The theme of La Folia is hard to detect imho, but famous guitarplayers like
Eduardo Fernández and Angelo Gilardino advised me not to forget to
list this piece in the Folia-collection because it is definitely based upon
Aguirre Miñarro, Rafael 'Guitar Recital'
Graham Wade wrote for the slipcase:
Maurice Ohana, born in 1913 of Gibraltarian parentage in Casablanca, North Africa, spent his childhood in Bayonne, France, and later studied in Paris. He also took lessons in Barcelona with the distinguished pianist Frank Marshall and gave his piano recital début in Paris in 1936. He was fascinated by flamenco, African tribal music and medieval music as well as being strongly influenced by the works of Debussy and Falla.
The tiento was originally the Spanish musicians' version of the toccata though it was of a more inward and reflective nature than the showy brilliance of the flamenco style. (Tientos is also a flamenco form of a serious character.). Ohana's Tiento is a work of Spanish allegiance set in a modern idiom. It falls into deinite sections opening with a statement of La Folía (the melody much loved by composers over the centuries, especially as a basic for variations). This leads into the habanera rhythm and melodic line reminiscent of Falla's Homenaje. A third section hints at a theme from Falla's Harpsichord Concerto. These ideas are skilfully woven together and the work ends on what might be called a dominant pedal point with an insistent drum-like beat.
Released 2008 by Naxos compact disc 8.572064
Recording date: April 17-20, 2008 at St. John Chrysostom Church, Newmarket, Ontario Canada
Guitar by Z. Gnatek, Sidney, Australia
Attademo, Luigi 'Folías; Sanz, Giuliani, Ponce, Gilardino, Sor, Ohana'
Released 2001 by the Magazine 'Guitart' compact disc GUIT 2026
Recording date: March 25 and 29 2001 at Quality Audio, Vercelli, Italy
Bream, Julian 'Twentieth-Century Guitar II, Mompou, Ohana, Moreno, Torroba, Gerhard, Villa-Lobos'
John Duarte wrote for the slipcase:
The 'Tiento', written in 1955, is an evocation of 16th-century Spanish music -
the name was interchangeable with 'Fantasia' or 'Ricercar', wryly recalling the 'folia' ground bass
at its beginning and later hinting at themes of Falla - from the 'Homenaje' and the Harpsichord
Concerto. Since guitarists were slow to adopt this work, Ohana ceased to write for the instrument until, in the 1960's,
he was attracted by the resources of the ten-string (later the eight-string) guitar.
Released 1993 as Julian Bream Edition Volume 13 RCA Victor Gold Seal by BMG-classics compact disc 09026 61596 2
Recording date: February-May 1983
Chojnackai, Elisabeth (harpsichord) 'Maurice Ohana, le clavecin'
Released by Timpani compact disc ref. 1C1069
Recording date: unknown
Devine, Graham Anthony, 'Ohana, Music for Ten-String Guitar'
Released 2009 by Naxos compact disc ordernumber 8.570948
October 25-28, 2007
St John Chrysostom Church, Newmarket, Canada
Ponce, Alberto (guitar) 'Alberto Ponce'
Robert J. Vidal wrote for the inlay of the lp:
The "Tiento" in this recording, draws its substance
from the "Cante Jondo" with which the composer is perfectly
familiar. Maurice Ohana renews the form of the "ricercari"
with an initial harmony that draws on the traditional theme of the "Folías
de España" and the way he uses the resources of the guitar
proves that he has full knowledge of the possibilities of the instrument.
This is most certainly an interesting piece that deserves to be included
in the repertory of contemporary guitarists.
Released without indication of year by Arion lp 30 A 064
Recording date: not mentioned in the cover or lp
Yepes, Narciso 'Spanische Gitarrenmusik aus fünf Jahrhunderten II'
Ellen Hickmann wrote for the cover:
Elements of Andalusian-Oriental tonality, melodie, and style of performance were employed by Maurice Ohana
in his piece entitled 'Tiento'.
Released without indication of year by Deutsche Grammophon Gesellschaft LP 139 366
Recording date: not mentioned in the documentation
Olavide, Begoña (large wing psaltery), Mulder, Juan Carlos (guitar), Carranza, Daniel (thiorba) 'Salterio'
This Folia-medley starts with a simple standard Folia and is followed at 2'12" (till
2'41") with the folia theme by Gaspar Sanz. After the theme a variation
of Marin Marais is played, followed at 3'14" with the first
variation of Sanz. Again a mighty variation of Marais will pass and at 4'28" another variation by Sanz
will be recognizable. Marais appears once more and the last Sanz-variation at 5'44" is the introduction for
a slow Folia-improvisation where the tension is built up to a finale in style (7'52") with
some dazzling variations à la Vivaldi and Corelli before finishing with the simple standard Folia theme.
Released January 1999 by MA Records compact disc MA 025A
Recording date: March 4-6, 1994 in the Monasterio de la Santa Espina, Valladolid, Spain
Chaconne, variations on a Portuguese song La Folia for accordion solo (1965)
This definitely is a showpiece to feature all the characteristics of the accordion.
I don't know that much about accordion but one cannot overlook the versatility of the instrument.
The outstanding legato voicing of the basses in the slow parts, the different registers to give a particular tone color,
the fast staccato in the treble notes, the forceful though smooth rhythmical changes and working towards the end,
it even rivals a church organ with all the registers pulled out. No wonder that this piece is used as a test piece of
musicianship in competitions for the accordion.
Yehuda Oppenheimer wrote about his composition in January 2006:
One of my main composition is based on the original Portugese Folk song La Folia and was chosen as the test piece in the
1966 World-cup contest for accordionists.The pricewinner was then,a boy of sixteen called Richard Galliano.Today one of the famoust accordionists
in the world.
I studied the violin both in the Netherlands and in Jerusalem as a youngster so I was quite familiar with the
Folia-variations of Corelli which remained one of my favorite pieces. But from the age of six, I already felt a passion
for the accordion so it was second nature to compose my own variations for this instrument.