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
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
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.
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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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Duration: 1'03", 1 Mb. (128kB/s, 44100 Hz) |
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'
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- 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
- 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