943- )
- Foliana for string quartet (2007)
Tony leaves little doubt about the Baroque setting for his Folia Variations because halfway the piece (1'47") there is a little wink to the Canon in D of Pachelbel, a piece even more famous than the Folia itself!
Duration: 3'15", 3.2 Mb (128kbs, 44100 Hz)
The complete tune Folia Variations played by Tony Warnock
© Tony Warnock 2007, used with permission
Tony wrote about his Foliana:The complete Folia Variations, 9 pages in pdf-format, size 92 Kb
© Tony Warnock 2007, used with permission.I wrote the piece during the last couple of weeks. My reasons for the composition were several. First, it's my first attempt at a quartet; I wanted to get a feel for the instruments. I chose the Folia theme because I've used it in several piano pieces and found it attractive. It's a nice progression to move from a minor tonic to a dominant chord in a decorated manner.
- Tony T. Warnock
- Title: Foliana
- Arranged from a Finale2007 produced wav file
- Not released yet by any record company
- Duration: 3'15"
- Recording date: April and May 2007 in Texas, USA
- Pentango (2008)
Imagine a large empty ballroom and this elegant tango will let you go.
Duration: 3'38", 3.4 Mb (128kbs, 44100 Hz)
The complete tune Pentango played by Tony Warnock
© Tony Warnock 2008, used with permission
Tony wrote about his Pentafolia:The complete Pentango, 8 pages in pdf-format, size 107 Kb
© Tony Warnock 2008, used with permission.The main theme has a five note pickup, thus the name. .
- Tony T. Warnock
- Title: Pentango
- Arranged from a Finale2007 produced wav file
- Not released yet by any record company
- Duration: 3'38"
- Recording date: 2008 in Texas, USA
- Tangofolia V for piano (2007)
A lightfooted and elegant tango in the traditional ('a bit old-fashioned' considered by the composer himself) idiom. There are two themes to distinguish besides a short intro and the coda. The structure of the tango is: intro A A B A B A coda. The first half of part A bears all the features of the Folia-progression of the last 8 bars in it. Ok, it is not in the traditional 3/4 meter but many variations by famous composers are written in 4/4 meter. One might consider part A as a kind of Scandinavian Folia (sinclairvisan) where the traditional Folia theme (usually the full 16 bars) is followed by an equal part which is more or less an answer to the Folia theme itself. Personally I consider B (the section in the major key) as an interlude towards the more intense section A. Better listen or play it yourself.
© Jolanda van der Elst,
used with permission
http://www.violetters.com
Duration: 3'38", 3.3 Mb (128kbs, 44100 Hz)
The complete tune Tangofolia V by Tony Warnock
© Tony Warnock 2007, used with permission
Tony wrote about his Tangofolia V:The complete Tangofolia V, 4 pages in pdf-format, size 64 Kb
© Tony Warnock 2007, used with permission.Tangos usually consists of 16-measure sections so I wanted to try using the Folia harmonic scheme as half of a pattern. I've done this in other tangos, but for this one, I also used the Folia discant as the basis of the melody. The major-key theme is based on a descending scale pattern. The tango has had a long run as a living musical and dance style. My tangos tend to be a bit old-fashioned (maybe from the pre-1930 era in style.) I just find tangos to be fun to listen to, and thus fun to write.
- Tony T. Warnock
- Title: Tangofolia V
- Arranged from a Finale2007 produced wav file
- Not released yet by any record company
- Duration: 3'38"
- Recording date: June and July 2007 in Texas, USA
- Magnolia for piano (2007)
Less dominant as in Tangofolia V, the 'later' folia theme is included in this syncopated tango. Only towards the end (2'40") the first line of the Folia is revealed in a straigt forward setting.Folia theme in Magnolia bar 105-108 by Tony T. Warnock 
Duration: 3'05", 2.9 Mb (128kbs, 44100 Hz)
The complete tune Magnolia by Tony Warnock
© Tony Warnock 2007, used with permission
Tony wrote about his Magnolia:The complete Tango Magnolia, 7 pages in pdf-format, size 104 Kb
© Tony Warnock 2007, used with permission.Attached is another composition. I was trying some new ideas but I still used the Folia chord pattern (and discant) in parts. Actually, I used the discant (the one Corelli used) for a bass line too in the syncopated section.
- Tony T. Warnock
- Title: Magnolia
- Arranged from a Finale2007 produced wav file
- Not released yet by any record company
- Duration: 3'05"
- Recording date: August 2007 in Texas, USA
- Tango for piano (2007)
Another rather traditional tango with the Folia stated as one of the motives in the first section and at the very end.Folia theme in Tango, bars 10 till 17 by Tony T. Warnock 
Duration: 3'43", 3.5 Mb (128kbs, 44100 Hz)
The complete tune tango2007 by Tony Warnock
© Tony Warnock 2007, used with permission
Tony wrote about his Tango:The complete Tango, 5 pages in pdf-format, size 70 Kb
© Tony Warnock 2007, used with permission.Here is a new piece that uses the Folia chord scheme in the second part of the first section and then uses the scheme at double, quadruple, and octuple speed in the coda.
- Tony T. Warnock
- Title: Folia
- Arranged from a Finale2007 produced wav file
- Not released yet by any record company
- Duration: 3'43"
- Recording date: November 2007 in Texas, USA
- Rumba #1 for orchestra (2010)
A smooth piece leaning towards the melancholy with the leading clarinet and cheerfulness with mariachi-influences in the copper section at the same time in this rumba with the Folia theme hidden inside the long sustained chord progression and as always Tony puts some nice modulations within the piece. June 8, 2010 a revised version was sent with some changes in brass lines and the piano part of the "B" section.
Duration: 3'30", 3.3 Mb (128kbs, 44100 Hz)
The complete tune Rumba #1 played by Tony Warnock
© Tony Warnock 2010, used with permission
Tony wrote about his Rumba #1:The complete Rumba # 1, 18 pages in pdf-format, size 229 Kb
© Tony Warnock 2010, used with permission.I finally (or Finale2010ly) wrote another piece using the Folia chord progression. It's a rumba (can be danced either American or International style) rather than a tango. I suppose, techincally, it's a "bolero-son" but most dancers wouldn't recognize that term.
- Tony T. Warnock
- Title: Rumba # 1
- Arranged from a Finale2010 produced wav file
- Not released yet by any record company
- Duration: 3'30"
- Recording date: April and May 2010 in Texas, USA, this revised version June 8, 2010
- Tango Ornitorrinco (2011)
It is always a delight to receive another lighthearted and smooth Tango with the Folía progression cleverly hidden within the music and this one is no exception. Different catchy parts and unexpected modulations get your feet from the floor.. .
Duration: 3'19", 3.1 Mb (128kbs, 44100 Hz)
The complete tune Tango Ornitorrinco played by Tony Warnock
© Tony Warnock 2011, used with permission
Tony wrote about his Tango Ornitorrinco:The complete Tango Ornitorrinco,
5 pages in pdf-format, size 77 Kb
© Tony Warnock 2011, used with permission.I have a new tango that uses the Folia chord pattern a bit. The name comes from the Spanish word for duck-billed platypus (a monotreme). It's a pun based on the monothematic construction of the music
- Tony T. Warnock
- Title: Tango Ornitorrinco
- Arranged from a Finale2010 produced wav file
- Not released yet by any record company
- Duration: 3'19"
- Recording date: March and April 2011 in Texas, USA
- Watillon, Sophie (1965-2005 )
- Improvisations on 'La Folia' (1994)
- Watillon, Sophie (viola bastarda) Devaere, Hannelore (harp) Leertouwer,
Detmar (cello) Liegeois, Frank (bass viola da gamba) Noiri, Shizuko (lute)
Stinders, Herman (harpsichord) Stryckers, Piet (bass viola da gamba) Valetti,
Pablo (violin) Laethem, Katelijne van (soprano) 'L'art de la viola bastarda
- le chant et la danse'
- Released December 1994 by Ligia compact disc 106020
- Duration 1'33"
- Recording date: August 1994 in the Franc-Waret Church, Namur Belgium
- The Waverly Consort (ensemble)
- Folías de Espanya ab mudansas
Escorial manuscript Bc M. 1452, circa 1731, modern edition Maurice Esses
Kay Jaffee wrote for the slipcase:The Folía is thought to have been a Portuguese folk dance before it moved to the more sophisticated locales of court and theatre. Contemporary accounts describe it as frenetic and noisy, hence the idea that the name referred to the dance steps - "mad", "demented", "crazy". By the end of the 15th century, comic scenes set to the folía had become a staple at popular festivals and court shows. The anonymous 16th-century Portuguese vilancete Não tragais borzeguis pretos is an example; alluding sarcastically to the dreary dress code imposed at the court of King João III, it instructs the courtier that black buskins (the laced leggings covering the lowerleg and foot) shall henceforth not be worn.
By the end of the 17th century, a dance called "Folie d'Espagne" had moved north to the Paris Opéra, where it was featured, fully choreographed, as a stylized dance in the noble style. Composers all over Europe found the folía's harmonic pattern an apt subject for extended instrumental variations; examples by Corelli (for violin) and Marin Marais (for viol) are among the best known today. Our diferencias (variations) are selected from an anonymous set, Folías de Espanya ab mudansas, written for an unspecified melody instrument and preserved in a Spanish manuscript from the early 18th century.- The Waverly Consort 'Iberia'
- Instrumentation: bass viol, harp, 2 guitars
- Released 2001(?) by WAV compact disc 14002
- Duration 4'50"
- Recording date: April 1-4, 2002 at the Performing Arts Center, Purchase College, State University of New York, Purchase, NY.
- Waxman, Franz (1906-1967)
- Mr. Scrooge, Ghost and Spirits, as part of A Christmas Carol Suite
Waxman wrote for the slipcase:this recording concludes with a suite from the 1938 Joseph L. Mankevicz produktion of A Christmas Carol starring Reginald Owen as Scrooge. Edwin L. Marin directed this version of the Dickensian classic for MGM. The fifty-minute score contains ten themes incorporated into twenty-three orchestral numbers and seven choral selections. Waxman had to whip all of that into shape within five days! The recording session began at five in the afternoon and ended at nine the following morning. The composer noted: 'High pressure has no ill effect on the inspiration but it's pretty hard on the body'.
- Queensland Symphony Orchestra conducted by Richard Mills
- Released 1996 by Varese Sarabande compact disc VSD 5713
- Duration: 1'20"
- Recording date: February-March 1993 in the Autralian Broadcasting Company's Brisbane Studios
- Weiss, Matthew Charles (1966- )
- Variations on "La Folia" for violin duet (2009)`
Matthew Weiss wrote in an e-mail 22 November 2012:The complete Variations on "La Folia" for violin duet
Duration: 8'16" direct link to YouTube
© 2012 by Matthew C. Weisss, used with permissionI composed it in the Summer of 2009 specifically to be included in a Concert of Historicist Composers sponsored by the Delian Society. Honestly, I cannot remember exactly how the idea came to me (probably in the middle of the night), though I do have fond memories of learning Corelli's La Folia variations as a child while studying violin.
I was especially intrigued by the meaning of "The Madness" or "Folly". So each variation depicts this in one way or another and the piece progresses to a rousing finale that incorporates some material from the previous variations. I'm planning to make a nice recording of this piece in the next few weeks and post a video on YouTube.- Matthew Weiss (violin), Stephen Daniels (violin)
- Title: Variations On "La Folia" for Violin Duet
- Duration: c.8'20"
- Premiere performed July 18, 2009 at the St. John United Lutheran Church organized by The Delian Society as part of the program "A Concert of Historicist Composers"
- Matthew Weiss (sheet music)
- Title: Variations On "La Folia" for Violin Duet
- Published by Editions Musica Ferrum, 12 pages, ISMN: 979-0-801164-38-4
- The publication can be ordered at http://www.musica-ferrum.com/catalog/viewitem.php?show=42
- Matthew Weiss (violins)
- Title: Variations On "La Folia" for Violin Duet
- Released 2012 by Pranakasha Productions mp3-format
- The soundtracks of the duet and the separate violins are available
- Duration: 8'23" (total length of all three tracks 23'54")
- Recording date: December 2012 in Seattle Washington, USA
- The music can be ordered at Amazon.com: http://www.amazon.com/Variations-On-Folia-Violin-Duet/dp/B00AYVJ5DS/ref=sr_1_3?ie=UTF8&qid=1357794538&sr=8-3&keywords=la+folia+duet
- Wesseltoft, Bugge and Kraggerud, Henning (duo)
- La Folia (Improvisation)
In the slipcase is written:
Then there is also an improvisation on the baroque La Folia, the oldest melodic-harmonic compositional structure, and finally a rendition of Johannes Brahms' Lullaby.
- Wesseltoft, Bugge (piano ) and Kraggerud, Henning (violin) 'Bugge & Henning, Last Spring'
- Title: La Folia (improvisation)
- Released 2013 by ACT compact disc order number 9526-2
- Duration: 2'44"
- Recording date: November 2011 in the Rainbow Studio. Oslo, Norway
- Wettstein, Martin (1970- )
- La Follia: Farinellis Reise zu den Sternen (2002)
The work was commissioned in 2002 by Rahel Cunz (violin) and Jacqueline Ott (marimba) and premiered in Küsnacht near Zurich, Switzerland. The piece has received many performances.
The peaceful Folia-theme is introduced by the violin solo after a short introduction within the first minute of the piece and it is already fighting in the theme to finish the melody properly like it is in an inner struggle of desperation. The listener than already knows that the traditional variations are hardly to expect. Is the marimba as companion a firm ally or no more than a misleading tool? In the first parts the instruments seem to avoid any coherence. Is it all a dream of someone who has just read the Ilias or Odysseus by Homer? The detailed subtitles (stations of the journey) give room for these kind of thoughts, but let us focus here on the Folia theme which reappears now and then in twisted forms. Towards the end of the piece the melody lines calm down and the Folia-theme is stated in a more structured and harmonic interaction between violin and marimba.
Martin Wettstein wrote about his composition:
Duration: 2'07", 873 kB. (56kB/s, 22050Hz)
The introduction of the theme and variations as played by Rahel Cunz & Jacqueline Ott
© Martin Wettstein 2002, used with permission
Das Stück, welches im Auftrag von Rahel Cunz und Jacqueline Ott geschrieben wurde, basiert auf der berühmten Violinsonate Opus 5/12 von Arcangelo Corelli (1653-1713), genannt La Follia; Variationen über ein Thema von Farinelli - einem Komponisten und Freund von Corelli und Onkel des gleichnamigen Starsängers des 18. Jahrhunderts.
La Follia, ursprünglich ein wilder, hedonistischer portugiesischer Tanz, präsentiert sich beim Aristokraten Corelli als nobler Variationen-Satz, gehalten im Rhythmus der Sarabande.
Das Thema, genannt "Farinelli", begibt sich in diesem Duo auf eine phantastische Reise in ein Spiegeluniversum, wo es u.a. Leonard Cohens Song "First we take Manhattan (1988) und Ennio Morricones Mundharmonica-Melodie aus "Spiel mir dass Lied vom Tod" (1968) oder einem verlausten Mensuralkanon begegnet. Den Formen und Strukturen dieser "Variationen" liegt die vollkommene Zahl 28 zugrunde.These are the stations of the journey:
Farinelli is enraged and no longer sober, Farinelli is unhappy and leaves his home, Farinelli takes a walk in the cold night, Farinelli sees the shining stars, Farinelli strays away and is overcome with yearning, Farinelli tries to gain momentum, Farinelli begins running, Farinelli takes off, Farinelli sees the ground disappearing, Farinelli floats to cold heights, Farinelli arrives in a foreign world, Farinelli rises to new spheres, Farinelli traverses turbulent stratums, The solar wind carries Farinelli to outer space, Farinelli sinks into dark depths, The sinking turns into an ascent, Farinelli leaves Death lying to the left, Farinelli sees his mirror image, Farinelli finds himself in a worm-hole, Did something happen?- Rahel Cunz (violin) & Jacqueline Ott (marimba)
- Title: La Follia: Farinellis Reise zu den Sternen
- Recorded by Swiss Radio not released by any label yet
- Duration: 12'45"
- Recording date: 2002
- More about the composer at his website in the English or the German language http://www.martinwettstein.ch/ where the whole composition can be listened
- Weyman, Fred (1957 - )
- Variations of La Folia for Trio
21 variations for 3 parts on one of the most commonly arranged pieces in musical history (2 melody instruments and bass).
Duration: 5'24", 19 kB.
Variations of La Folia for Trio
© 2011 Fred Weyman, used with permission
Fred Weyman wrote in an e-mail about his Folíacomposition:Since Corelli's LaFolia variations had been a favorite since my youth, for me it wasn't a matter of choosing to write LaFolia variations, but avoiding the obvious choice for many years. Even though Corelli's set was the most valuable instructional model for writing variations that I was familiar with, I hesitated to use it because (as illustrated by your website) so many others had already done that. I also preferred writing variations of pieces that were more familiar to modern audiences because I think variations of familiar tunes are more appreciated by the listener because it is easier for them to hear the underlying original tune than with unfamiliar pieces. It wasn't until I started writing more trios that I decided that my versions of LaFolia would be more original.
I especially enjoy hearing and playing three part pieces where all three parts have important, independent, and melodic lines. In the baroque period trios were very popular and were considered the true test of a composer. Recent psycho-acoustic studies have shown that most listeners can keep track of 3 simultaneous lines fairly well but have difficulty with 4 or more. This piece contains 21 variations written in a semi-canonic form in that the first melody line always plays new material while the second melody line plays the material that the first line just finished.
- Weyman, Fred
- Published 2011 by Fred Weyman
- 7 Pages 29 x 21 cm in 3 versions:( 2 melody instruments and bass), (AAB recorders = alto 1, alto 2, bassand), (SST recorders = sop 1, sop 2, tenor)
- Available at Freds musical pages: http://fredweyman.web.officelive.com/EarlyMusicArrangements.aspx
- Duration: ca. 5'24"
- More about the music of this composer at http://fredweyman.web.officelive.com
- You can find the photography website by Fred Weyman at http://fredweyman.art.officelive.com
- Wiesenberg, Menachem (1950- )
- Concerto Da Camera - La Folia for four wind instruments (fl, ob, bn, hn) and string orchestra (2001) Commissioned by "Israel Camerata-Jerusalem". Written while being a fellow at the VCCA Virginia USA.
Menachem Wiesenberg wrote about his composition:The work derives its inspiration from the traditional melodic – harmonic – rhythmic pattern called "La Folia" which served as a framework for dozen of works written since the Renaissance to the present day. The name’s origin relates to the fact that, at first it served as pattern for music and dance in which the dancers became ecstatic, and seemingly struck by madness.
In my treatment of this traditional form, I tried to derive my ideas from its typical melodic structure, its basic rhythmic character and its dance-like origin as well as form the obsessive, everlasting repetition of the basic pattern while making changes and variations, in my own language.
The Work consists of four movements: Fast-slow-fast-slow, with the first three almost connected and the fourth independent. This last movement is in the form of a funeral march in which I tried to express my feelings and pain in regard to the collapse of the process and the loss we are experiencing in the present era.- The Israel Camerata-Jerusalem Orchestra conducted by Andrew Lawrence-King
- Duration: 18'44"
- Recording Date: 2001
- More about the oeuvre of the composer and to listen to the entire piece at http://www.mwm.co.il/
- The Dallas Symphony Orchestra conducted by Arter Fisch
Laurie Shulman wrote in an introduction for the Playbill by the Dallas Symphony Orchestra for the American premiere at Dallas in March 2003:
(© Laurie Shulman, First North American Serial Rights Only, and used with permission)
The four movements of Concerto da camera are arranged fast-slow-fast-slow (a rereversal of the more customary baroque arrangement of slow-fast-slow-fast). The first three movements are connected, with no discernible pause between them. Wiesenberg writes with a rhythmic and harmonic spikeness reminiscent of Stravinsky's neoclassical period, initially alternating the concertino group (solo flute, oboe, horn and bassoon) against the strings. Complex rhythmic motives travel among the solo players above the pulsing regularity of cellos and basses. At first, after the opening gambit, they play in steady motor rhythm, as we familiarize our ears with the recurrent harmonic pattern of the Folia. Presently Wiesenberg varies the bass as well, imbuing each variation with its own character and moving from one to the next with seamless transitions.
The spirit of the dance suffuses the first three movements of Folias, allowing opportunities for elegant solo work in the four woodwind instruments. Wiesenberg's piquant harmonies are flavored with hints of Middle Eastern scales. His handling of the strings is particularly effective, with several passages for the principal players and a couple of passages for the first three chairs in each string section, in addition to writing for the full complement. Each section of the music (Allegro ritmico, Intermezzo, Allegro molto ritmico and Largo: Marcía alla funebre) is defined by its own distinctive set of rhythmic motives, often in imitation. For example, the Intermezzo begins with oboe and horn in a slow-moving duet above a jagged line from muted cellos and basses. Eventually flute and bassoon join in, then Wiesenberg provides a lyrical passage for principal strings. Nowhere in the Intermezzo does the full ensemble play.
The finale stands as an indepedent movement. Wiesenberg has cast it as a funeral march. "I tried to express my feelings and pain in regard to the loss we are experiencing in the present era," he explains.
I used C and not D as the fundamental note because I wanted the last part to be a lamento (which i felt was so appropriate to our situation here in the [Middle East] region when the peace process was collapsing and we are all going through a period of death and destruction). So the Lamentohad to be in C because Cminor used to be the tragic key. The skeleton melody follows the pitch pattern C, B, C, D, Eflat, D, C, B. The piece is saturated with these notes in all possible combinations. I used ostinati and different rhytmic displacements (notably the hemiola) so often found in Renaissance folias.Wiesenberg begins the finale with a chorale for the first chair strings (excepting bass), playing as a string quartet without vibrato. Gradually he expands the ensemble until the full string choir is playing, then introduces plaintive commentary from each of the solo woodwinds. The music is powerful and emotional, anchored by the inexorable repetition of the folia bass. In light of the Columbia shuttle disaster early last month, in which an Israeli astronaut died along with six Americans, Wiesenberg's closing movement takes an added poignancy.
Concerto da Camera is scored for one flute, one oboe, one bassoon, one horn, and strings.- Duration: C. 19'
- Date of performing: March 2003, Dallas, Texas, USA
- Willemark, Lena (1960- )
- Sinclairvisan
See for the details of the Sinclairvisan Anonymous traditional.- Willemark, Lena 'Blod, lik and tarar/Blood, Corpses and Tears'
- Title: Sinclairvisan
- Released March 1997 by Caprice Records compact disc CAP 21542
- Duration: unknown
- Recording date: all recorded by the Swedish Centre for Folk Song and Folk Music Research (Svenskt visarliv) in the homes of those who themselves had learnt the songs from older relatives and carried the tradition on
- Wilson, Thomas (18th Century)
- Les Folies d'Espagne
Folies d'Espagne Collected by Thomas Wilson 
- Thomas Wilson
- Title: A Companion to the Ball Room, containing a choice collection of the most Original and Admired Country Dances, Reels, Hornpipes, Waltzes, and Quadrills, with appropriate Figures to Each. The Etiquette and a Dissertation on the State of the Ball Room
- Published ca. 1820 by D. Mackay, London, England
- Page 174, for one melody instrument (without harmony)
- Available in the public domain http://imslp.org/wiki/A_Companion_to_the_Ball_Room_(Wilson%2C_Thomas)
- Wise, Michael (1647-1687)
- A catch on midnight cats from Two cat catches(1685)
For more information and acoustical examples http://www2.cpdl.org/wiki/index.php/A_Catch_on_the_Midnight_Cats_%28Michael_Wise%29- Ensemble Lux Musica (Patrice Maginnis soprano, Boyd Jarrell bass baritone,
Amy Brodo cello, Brian Staufenbiel tenor, Victoria Gunn violin, Linda
Burman-Hall harpsichord)
- Title: A catch on the cats 'Folias'
- Arranged by Linda Burman-Hall
- Released February 2001 by Kleos compact disc 2639928
- Duration: 3'53"
- Recording date: unknown in England
- Woldemar, Erik Lorens (1750-1810)
- 12 nouvelles Variations sur "Les Folies d'Espagne" de Corelli, pour un violon par Woldemar
- No published music of Les Folies d'Espagne found.
- Published in Fétis, François-Joseph, Biographie universelle des musiciens…, tome 8, 2e édition, Paris, 1868, p.51 Edition : Paris : Corbaux
- Thanks to François-Emmanuel de Wasseige for detecting this item in literature
- Wranitzky, Paul (born as Vranický, Pavel) (1756-1808)
- third movement of the Symphony in D, Postolka 22 (c. 1795)
Daniel Bernhardsson of the Wranitzky project wrote on July 22, 2009:Duration: 4'39", 62 kB.
The third movement with the theme at 1'37"
© Daniel Bernhardsson, used with permissionThis 'symphony' only survives in two copies, with differnet finales. One in the music archive of the Lobkowicz family where Paul's brother Anton was music director, and one in the former music collection of the empress Marie Therese (wife of Franz II of Austria).
This particular 'symphony' amounts to some kind of potpurri with music taken from different other works by Wranitzky - something which is not representative for his general output. I would guess it was hastily compiled for one of the concerts of the imperial family.
All movements evidently come from different works, except for this third movement - a depiction of a battle ending with a lyrical cello solo. It is likely it also comes from some other work, but I have not yet found a source for it. Anyways, the short Folia progression starts at bar 61 and is hard to miss!
The Folia theme, bars 61 till 64 by The Wranitzky Project, used with permission 
-
- Title: third movement of the Symphony in D, Postolka 22
- Duration: c. 4'40"
- Not recorded yet
- More information about the composer Wranitzky and the sheet music see the Wranitzky-Project at http://www.wranitzky.com/index.html
- Yates, Stephen (1957- )
- Fandangle Indeed (1994)
In this lovely tune, clearly derived from Boccherini's Fandango, there are some archtypes of musical themes exposed. One of the themes quoted
is the Folia in the last eight bars ending in the tonica.
- Funaro, Elaine (harpsichord solo) 'Dances With Harpsichords'
- Released 2003 by Centaur Records compact disc CRC 2651
- Duration: 7'18"
- Recording date: January 5-7, 2001 in the Memorial Chapel, Duke University, Durham, North Carolina
- More about Elaine Funaro at her website http://www.elainefunaro.com/
- The York Waits and Deborah Catterall (Ensemble)
- Le triste état de cette pauvre étable
One of the finer Folias was detected by Elizabeth Gutteridge. This is an arrangement by Tim Bayley for voice in the
French language and ensemble. There is some resemblance with the mysterious arrangement of
Dos estrellas le siguen. by Les Voix Humaines and Suzie LeBlanc. Both tunes have dark origins. The performers included the Folia chord progression
as integral part of the very old original source. In both tunes the female voice takes the lead part while most Folias are instrumental. The difference is that here the
Folia is actually sung all the way while in 'Dos estrellas le siguen' the instrumental Folia is pasted to extend the beautiful but (too) short vocal line into a
substantial track.
Tim Bayley wrote about this composition: Duration: 0'50", 797 kB. (128kB/s, 44100Hz)
Fragment of 'Le triste état de cette pauvre étable'
© 2004 The York Waits, Deborah Catterall and Beautiful Jo Records, used with permissionI can shed little light on Le triste état de cette pauvre étable, except that the music is just a single line with no harmony from a French publication of 1942 entitled 'noël! chantons noël!', edited by Paul Àrma. The music page attributes the piece (i) Provence 1613 and (ii) Nicolas Saboly (1614-1675). We just picked on it because it is such a well known tune and had some suitable words !!
The opening by P. Àrma 1942, les editions ouvriéres parts, Paris 
- Àrma, Paul (original source for The York Waits)
- Title: Le triste état de cette pauvre étable (page 118). As a source Provence: 1613 is mentioned but that would mean one of the oldest melody lines ever of the 'later' Folia tune
- In: 'noël! chantons noël!', 151 Noëls français du XIIIe au XVIIIe siècle.
- Published 1942 by les editions ouvriéres parts, Paris, France
- Publishers No. not mentioned on the cover.
- The York Waits 'Yule Riding, Music for the Twelve Days'
- Released 2004 by Beautiful Jo Records compact disc BEJOCD-46
- Duration: 2'50"
- Recording date: July 7-9 2004 at Holy Trinity Church, Wentworth, Yorkshire, England
- More about The York Waits at their website http://www.theyorkwaits.org.uk
DT>Zebell, Erik Lorens (also: Lorentz) (1767-1819)
- Variations ou études sur les airs Que ne suis-je la fougère et Les Folies d'Espagne
He was a Swedish musician and official. Zebell was secretary, musicians and composers. He left Sweden in 1801 or in 1802 and was hired three years later as a violinist at the Vaudeville Theatre in Paris- No published music of Les Folies d'Espagne found.
- Published in Fétis, François-Joseph, Biographie universelle des musiciens…, tome 8, 2e édition, Paris, 1868, p.51 Edition Paris:
- Thanks to François-Emmanuel de Wasseige for detecting this item in literature
- Zetterholm, Finn and Selander, Marie (duo)
- Lampaan polska
Hanna Björk wrote about this composition in March 2005:
As a fan of the Finnish folk music group JPP I see that you consider the tune Lampaan polska a version of La Folia. If so, there is a Swedish folk tune with the same name which is extremely similar. The start of the tune is exactly the same, then it is slightly different in the end (note here, that in the recording if I remember correctly puts the tune together with another tune, they often do that). The basic tune Lampaan polska I think is very similar to something I heard as a child. It was recorded by Finn Zetterholm and Marie Selander, on an album called 'Lillfar och lillmor'. The lyrics go like this (I've written the lyrics down from memory):
Text in Swedish and the translation in English
Katten och källingen
dom nappades om vällingen
katten slog källingen
så han föll i vällingen
Aj aj, sade källingen
jag brände mig av vällingen
Jam jam sade katten
du kund' ha unnat mig få hatt'en.
The cat and the kid
fought over the gruel
The cat hit the kid
so it fell into the gruel
Ouch ouch said the kid
I burnt myself on the gruel
Meow meow said the cat
You could have let me have it.
- Finn Zetterholm and Marie Selander 'Lillfar och lillmor'
- Released as LP 1970 by SR Records order number RHLP 1101 and as compact disc August 1999 Naxos-label NAX-GAMM 023
- Duration: unknown
- Recording date: unknown
- Zimmermann, Christian & Mattes, Ralf (ensemble)
- Follias (18th century)
Unfortunately no source is mentioned for these follias in the slipcase nor
are the tracks specified for the instruments.
Christian Zimmermann wrote about this composition in an e-mail May 2004:
The folia that Ralf Mattes (theorbo) and I recorded is an adaptation of Folia-variations by Santiago de Murcia, Corelli and Marais. I hope you will excuse the term 'anonymous', that facilitated the naming of the piece. The manuscript of de Murcia was originally composed for solo guitar (Manuscript Saldivar).
- Zimmermann, Christian (barock guitar) and Mattes, Ralf (theorbe)
"Duration: 1'02", 999 kB. (128kB/s, 44100Hz)
Two variations after Corelli
© 2002 Christian Zimmermann, used with permission- Released 2002 by Bella Musica Edition, Antes Edition compact disc BM-CD 31.9167
- Duration: 5'31"
- Recording date: December 14-16, 2001 Studio Melodies, D-79224 Umkirch, Germany
- Instruments: baroque guitar a copy of A. Voboan's model built by Matthias Wagner, baroque theorbe a copy of W. Tieffenbrucker built by Matthias Wagner.
- Zipoli, Domenico (1688-1726)
- Retirada del Emperador de los dominicos de España
The Folia-theme of the last 8 bars is played once in the introduction of the piece. It is unknown if it is part of
the composition or just the intro by the performer.
Source for the composition is the books for keyboard San Rafael of Chiquitos, collected by the originally Swiss Jesuit missionary Martin Schmid. The manuscript contained some pieces by Domenico Zipoli (who was familiar with the compositions of both Pasquini and Corelli) and his style is recognizable in many of the pieces.- Broggini, Norberto 'De la musique des conquistadores au livre d'orgue
des indiens Chiquitos'
- Released 1998 by Discographique lorrain K.617 compact disc set of 3 discs K617093/3 with the support of the French Ambassy
- Duration: 1'28"
- Recording date: April 18-20, 1998 organ of Santa Clara in Sucre, Bolivia
- Zollbrecht, Stefan (1988- )
- La Follia for piano solo (2013)
Stefan Zollbrecht wrote about the FolÃa theme:"La Follia" is a set of variations which harmony scheme has already been used in the 16th century. Many well-known composers had fun with it (read more at http://en.wikipedia.org/wiki/Folia). A new piece with old roots: a new theme upon a harmony concept which has been proved over hundreds of years, and some surprises in addition
>Opening of 'La Follia' 2015, S. Zollbrecht 
- Zollbrecht, Stefan
- Published sheet music November 2013 order number ID SM-000225438
- 5 pages, size 29 x 21 cm in pdf
- Duration: 2'46"
- Recording date: February 2014 in Regensburg, Germany
- More information about the piece and the composer at http://stefanzollbrecht.musicaneo.com/sheetmusic/sm-225438_la_follia.html
- More about the composition including the acoustic fragment at Sheetmusicplushttp://www.sheetmusicplus.com/title/la-follia-digital-sheet-music/20203634
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