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
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.
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- 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
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The sheet music Air des folies d'Espagne |
- 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
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/
- Chenlo, María Teresa (harpsichord)
- Duration: 6'33"
- Recording date: Worldpremiere November 28, 1995 in Casa de América in Madrid, Spain
- Grupo LIM
- Duration: 6'40"
- Recording date: Worldpremiere November 9, 1998 in Escuela Superior de Ingeniero in Bilbao, Spain
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
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
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.
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 |
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- 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
- 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
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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 (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
- 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
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
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| Theme of La Follia in arr. for two recorders and b.c. | arrangement Martin Nitz, 1987 |
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- 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/
A live performance of the Follia scene by Ensemble Matheus and reconstructor Jean-Christophe Spinosi
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Duration: 0'39", 622 kB. (128KB/s, 44100 Hz) |
- 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
