Which versions of the later Folia have been
written down, transcribed or recorded?
(in alphabetical order of composer, letter K)
Kagel, Mauricio (1931-2008)
Folie d'Espagne as a dance of 'I', part of 'Tantz-Schul, Ballet d'action'
(1985/87, revision 2001)
Rundfunk-Sinfonieorchester Saarbrücken, conductor: Mauricio Kagel
Mauricio Kagel wrote for the slipcase:
This composition in three parts [I:1. Entrée
2. Folie d'Espagne 3. Trionfo di Bacco 4. Il Dolzor 5. Novelle Fantastiche
6. Sarabande 7. Cogi 8. Turco con tamburino, II: 9. Scaramuzza...e Donna
10. Riguadon/Rigadon 11. Galiarda 12. Galiardo 13. Disegno Furia, Satyro,
Cicona 14. Fenochio 15. Scotin/Scapin 16. Rackett- und Hexentanz 17.
Statue & Figure, III: 18. Finale] is based on Gregorio Lambranzi's
treatise Neue und curieuse theatralische Tantz-Schul, first published
1716 in Nuremberg, with engravings by Johann Georg Puschner. The Venetian
dance-master presents about 70 ballet scenes or scenarios, with commentaries
supplemented by illustrations and the relevant melody. […]
One of the most amusing aspects of Lambranzi's book is the countless
errors in his musical orthography.
[…] So what did I actually do with the single-line melody? To start
with, I embedded them in a harmonic context that I had to invent. This
in itself gave me a good opportunity to regard the notational mistakes
in the original as characteristics component of a new musical environment.
Since I have no interest in sentimentalising, historicist aesthetics,
but mainly quite the opposite, namely fearless confrontations between
present and past, I didn't attempt to complete or continue the melodies
in a stylistically correct way. […] Sometimes these melodies appear
incomplete, like fragmentary recollections, and not always as the beginning
of the piece, but also towards the end, like a reconstruction. And polyphony
was created from transpositions of the same melody. […]
detail of engraving from Lambranzi's 'Nueva e curiosa scuolade balli theatrali' (1716)
Thanks to Dell Hollingsworth, artistic director of La Follia Austin Baroque for using the image
Title: Folie d'Espagne
Released 2003 by Winter & Winter, A Recording of
Saarländischer Rundfunk compact disc 910 099-2
Recording date: 2003 at Saarländischer Rundfunk,
Kalkbrenner, Frederic (1785-1849)
Fantaisie sur l'air des Folies d'Espagne
Kaya, Mehmet Refik (1957- )
Folia (after Gaspar Sanz), Espanoleta (Gaspar Sanz), Sultaniyegah saz semaisi (Nedim Aga)
'Ruhnüvaz, touching the soul'
Mehmet Refik Kaya wrote about the instrument the rebab (in a translation by Bob Beer):
The European 'viola d'amore' (violin) replaced the rebab during the reign of Mahmut II, just as the ground was
being laid for the the Ottoman Tanzimat (reforms) movement. With its advantages that included a stronger sound than the rebab,
its wide range, and ease of playing due to its well-developed technique, the violin came into widespread use in Turkish music.
The 'westernization' movement imposed by the Tanzimat influenced Turkish music as well. One of the most visible aspects of this
movement was the increased interest in western instruments. As Ottoman composers began learning towards compositions with broad
ranges, the old instruments began to fall from favor. Instead of being improved technically and adapted to the times,
they were abandoned.
Mehmet Refik Kaya (rebab, rebab nisfiyesi), Celil Refik Kaya (rebab nisfiyesi, classical guitar), Özata Ayan (tanbur),
Günay Uysal (cello), Serdar Bisiren (percussion)
Released 2005 by Kalan Müzik Yapim compact disc CD 350
Duration: Folia 2'20" in total 8'19"
Recording date: not indicated in the documentation recorded in studio Metropol (Instanbul?) without further location
Keiser, Reinhard (1674-1739)
Several fragments (ouverture and in act IV and V) of the opera 'Der lächerliche Prinz Jodelet' (1726)
Akademie für Alte Musik Berlin 'Ouvertüren, Music from the Hamburg Opera'
Bernard Schrammek wrote for the slipcase:
Der lächerliche Prinz Jodelet (The ridiculous Prince Jodelet) dates from Keiser's later period; it was given its first performance
at the Gänsemarkt in 1726. In it the composer followed the then frequent practice of pasticcio: only the ouverture and the plot-driven
sections were newly composed, then interspersed with existing musical numbers
Title: Sinfonia from 'Le Ridicule Prince Jodelet'
Released 2005 by Harmonia Mundi compact disc HMC 901852
Recording date: February 2004 in the Teldex Studio, Berlin, Germany
Philharmonisches Staatsorchester Hamburg conducted by Alessandro de Marchi 'Der lächerliche Prinz Jodelet'
The Folia-theme appears several times in the Opera. In the end of act I (Ouverture), in act IV some variations of Corelli
are literally quoted starting in adagio tempo (fragment 1) and in act
V the bare Folia-theme without any ornamentation is quoted twice very stately between the lines of the opera (fragment 2).
Title: Act I (Ouverture), act IV and act V 'Le Ridicule Prince Jodelet'
Première February 22, 2004 in the Staatsoper in Hamburg, Germany
Duration: in act IV 3'42" and in act V 1'16"
Recording date: February 22, 2004 in the Staatsoper in Hamburg, Germany and recorded and broadcasted by
(Norddeutscher Rundfunk). Also broadcasted in France (France-Musique March 12, 2005)
and in Belgium (Klara in the program 'Scala' September 3, 2005)
Recording date: 2010 at Joe’s Garage by JB Arthur Additional recording done at Sunset studios in Stellenbosch, Kellerman’s in Johannesburg, Mastermax studios in Midrand, Singsing studios in Melbourne, Sunset studios in Los Angeles and Studio Le Roy, Amsterdam
Khitruk, Anastasia (1975- )
La Folia (1999) for violin solo
Baudime Jam wrote for the slipcase (translation by Michael Pochna):
To conclude this tribute to the virtuosity of the violin, Anastasia Khitruk presents her own variations
on Corelli's 'La Follia'. After introducing the theme in its original form, the young performer offers her
vision in a series of virtuoso variations, inspired by the works of Paganini, as if this 'Folia' was being
transmitted through the generations.
Khitruk, Anastasia 'La Folia'
Title: La Folia
Released 1999 by Suoniecolori compact disc SC 253312
Recording date: 1999 in La Maison de la Musique de Nanterre
Kíla (name of ensemble)
Handel's Fancy (1992)
Kíla 'Handels Fantasy'
Handel's Fancy consists of 4 tunes: a. La Folia - Corelli,
arr. Kíla, b. Handel's Fancy - Colm O Snodaigh, c. Mulhaires
Reel - trad. arr. Kíla, d. Clumsy Lovers - Neil Dickie, arr.
Released by Kíla Records, remixed 1999, premastered
2000 compact disc KRCD 003
Recording date: 1992 in Stiúdó a 7. Cearnóg
Mhuirfean, Baile Atha Cliath 2.
Kilpatrick, Bill (1947- )
Bill performed these four instrumental Folia-variations in a guitar-like style on the charango. The voicing reminds me somehow to 'Hotel California' with the
sustained notes in the upper voice while the basses follow the folia chord progression. It gives a nice sort of tension to the music although it is played in a
relaxed and smooth way.
Bill Kilpatrick wrote about his folia-compositions in an e-mail May 30, 2008:
'La folia' and its variations suit me very well - tempo and rhythm of any given piece may vary
(along with its mood) but it's always fascinating.
The video was recorded just a few days ago. I'm crazy about small chordaphone instruments - charango and mandolin,
in particular - and own a rather battered looking canary island timple.
sun-cast shadows, scented sheets, lavender and us, touch of skin, the day begins, sounds of being joyus
Title: la folia dodecanese (lipsos)
Recorded for YouTube May 2008, Italy
la folia voltaire
A reflection on life in this song with the subtitle 'reflections of a weed-whacking parent'. Inspired by
the concluding paragraph to 'Candide, ou l'Optimisme': 'Il faut cultiver notre jardin' by Voltaire
(settle down for the restless traveller in the hope to produce a better world to live in) who actually
wrote some text to the Folia theme himself.
Bill Kilpatrick wrote about this arrangement in October 2008:
the beautiful, hypnotic la folia chord progression - Dm/A7/Dm/C/F/C/Dm/A7/Dm (in this instance) played on mandolin. there are variants as well - equally beautiful - many of which have lyrics; pithy, poignant little poems expressing love, mostly. my particular favorite is "de los alamos vengo madre" - by juan vasquez (1500-1560)
Published 1997 by Castle Enterprises, Home-based publisher
of music for orchestra, string orchestra, orchestra/chorus, chamber
music (string quartet, viola quartet, violin/viola, flute/viola) and
solo music for various (primarily stringed) instruments. Located at:
3478 B Pleasantbrook Village Ln, Atlanta GA 30340-5661, USA. Phone/fax:
770.414.9832; e-mail: email@example.com
Kithara: Wilson, Christopher (5 course baroque guitar in E, built by
Robert Eyland 1974) and Miller, David (14 course theorbo in A built by
Stephen Barber 1982), Musica Mediterranea, Music of the Italian &
The seven variations of the Folia are attributed to an anonymous composer.
However two variations are obviously arrangements of two variations by
Caspar Sanz (variation 4 and 5). The other variations might be improvisations
regarding the quote of Dinko Fabris comment
Dinko Fabris wrote for the slipcase:
We are presented with the joyful use of variation, and
free improvisation by the musicians on the most popular themes of the
day. This is a freedom which, for several centuries, European musicians
seemed to forgot.
Released by Chandos August 1994 compact disc Chan 0562
Recording date: November 17-19, 1993 in Orford Church,
Kiviniemi, Kalevi (1958- )
Improvisatie over 'La Follia' for organ (2006-2007)
Petri Vähätälo wrote about the Folia improvisation on La Follia:
Kalevi is a gifted improvisateur. I asked him about this improvisation; he says it is a 'real' improvisation, i.e. he adjusts it to the occasion
(instrument, space, mood). I heard him play this 'Improvisation on La Follia' here in Lahti this summer at the Sibelius Hall, where we have a new organ, and
Kalevi did certainly show the possibilities of the organ's tone colours. This improvisation he has not recorded, nor has it been written on paper.
Kalevi says he chose the Follia theme since it is well-known to the public, and of course it is great 'tune' too!
Kalevi has been making quite a numer of recordings in the past few years, both early music and more modern repertory. Yet no Follia, yet...
Title: Improvisatie over 'La Follia' for organ
Performing date: 1 September 2007 at the Metzler-orgel in the Grote Kerk, The Hague, The Netherlands
The concert was not recorded by any radiostation unfortunately
Klaverdal, Stefan (1975- )
There Will Be Earthquakes: Variations on La Folia (2012) for electric violin
Ian Peaston wrote about this Folía-performance as a violinist
I’ve always loved the theme and its various “classic” classical pieces. As such, I wanted to do some pieces based on the theme for my project for electric violin and live electronics called Violin Variations. www.violinvariations.com
Peaston, Ian recorded live performance for electric violin and computer 'Evocations, Stefan Klaverdal'
I wrote a suite of music for a poetry recital about Federico Garcia-Lorca in 1998.
The String Quintet suite "Folia-Habanera-Salsa-Blues" was inspired by Romancero Gitano and Poeta en Nueva York,
and also a suite for cello and double bass : "Hommage à Federico Garcia-Lorca" inspired by differents landscape of Granada.
The Folia theme is an evocation of the 18th century in Jerez de la Frontera (ciudad de los gitanos)
The magazine Double Bass wrote in the issue of Spring 2002 (number 20):
Klenes sets the popular 'Folia' theme in a contemporary context, and he uses his ensemble effectively to reproduce the infectious
interlocking rhythmic ostinatos and jazz-rock influences of Salsa.
Title: Folia, as part of a suite together with Habenera,
Released September 2001 by Chamber compact disc CHCD303
Music published by Bayard-Nizet (http://www.bayard-nizet.com)
Ensemble Galilei (Liz Knowles: fiddle, Deborah Nuse: Scottish small
pipes and fiddle, Sarah Weiner: oboe recorders and pennywhistle, Sue Richards:
Celtic harp, Carolyn Anderson Surrick: viola da gamba with Jan Hagiwara:
percussion and Nancy Karpeles: bowed psaltery) 'From the Isles to the
I do not know if it is correct to call this a 'new' folia-composition
because as modestly indicated in the container Liz Knowles is indicated
as the arranger of the music by Marais and
Corelli. In fact the music is not that new.
The opening with the Marais variations starts with the Viola da Gamba
to remind the listener that the Marais-variations are involved and most
variations are taken from this composer. The third and fifth variation
with the oboe has done before and the percussion involvement is an old
idea by Paniagua. Actually I have not heard any new variation. However
the wide variety of instruments and the combination of it makes it very
enjoyable. How about that nice sense of humour when the massive sound
of the gamba is playing the lead, accompanied by the discant and light
sound of the harp? Only very few Corelli-variations are introduced in
the middle of the piece. The celtic harp in variation 14 sounds great
with those high arpeggios but the waiting for the obvious Scottish small
pipes will be in vain.
arrangement by Liz Knowles, published by Major B Music
Released 2001 by Telarc compact disc CD-80536
Recording date: June 19-22, 2000 in Gordon Center for
the Performing Arts, Owings Mills, Maryland
Knutna Nävar (ensemble)
Sång om Kina (Sinclairvisan) (Arbetare & Soldater)
I never heard the tune but the band was known as progressive with Swedish Communist texts
Knutna Nävar 'Internationalen Andra Revolutionära Arbetarsånger'
Title: Sång om Kina (Sinclairvisan) (Arbetare & Soldater)
Released 1971 by Proletärkultur LP PROLP 171
Recording date: 1971 in Göteborg, Sweden
Koch, Kurt (1953- )
Folie d'Espagne for 4 guitars
Published together with an arrangement of Greensleeves
for 4 guitars
Published 1982 by Tonos Musikverlags GmbH
Score: 3 pages size 23 x 31 cm and 4 parts of one page
Koenig, Carole (? - )
La Folia, British 17th century (1988)
Koenig, Carole (hammered dulcimer), Lerman, Candy (violin, viola), Magnussen, John (keyboards),
Shulman, Robert (flute) 'Encore! Renaissance and Baroque Music on the hammered
Instrumentation: hammered dulcimer, organ, flute and viola
Released 1988 Kokomo cd CCD-1006
Recording date: 1988, engineered and digitally mixed at Scott Fraser tudio, Los Angeles, USA
Koopman, Ton & Gustafssson, Rune (ensemble)
Improvisation on 'La Folia'
Ton Koopman (harpsichord) Jorma Katrama (bass), Arne Domnerus (clarinet) Rune Gustafsson (guitar)
Television program: 'Bach-1985' (total duration 24'29")
Broadcasted by NOS (dutch television)
Duration: 0'57" (10:23:45 - 10:24:42)
Broadcasting date: May 29, 1985
Korhonen, Mikka (1965-
La Folia (1995)
Korhonen, Mikko (clavichord) 'Swedish Clavichords, Mikko Korhonen plays
We can presume that the Folia-improvisation was played in a style to feature
the sound of the particular clavichord, built by Woytzig in 1688 (several
times restored). So the Folia-improvisation
is used as a vehicle and not so much as an attempt to create a new kind
of composition. The aim of the recording was to present the sound of 4
different famous clavichords. Little is said about the compositions, apart
from te fact that 10 hours of documentary recordings of the instruments
have been made and a selection of the recorded music is presented on this
cd. The music on this cd is conceived the very moment it is played, but
it has been fashioned according to the stylistic and formal idioms belonging
to the epoch of each instrument. In this way these recordings strive recreate
a way of making music which once was very common in European art music
but is very unusual today.
Mikko Korhonen was picked as performer because of his ability to improvise
musical pieces with the true colouring of different eras. This way of
making music makes it possible to adapt to the properties of each single
Title: La Folia
Released 1997 by SVEA fonogram compact disc SVCD 8
Recording date: June 13-16, 1995 in the Arched Room of
Musikmuseet, Stockholm Sweden
Produced in cooperation with the Sibelius-Academy in
Kuopio and the society Friends of the Musikmuseet
Recorded with the microphone at a height of 1,2 meters
and a distance of 1.5 meters from te instrument in order to provide
an impression of the relative largeness and sound volume.
Kõrvits, Tõnu (1969- )
La Folia for harpsichord (2009)
On April 23 at 7 pm, concert The Art of Touching was been held at Sausti manor in Harjumaa, where harpsichordist Irèn Lill performed besides the music by old masters like Jean-Henri d'Anglebert, Louis Couperin, François Couperin and Jean-Philippe Rameau, the program also included the premiere of La folia for harpsichord by Tõnu Kõrvits
There was also a worldpremiere at July 31, 2009 of this piece for oboe and stringed instruments performed by Kalev Kuljus and the Narden Festival Orchestra in Naissaar, Omari barn
La Follia (Arcangelo Corelli)
A popularized extracted version of Corelli's Folia including drums and bass guitar. The lines of the solo violin follow the complete Corelli-texture.
Probably intended to get kids more interested in classical music as Emerson, Lake and Palmer did in the past. She compares herself with an artist as
Vanessa Mae who popularized classical music. How about André Rieu or Berdien Stenberg?
Kränzlein, Anna Katharina (violin) Ende, Michael (Bass) Specki T.D. (Percussion) 'Neuland'
La Follia recorded live in Illipse in the city Illingen, Germany
Duration: 4'24" direct link to YouTube
Recording date: March 1, 2008 'Mittelalter Rock Festival'
Title La Follia
Released 2007 by F.A.M.E. recordings compact disc 0177022FAM
Recording date unknown
Krouse, Ian (1956- )
Krouse wrote about his Folias in 1993:
My version is set in the usual form of variations, but with
two twists. First, the theme itself is not presented until almost halfway
through the piece and-even then-it is stated in several forms. Second, the
variations start out quite long and gradually become shorter ... they continue
to accelerate until they move so fast that each takes only a few beats to
complete. The piece concludes with a festive series of variations based
on a form of the folia which was popular in the late Renaissance.
Scott Tennant wrote May 8, 1996 in the newsgroup 'rec.music.classical.guitar':
I'm a good friend of Ian Krouse. He told me that he had arranged, or 'recomposed' the Folias for orchestra.
However, I don't think it's recorded yet. And, yes, it has been performed in Japan.
The Helios Guitar Quartet (Jack Cimo, Albert Diaz, Michael Kudirka, and Adam Pettit)
Recording date: June 30, 2011 in the Legacy Hall
Columbus State University for the 2011 Guitar Foundation of America as
Ensemble Showcase Concert
L.A. Guitar Quartet 'Evening in Granada'
Neil Stannard wrote about Folias in the slipcase:
The compositional style of Krouse's Folias is an eclectic
circle. It is described by the composer as a kind of 'time travel',
beginning with improvisatory, neo-minimalist murmurings reminiscent
of flamenco style. The music develops backward in time, stylistically,
to a statement of the theme in Baroque style, then back further to neo-Renaissance
style, and finally comes full circle back to the present. One hears
the theme emerging gradually untils its full statement at the gravitational
center of the piece, designated by the composer 'Follia
after Corelli' [at 8'25"]. Shortly thereafter [at 10'31"]
the theme is stated in minor, this time quoting the 'Folias
of Sanz'. As the variations draw to a close, the score indicates
that the players should, each in turn, leave the stage, in an elaborate
visual, as well as aural, diminuendo.
Requested and premiered by the Los Angeles Guitar Quartet, John Dearman, William Kanengiser, Scott Tennant, Andrew York, St. Louis, Missouri, October 4, 1992.
Released 1993 by Delos compact disc DE 3144
Duration: total 15'34" (Foliatheme recognizable approx.
3'50" but right from the kick-off it starts with the Folia-chord-progression
in a highly repetitive figure)
Recording date: December 1-3 & 9, 1992 at the First
Congregational Church of Los Angeles
Released by the Miscelanea Guitar Quartet at YouTube January 29, 2013
Recording date: unknown date in Salzburg, Austria
Kuhlau, Friedrich (1786-1932)
Menuetto from act 5 in Elverhøj Opus 100 (1828)
Comedy with music in five acts, first performance 6 November 1828, Royal Opera house, Copenhagen.
This is the melody as used in the standard Swedish Sinclairvisan tune. An extension of the Folia theme.
The Danish National Radio Symphony Orchestra conducted by John Frandsen "Elverhøj"
Released 1997 by Marco Polo Dacapo compact disc order number
Kuula, Toivo (1883-1918)
Lampaanpolska (translation in English: 'The Sheep's Polska' and also 'Mutton
Dance', in German: 'Schafpolka') for piano (dated 1915 according to Otavan
iso musiikkitietosanakirja (Otava's [Otava is one of the big publishing houses
in Finland] Great Music Dictionary)): theme and 4 variations
'Lampaanpolska' is considered to be a traditional tune of Finnish/Swedish
origins. This arrangement for piano by Kuula is an effort to take the tune
into a more classical context.
Lagerspetz, Juhani (Steinway grand piano) 'HIFI Testi-CD' (there is
a Hi-Fi magazine in Finland called 'HIFI-lehti', thus the name means Hi-Fi
Released by Sanomaprint Erikoislehdet Tecnopress, Helsinki,
Finland, compact disc HIFICD-1 (This CD has a couple of more music
examples and many 'test sounds').
Recording date: June, 24 1992 at the Concert Hall of
the Sibelius Academy in Helsinki
Lauriala, Risto (piano) 'Suomalaisia Klassisia Suosikkisavalmia Pianolle'('Finnish Classical Favourites for Piano')
Title: Lampaanpolska (Lamb Polska)
Released 1997 by Naxos compact dic 8.551047
Recording date: June 9-10, at Kuhmo-talo, Kuhmo Finland
(Kuhmo is a little town in the North in the middle of nowhere, but
there's a famous festival there every summer: The Kuhmo Chamber Music
Panula, Jorma and Camerata Finlandia-ensemble 'Klassisia Suosikkisavelmia, Vol 2'
Arrangement by Jorma Panula for orchestra
Title: Lampaanpolska (Lamb Polska)
Released Naxos compact dic 8.570839
Recording date: unknown
Panula, Jorma and Camerata Finlandia-ensemble 'Early One Morning, Finnish Orchestral Favourites'
Pyrhönen, Tuomas (organ) 'CRISANTEMI - A Selection of Organ Transcriptions'
In the slipcase was written:
Lamb polska is based on a Portuguese melody called La folia (absurdity in Portuguese).
The same melody has also been used by Arcangelo Corelli and Serge Rachmaninoff in their works.
Kuula´s slightly organ-like variations for the piano were written in 1915, three years before his tragic death.
Title: Lampaan Polska
Released 2007 by Omfalos compact disc OMF002 2007
Recording date: 2006 at the St Michael’s church in Turku, Finland
Raekallio, Matti (piano: Bösendorfer 275) 'Toivo Kuula: the complete
piano & organ works'
Released 1989 by MILS (small Finnish label) compact disc
Recording date: January 28, 1989 at Solemnity Hall of
the Old Academy of Turku, Turku Finland
Siirala, Seppo (guitar) 'Souvenir, Finnish Romantic Miniatures for Guitar'
A collection of some of the best-loved romantic Finnish miniatures arranged for the guitar. Many of the pieces were
written for the piano but sound, in these arrangements, like guitar originals
Title: Toivo Kuula: Lampaanpolska (The Sheep’s Polska)
Published 1998 by Fennica Gehrman , sheet music with compact disc Chorus CHCD 8702/042-08839-5
Sheet music 30 cm
Somero, Jouni (piano) 'An Anthology of Finnish Piano Music
Volume 2: Morceaux de salon'
Title: Lampaanpolska (Lamb Polska)
Released 2005 by FC Records compact disc FCRCD-9713
Recording date: January 23-24, 2005
Tateno, Izumi (piano) 'Romantic Finnish Piano'
Paavo Helistö (the former Head of the Music Department of the Finnish
Broadcasting Corporation YLE) says in the liner notes for the Finlandia
Toivo Kuula (1883-1918) was an important National Romantic
composer who died tragically young. His piano work The Sheep's Polska
is in fact an arrangement, though as such measured an original one.
The tune appears in the notebook of a Finnish folk musician Samuel Ranta-Nikkola,
dated 1809; it is a Finnish version of the Folia melody which had attained
wide currency in Europe during the 17th and 18th centuries.
Released 1988(?) by Finlandia compact disc FACD 923 (and
re-released by Warner Brothers)
Recording date: February 1988 at Järvenpää
Tateno, Izumi (piano) 'Finlandia 5, A festival of Finnish Classics'
Recording date: May 28, 2013 in the conservatory ofTampere, Finland
Vol 7. of the collection Finlandia - Finnish Piano Pieces
Published by Edition Fazer, Helsinki in the year 1916
Score 3 p.
Publisher No. F. M. 02562-7.
Tateno, Izumi (piano) 'Finlandia Sound Souvenir'
Released by Fazer Records/Finlandia compact disc
Recording date: unknown
Kwame (groupname for Kwame
Boaten and Carl Ljungstrom)
In the two verses the first 16 bars of the Folia (ending in the dominant seventh
chord) is repeated. The refrain shows no resemblances with the folia melody
or chord progression. Note that the literal meaning of the word 'Folia' (madness)
is somewhat expressed in the text of this disturbed relationship
Text of the
first verse and refrain:
Shall I pretend to be grateful for your touch
Shall I be careful and not say too much
Shall I be good and allow you to wound me
Shall I believe that your head too could bless me
And the day it was young and the sand it was milde
And my happiness sung and the feeling was wilde
But you came with your darkness and closed me inside
See my spirit was clear till you left me be guile
Intrumentation: voice, classical guitar and violin
Released May 3, 1999 in Sweden by V2-Records Music Worldwide