Which versions of the later Folia have been
written down, transcribed or recorded?

(in alphabetical order of composer, letter S)

Sainz de la Maza, Regino (1896-1981)

See Sanz, Gaspar (composers letter S) as performed by David Martinez

Salieri, Antonio (1750-1825)

XXVI Variazoni sull'aria La Follia di Spagna (1815)
In the program notes of a concert of the Cleveland Baroque Orchestra (April 2005), who played a selection of the variations was written:

We don't know why the variations were written, but Salieri, who enjoyed a reputation as being among the more innovative composers, had evidently kept pace with 19th-century trends in orchestral writing: the complete work makes striking use of brass and woodwind colors, and even includes solos for the harp as well as the violin. [In these performances we perform a selection of variations highlighting the virtuosity and colors of our strings and woodwinds.] Salieri rarely strays from the folia theme, the variety is to be found in the brilliant way he exploits different instruments or combinations in turn, a literal anthology of symphonic possibilities. No wonder it has been compared to Ravel's Bolero. But intriguing as it is, Salieri's 'La folia' has no more been able to claim a place in posterity than its composer.

Opening of Variazoni sull'aria La Follia di Spagna

1. London Mozart Players/Bamert, Matthias 'Antonio Salieri Symphonies, Overtures & Variations'
   Steven J. Haller wrote for the 'American record guide' in the issue May 2001 (and he obviously fails to hear any beauty in the Folia theme):

   Main course here, as in so many recent Salieri repasts, is the La Folia Variations. The interminable and not very imaginative shifts from winds to strings (or fast to slow) and back again that here suffice for "variations" make this one of Salieri's less impressive efforts, particularly set next to the overtures. Pesko takes about 20 minutes for the variations, while Frontalini takes 21 and Spada on ASV takes 23 (Sept/Oct 1996). Bamert without ever sounding rushed or superficial gets through it in 17:47, and (even better) actually manages to hold your interest while doing so. The others have their virtues too, but I think you'll be quite happy with Bamert, assuming you ever want to listen to the piece to begin with.

   • Title: Twenty-six Variations on 'La folia di Spagna'
   • Released 2001 by Chandos compact disc CH CHAN 9877
   • Duration: 17'47"
   • Recording date: 2001
   
   
2. London Symphony Orchestra/Peskó, Zoltán with Richard Studt (violin) and Renata Schefel-Stein (harp) 'Salieri, La Follia'
   • Title: 26 Variazioni sull'aria "La follia di Spagna"
   • Released by Warner Fonit compact disc 50467121720
   • Duration: unknown
   
   
3. London Symphony Orchestra/Peskó, Zoltán 'Symfonia Veneziana da la scuola de gelosi' revisioni di Pietro Spada
   • Revisioni di Pietro Spada
   • Title: XXVI Variazioni sull'aria "La follia di Spagna" (1815)
   • Released 1978 LP Italia ITL 70052
   • Duration: 19'10"
   
   
4. London Symphony Orchestra/Peskó, Zoltán 'Symfonia Veneziana, Variazioni Sull'Aria 'La Follia di Spagna'
   Pietro Spada (Engish version by Carole McGrath Manzoni) wrote as an introduction:

   The 'Variations on the Follia of Spain' are in all probability Salieri's last symphonic work and can be chronologically placed in the middle of the Beethoven period (1815). They are almost surely the only nineteenth-century orchestral variations until Brahms's celebrated 'Variations on a theme by Haydn'. The folk song, incorrectly called 'Follies d'Espagne', which provides the theme is of seventeenth century Portuguese origin, and has been used and made famous by many composers including Corelli, d'Anglebert, Scarlatti, Pasquini, Bach (in his Cantatas), Cherubini (in the 'Osteria Portoghese'), Liszt (in his 'Spanish Rhapsody'), and Rachmaninov (in his 'Variations on a Theme by Corelli' op. 45).
   It is hard for us to imagine why an elderly Salieri decided to compose a piece of this type - the work itself is conceived a bit in the spirit of a study in orchestration (as the later, famous Ravel's 'Bolero'). The instrumental draft faithfully follows the theme, always based on compositional and orchestral schemes which give the piece somewhat the air of an anthology of symphonic permutations relieved with solistic interludes. We can also discover canons and classic imitations as, for example, the dance movements in the pleasing variation in the 'Siciliana' style. This may not be a work of deep expression, but it shapes itself and finds the exact definition of its limits as an intellectual 'divertissement'.
   Above all, and this is what makes it especially noteworthy, it manages to completely transcend that eighteenth-century climate which had dominated a great part of Salieri's previous works

   • Revisioni di Pietro Spada
   • Released 1982 by CBS Masterworks (licensed exclusively to CBS by Fonit-Cetra, Milan) LP 74088 CB321
   • Duration: 19'10"
5. Moldavian National Symphony Orchestra/Frontalini, Silvano 'Ouvertures'
   • Variazioni sulla Follia di Spagna
   • Released 1998 by Tring S.r.l. compact disc CAD 006 and 2002 Blue Moon Productions - Azzurra
   • Duration: 21'25"
   • Recording date: 1997
   
   
6. Philharmonia Orchestra/Spada, Pietro 'XXVI Variazoni sull'aria "La Follia"
   Pietro Spada wrote about Salieri's variations in the slipcase:

   This was the last work by the senescent composer. A sort of brooding soliloquy but, at the same time, something of a massive study in timbre and instrumentation, much as Ravel's Bolero was to be in the 20th century. It certainly set Salieri's musical fancy ranging, from symphonic declamation to virtuoso canon, from the melancholy pace of the Siciliana to the dark, muffled timbre of a trio of solo trombones, somewhat reminiscent of Mozart's Connitato di pietra. In conclusion we have what practically amounts to an anthology of situations and instrumental colouring

   • Released 1996 by ASV digital compact disc CD DCA 955
   • Duration: 22'17" and every variation indexed (22)
   
   
7. Sinfonia Varsovia conducted by Peter Csaba 'Die Variationen über "La follia di Spagna"
   Only half of all the variations were played during the performance.
   • Recorded live at the Festival "La Folle Journée" January 29, 2005 in Nantes
   • Broadcasted by Euroclassic Notturno October 2005 (Netherlands, Radio 4 during the night)
   • Duration: 12'33"
   
   
8. Spada, Pietro editor of the music
   • Title: XXVI Variazoni sull'aria La Follia di Spagna a cura di Pietro Spada
   • Published 1978 by Boccaccini & Spada Editori s.r.l., Roma
   
   
9. WDR Sinfonieorchester Köln/Goebel, Reinhard and Elise Batnes violin
   Eckhard Weber wrote for the program of the concert:

   Wie ein Straßenkind Karriere machen kann, zeigt der Werdegang des Volkstanzes Folia. Eine spanische Quelle aus dem frühen 12. Jahrhundert schildert ihn folgendermaßen: "Es handelt sich um einen bestimmten lärmenden portugiesischen Tanz, an dem viele Personen mit sonajas (`Schellentrommeln`) und anderen Instrumenten teilnehmen, außerdem einige maskierte Rüpel, die auf ihren Schultern als Mädchen verkleidete Jungen tragen. Sie bilden mit ausgestreckten Armen manchmal einen Kreis oder tanzen und spielen die Schellentrommeln; der Lärm ist so groß und die Musik so schnell, daß alle von Sinnen zu sein scheinen." Auch über die Bedeutung des Namesns gibt die Quelle Auskunft: "... der Tanz erhielt den Namen "folia" nach dem toskanischen Wort "folle", das eitel, verrückt, von Sinnen bedeutet bzw. jemanden bezeichnet, der einen leeren Kopf hat".
   Dieser ausgelassene Tanz war so populär, dass er bereits um 1500 an den portugiesischen Königshof kam. Auch eine eigene Mode gab es für den Tanz, die bald als "vestiti alla Pourtughesi" ("portugiesisch gekleidet") bezeichnet wurde. Gleichzeitig fand unter dem Namen Folia eine harmonisch-melodische Formel, ein ostinates Bassmodell, wie dies etwas auch die Passacaglia oder letztendlich auch das Blues-Schema darstellen, Eingang in die Kunstmusik. Vor allem vom 16. bis 18. Jahrhundert erfreute sich die Folia in dieser Form zunächst in Spanien, dann europaweit großer Beliebtheit und bot die Grundlage für Lieder, Tanzsätze und Instrumentalvariationen in verschiedensten Besetzungen. Vor allem für die Gitarre und ihre Voläufer, Laute und spanische "vihuela", wurde die Folia gerne herangezogen. Alle wichtigen Gitarristen hatten im 17. Jahrhundert Folia-Stücke im Repertoire. Vermutlich mit dem gefeierten italiensichen Gitarristen Francesco Corbetta gelangte die Folia Mitte des 17. Jahrunderts nach Frankreich an den Hof des Sonnenkönigs Ludwig XIV. Hier kam die Bezeichnung "Les folies d`Espagne" auf. Spanien statt Porutgal wurde fortan als Ursprungsland gesehen. Wie in vielen Künsten strahlte der Geschmack des Sonnenkönigs auch im Fall der Folia auf ganz Europa aus: Corelli, Vivaldi, Bach, sie alle schrieben in der Folge Folia-Sätze. Die eingängige Formel bot ein zuverlässiges Gerüst für virtuose Improvisationen und Variationen. Wie bei vielen Barocktänzen, die der Folklore entstammen, verlangsamte sich durch die höhere Kunstfertigkeit in der Melodieführung das Tempo.
   1815, gegen Ende seiner Laufbahn, als Antiono Salieri längt europaweite Berühmtheit erlangt hatte als erfolgreicher Opernkomponist, Schöpfer von Sakralmusik, Lehrer sowie als Wiener Hofkapellmeister, setzte auch er sich mit der Folia auseinander. Er nahms das traditionsreiche Modell als Grundlage für einen Variationszyklus, mit dem er die Möglichkeiten des klassichen Orchesters einfallsreich ausreizte. Seine 26 Variationen über "La Folia di Spagna" gerieten zu einer originellen musikalischen Charakterstudie. Das Werk beginnt sehr getragen. Diese Stimmung prägt auch noch die erste Variation in den tiefen Streichern, aber schon die zweite Variation nimmt ernormen Schwung auf. Das Ausgelassene wie auch das Virtuose kommt im weiteren Verlauf zur Geltung. Kusntvolle Solopassagen wechseln sich ab mit Bläserchorälen, Gewittermusik und raffinierten Echoeffekten. Salieri zeigt den gesamten Kosmos der Folia, zeichnet sie pathetisch, ausgelassen, zurückhaltend, graziös, wild, schwungvoll, kapriziös und dramatisch. Das Werk zeigt: Das alles ist die Folia.

   • 26 Variationen auf "La folia di Spagna"
   • Broadcasted by WDR-Radio (Germany) January 20, 2006 and Klara Radio (Belgium) February 18, 2007
   • Duration: 17'50"
   • Recording date: Recorded by Westdeutsche Rundfunk during a live performance January 20, 2006 in the Funkhaus, Köln, Germany
   
   
10. WiZARDS! (double reed consort) 'Classical Wizards'
    Mark Weiger wrote about Salieri's variations in the slipcase:

    Salieri's subsequent few compositions were mostly of a more entertaining genre (divertimenti, etc.) In fact, his Variazioni sulla Follia di Spagna of 1815 is in all probability his last symphonic work. [...]
    While Salieri did write works featuring double reed instruments (Drei Trios for 2 oboes and bassooon; Picciola Serenata for 2 oboes, 2 horns, and bassoon; Cassazione for 2 oboes, 2 English horns, 2 bassoons, and 2 horns da caccia), Variazioni sulla Follia di Spagna is a set of 24 variations originally scored for orchestra. It has been deftly transcribed for a double reed sextet of 2 oboes, 2 English horns, and 2 bassoons by Jeffrey Linville as a special project for the University of Iowa's Double reed Ensemble. It has been prepared for publication through Bocal Music. The theme and variations that were used are as follows: Tema: Andante, Var. 1 Andante, Var. 2 Piu Mosso (originally #3), Var. 3 Allegro (originally #5), Var. 4 Allegretto (originally #7), Var 5 Poco Adagio (originally #8), Var. 6 Allegretto (originally #11), Var. 7 Poco piu Allegro (originally #12), Var. 8 Allegro (originally #16), Var. 9 Larghetto (originally #18), Var. 10 Allegretto (originally #20), Var. 11 Allegretto (originally #21), Var. 12 Andante Pastorale (originally #23), Var. 14 Presto (originally #24), var. 15 Allegro moderato-Adagio-Allegro.
    The term Follia, which appears as early as the 15th century in Portuguese and Spanish poetic texts, dances, and song variations (usually accompanied by guitar), is of two styles: the "early follia" and the "late follia". Salieri employs the late follia style in this set of variations. The earliest example of the "late follia" is an Air des Hautbois from 1672 by Lully. In the late follia style a specific harmonic structure is maintained throughout a set of variations, almost always in the key of D minor with the second beat of the odd measures being dotted and slightly accented. This is the style which became a very popular form, taken up by the likes of Marin Marais (1701), A. Scarlatti, Liszt, Cherubini, to Rachmaninoff in his Variations on a Theme by Corelli, Op. 45 (1932).

    • Title: Variazioni sulla Follia di Spagna
    • Arranged by Jeffrey Linville for 2 oboes, 2 english horns, and 2 bassoons
    • Released 2000 by Crystal Records, compact disc CD 874
    • Duration: 10'38"
    • Recording date: January 8-10, 1999 at St. John's Lutheran Church in Bloomington, Il, USA.

Sanchez, Blas (? - )

Dix variations sur "Folias de Espana" en forme de canon pour 2, 3 ou 6 guitares (1969)

1. Sanchez, Blas
   • Published 1969 by Editions Choudens, 38 Rue J. Mermoz, Paris 8, France
   • Series 'L'heure de la Guitare Classique'
   • Order number AC 20.318

Santiago de Murcia (Manuscript)

See Murcia, Santiago de (composers letter M)

Sanz, Gaspar (1640-1710)

Folías (1675), theme and 3 variations
First published in 'Instrucción de música sobre la guitarra española' in three books 1674/5. Again published in 1697. The first edition in 1674 only contained the first book of the three. The five subsequent editions are all dated in 1675 though it is not unlikely that some of them have been published somewhat later, and the other two, which contain all three books unabridged, are from 1697. The Folías appear in book 2. This second book contains 12 pages of music for plucking, with some of the most characteristic dances of the period in Spain.
These books of instructions were written for Don Juan (natural son of Philip IV), who appointed him master of guitar.
In her book Music in Eighteenth Century Spain Mary Neal Hamilton suggests that it was Sanz who gave the melody and structure to the 'later' Folia quoting page 24:

The type (of Folias de Espana) is familiar to musicians through the 'Folias de Espana', used by Corelli as foundation for a set of variations incorporated in a violin sonata, published about 1700. Before Corelli, the 'folias' was known and used in Italy by a certain Cristiano Farinelli, said to have been an uncle of the famous sopranist singer. It was a very populair melody in Italy and was brought from Spain perhaps by Gaspar Sanz himself, the famous Spanish guitarist, who lived for a time in Naples and in Rome. The tune is found in a book of 'Instrucción de música sobre la guitarra española' (Instruction in the music of the Spanish guitar), written and examples collected by Gaspar Sanz and published ten years before the birth of Bach..

And she continues on page 149:

For Don Juan he wrote a book of instructions, printed in Saragossa in 1674, which contained a collection of national dances, including the original Folias de España, a tune used in the eighteenth century and to this day by innumerable European composers, beginning with the violinist Corelli.

Donald Sauter published the tablature for guitar of the second book including Folias at http://www.geocities.com/donaldsauter/gstab.htm#sanz

Duration: 2'28", 05 kB. The theme as indicated in the sheet music and the 3 remaining variations including repeats Sequenced by Manuel Ferre and used with permission The midi archive of Manuel Ferre (lots of guitar-tunes) is located at http://www1.tip.nl/~t249768/

Duration: 1'28", 03 kB. The theme as indicated in the sheet music and the 3 remaining variations Sequenced by Manuel Ferre and used with permission

Duration: 1'23", 03 kB. The theme as indicated in the sheet music and the 3 remaining variations

Theme by Sanz	Arranged for guitar by Karl-Heinz Böttner, Pycrus Edition

1. Armoniosi Concerti 'Zarambeques, Música Española de los Siglos XVII y XVIII en torno a la Guitarra'
   In the slipcase is stated:

   The Folia is a danza of Portuguese origin with an extensive history in Spain - there being references to it as far back as the fifteenth century. During the course of the seventeenth century the harmonic pattern known as the folías de España became widely used (the three that we include here follow that pattern). Gaspar Sanz's lovely Folías are known to all enthusiasts and on this occasion they can be heard being strummed on a guitarilla strung with four and five high-pitched courses - the tuning preferred by the author in order to "puntear con primor, y dulçura" (to pluck with delicacy and sweetness).

   • Title: Folías
   • Instrumentation: Juan Carlos Rivera (guitarrilla in a, stringed without basses)
   • Released 2002 by Harmonia Mundi compact disc HMI 987030
   • Duration: 3'42"
   • Recording date: May 29 and 30, June 1 and 2, 2002 in Sala de Cámara del Conservatorio Superior de Música de Sevilla, Spain
   • More about the oeuvre of Juan Carlos Rivera at http://www.juancarlosrivera.com
2. Attademo, Luigi 'Folías; Sanz, Giuliani, Ponce, Gilardino, Sor, Ohana'
   
   • Released 2001 by the Magazine 'Guitart' compact disc GUIT 2026
   • Duration: 2'15"
   • You can listen to a fragment in MP3 at the website of Luigi Attademo http://www.luigiattademo.it/
   • Recording date: March 25 and 29 2001 at Quality Audio, Vercelli, Italy
   • Guitar by Carlo Raspagni, 1996
   • See also the page Recommended Folia-recordings
   
   
3. 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
   
   
4. Azpiazu, José de edited the music for guitar
   • Title: 'Folias - Pavanes'
   • Published by Ricordi 1969,
   • Score 3 p.
   • Publisher No. SY2119
   • ISMN M-2042-2119-6
5. Barreiro, Elias 'in Guitar Classics'
   • Title: 'Folias'
   • Released mid 1960's by SMC Records LP 1112 MONO
   • Duration: 1'17"
   • Recording date: unknown
   • Arrangement: Pujol
   
   
6. Benichou, Andre 'Guitare Bach'
   • Title: 'Folias'
   • Released 1969 by Vogue LP VRLS3038 (made in England)
   • Duration: unknown
   • Recording date: unknown
   
   
7. Böttner, Karl-Heinz edited the music for guitar
   • Title: Folias II in: 'Gaspar Sanz, Gallardas con otros dances espanoles (26 Spanische Tänze und Weisen)'
   • Published by Pycrus Edition GmbH 1977, Köln
   • Score 3 p. (including 1 p. chord progression) 21 x 29 cm
   • Publisher No. not indicated
   • See the sheet music above where the opening is shown
8. Bonell, Carlos edited the music for guitar
   • Title: Las Folias de España in: 'Gaspar Sanz, Spanish danses and airs' (20 Spanish Airs and Dances by Gaspar Sanz)
   • Published by unknown
   • Score 21 x 29 cm
   • Publisher No. not indicated
   
   
9. Brembeck, Christian (clavichord) 'La Danza de los Poetas, harpsichord dances'
   • Title: Folia
   • Released 2002 by Arte Nova in Co-Production with Bayerischer Rundfunk compact disc 74321 85298 2
   • Duration: 2'09"
   • Recording date: May 21-23, 2001, Studio 2 Bayerischer Rundfunk, Munich, Germany
   • Clavichord after Johann Christoph Fleischer (Hamburg 1729)
   
   
10. Brown, Elizabeth C.D. (Baroque guitar) 'La Folía de España'
    
    Elizabeth Brown wrote for the slipcase:

    Spanish guitarist and composer Gaspar Sanz was exposed to this new style when he went to Italy to study organ and guitar. He then returned home and published the first collection of mixed rasgueado (strummend) and punteado (plucked) guitar solos in Spain in 1674. Sanz's Folia is the quintessential baroque form: a set of melodic and rhythmic variations on a chord progression, that is both dramatic and stately in feel. This particular piece has a very unusual feature: one of the variations has the phrase "esta glosada toda se corre" (this variation always is running) engraved at the beginning. This seems to be some sort of performance direction, perhaps indicating that this passage should have a faster tempo, which alludes to the wilder roots of the folia in Spain.

    • Title: Folia
    • Released 2005 by Rosewood Recordings compact disc ROSE 1007-CD
    • Duration: 2'23"
    • Recording date: Fall 2004, at Queen Anne Christian Church, Seattle, Washington, USA
    
    
11. Chiaro, Giovanni De edited the music for guitar (sheet music and tablature)
    • Title: Folias in: 'Treasures of the spanish guitar'
    • Published by Mel Bay 1995
    • Score 4 p. (sheet music and tablature) 29 x 21 cm
    • Publisher No. ISBN 0-7866-0318-6
    
    
12. Constantinople 'Terra Nostra'
    This is an arrangement for viola da gambas, guitars and violins of the folías by Sanz (originally for guitar, 1674) and Ruiz de Ribayaz (originally for harp, 1677)
    • Title: Folías
    • Released 2007 by Atma Classique ACD22567
    • Duration: 2'48"
    • Recording date: November 21-23, 2006 in Eglise Saint-François de Sales, Laval, Quebec, Canada
    
    
13. Diaz, Alirio (Rizzio-guitar) 'Four centuries of music for the classical Spanish guitar'
    • Released 1965 by Vanguard LP VSL 11010 and as a double lp-set 'The classic Spanish guitar' Vanguard Everyman Classics SRV 357/8 SD
      Re-released Sep 3, 1996 by Vanguard Classics as compact disc (AAD) # 49, GMR 2092
    • Duration: 2'30"
    
    
14. Diaz, Alirio (Rizzio-guitar) 'Alirio Diaz, Four centuries of music for the classical Spanish guitar'
    • Title: Folias
    • Released by Vanguard LP VSD-71135
    • Duration: 2'30"
    
    
15. Diaz, Alirio (Rizzio-guitar) 'Guitarra de Venezuela'
    • Title: Pavana y Folia
    • Released by High Fidelity Recordings Inc. LP R812 and as a hifitape stereo tape r812 4-track 7,5 ips
    • Duration of Folia: 2'56"
    
    
16. Diaz, Alirio (Rizzio-guitar) '4 siècles de guitare classique'
    • Title: Pavana y Folia
    • Released by Musidisc Gravure Universelle LP RC784
      
    • Duration of Folia: 2'56"
    
    
17. Diaz, Alirio (guitar) 'The virtuoso guitar'
    In the documentation is written:
    

    The 17th century composer Gaspar Sanz was guitar instructor to Don Juan of Austria, and published a book, Instruccion de Musica sabre la Guitarra Espanola (1674). His Folias - a dance theme, three variations, and da capo return - is kin to the famous tune, sometimes called Folies d'Espagne, which was used for variations by a host of composers from Frescobaldi, Corelli, Vivaldi, Pasquilli and Marais to Liszt and Rachmaninoff.

    • Title: Folias
    • Released 1972 by Bach Guild LP HM 32 SD (originally VSD 71135/71152)
    • Series: Historical anthology of music
    
    
18. Diaz, Alirio (Rizzio-guitar) '5 Centuries of Spanish Guitar Music'
    • Title: Folia
    • Released by GMR compact disc 2091, cd 399
    • Duration of Folia: 2'56"
    
    
19. Diaz, Alirio (guitar) 'The art of the Spanish guitar'
    • Title: Folia
    • Released 1993 by Delta Music compact disc 14 129
    • Duration: 3'08"
    • Recording date unknown
    
    
20. Diaz, Alirio (guitar) 'The Classical Spanish Guitar'
    • Title: Folias (Transcription Emilio Pujol)
    • Released 2006 by Vanguard Classics 2 compact disc ATMCD1802 - 0699675180225
    • Duration: 3'08"
    • Recording date 1977
    
    
21. Diaz, Alirio (guitar) 'Alirio Diaz, five centuries of Spanish Guitar'
    • Title: Folia
    • Released 1996 by BCI Music compact disc BCCD 297, licensed from Bescol Prentice
    • Duration: 3'08"
    • Recording date not mentioned in the documentation
    
    
22. Ensemble La Romanesca 'Música en tiempos de Velázquez'
    Luis Robledo wrote for the slipcase:

    The Folías are a series of variations upon a basso ostinato well-known through its wide diffusion in other European countries and very well established by this time. The sterotyping of this rhythmic-harmonic model permits the happy combination of the discoveries of Sanz with the Folías of Martín y Coll.

    • Title: Folías (in combination with the Folías by Martín Y Coll)
    • Released by Glossa 1999 compact disc GCD 120 201
    • Duration: 4'04"
    • Recording date: November 1991 and April 1992 in San Lorenzo de El Escorial, Spain
23. Ensemble Musica Antiqua Provence (Jean-Michel Robert: Baroque guitar, Valérie Loomer: chitariglia and cittern, Philippe Foulon: high viol, Sergio Barcellona: tenor viol, Etienne Mangot: bass viol, Dominique Gauthier: sopranino soprano and alto recorders, Fernand Charpentier: soprano and alto recorders, David Charpentier: soprano and alto recorders, David Mayoral: percussion and tenor recorder, Brigitte Tramier: harpsichord) conducted by Christian Mendoze 'Gaspar Sanz, Danzes Espagnoles du XVIIème siècle'
    
    • Title: Folías
    • Arrangement for ensemble by Dominique Gauthier
    • Released 2004 by Integral Classic compact disc INT 221135
    • Duration: 3'18"
    • Recording date: without indication of year recorded in Château Mateus, Portugal
    
    .
24. l'ensemble de trompettes baroques de Berlin (Hute Hartwich, Robert Vanryne, Stephan Maier, Ulf Behrens, trompets, Tan Kutay, percussions, Simon Linné, Stanislaw Gojny, theorbo and baroque guitar, Mark Nordstrand organ).
    • Title: Folías
    • A live concert entitled 'Trompettes baroques' broadcasted by Espace 2 (Swiss) June 7, 2007
    • Duration: 2'05"
    • Recording date: July 4, 2006 in Varsovie
    
    
25. Ferries, Gordon J.S. (baroque guitar) 'La Preciosa, The Guitar Music of Gaspar Sanz (c.1640-c.1710)'
    Gordon J.S. Ferries wrote for the slipcase in 2005:
    

    Two versions of the Folia, a fifteenth-century dance, exist in the baroque era; an early and a later variant with a more complex cadential formula which became standardised in Europe. Sanz's version employs features from both. The earliest extant use of this ground appears in Mudarra's "fantasia que contrahaze la harpa en la manera de Ludovico" 15 for vihuela (1546). This generally rambunctious dance again features tambourines and a variety of other instruments and appears to have been very popular on the stage. In 1611 Sebastián de Covarrubias describes porters, in disguise, carrying young men dressed as women on their shoulders. He goes onto explain that the term folia means mad or empty headed. The steps of the dance were surely meant to illustrate this point. With its emphasis on the second beat, the folia actually has more in common with the later baroque sarabande than its namesake the Spanish zarabanda.
    

    • Title: Folias
    • Released 2004 by Delphian Records compact disc DCD34036
    • Duration: unknown
    • Recording date: unknown
    
    
26. Fresno, Jorge (Rizzio-guitar) 'Gaspar Sanz, Instrucción de música sobre la guitarra española'
    • Title: Folías (fol. 40)
    • Released by Pabellon de Aragon, movieplay Portuguesa Discografica, S.A. compact disc (2-set), 3-11022/23
    • Duration of Folia: 2'14"
    • Recording date: March 1992 in El Monasterio de la Resurrección de Zaragoza, Spain
    
    
27. Ganjavi, Reza (guitar) & Friends: Annemarie Dreyer (violin and viola), Marianne Hübscher (flute), Matthias Schranz (viola) 'Dancing hands, 250 years of European favorites'
    The first 4 variations are played on the solo guitar. The 4th variation is repeated with guitar and violin, ending the piece with cello, flute, viola and guitar in the first variation again.
    • Title: Folías
    • Released 2003 by Reza Ganjavi Music compact disc without ordernumber
    • Duration of Folia: 3'22"
    • Recording date: unknown (not told), Switzerland (without location), 2003
    • More about the performer at:http://www.rezamusic.com
    
    
28. Henderson, Eric (guitar) 'Castillian Knights'
    • Title: Folias, Suite Espanola
    • Released by not mentioned label or ordernumber
    • Duration: 2'45"
    • Recording date: Without indication of year at Westside Recording (without further details of the location)
    
    
29. I Villani (ensemble with recorder, guitar, bass and percussion) 'L'altra musica antica'
    This is a nice arrangement for recorder, guitar, bass and percussion of the Folia entirely based upon the piece written by Sanz for guitar solo.
    

    Duration: 2'43", 1.6 MB. (96KB/s, 44100 Hz) A fragment of the arrangement © 1993 I Villani, used with permission

    Michael Angierski (guitar) wrote in an e-mail the 7th of January 2006:
    

    The arrangement, which follows quite close to the Sanz original from the "Libro Segundo de Cifras sobre la Guitarra Espanola" (1673), was composed in 1992 and first performed by "I Villani" in the same year.

    • Title: 'La Folia'
    • Released 1993 by Hohner Records compact disc HR.08.099.172 / LC 0779
    • Duration: 3'24"
    • Recording date: 1993 in Sandhausen, Germany
    • More about Michael Angierski at his page http://homepage.michael-angierski.info/index.htm and information about the ensemble I Villani at http://www.offsetprint.de/ivillani/index.jsp
    
    
30. Indiana University Renaissance Band/John Raymond Howell
    • Title: Folias
    • Recorded by Indiana University, School of Music in Bloomington
    • Sound tape reel 1974-1975 no. 702
    • Recording date: April 11, 1975
    
    
31. Kithara: Wilson, Christopher (5 course baroque guitar in E, built by Robert Eyland 1974) and Miller, David (14 course theorbo in A built by Stephen Barber 1982), Musica Mediterranea, Music of the Italian & Spanish Renaissance
    The seven variations of the Folia are attributed to an anonymous composer. However two variations are obviously arrangements of two variations by Gaspar Sanz (variation 4 and 5). The other variations might be improvisations regarding the quote of Dinko Fabris comment
    Dinko Fabris wrote for the slipcase:

    We are presented with the joyful use of variation, and free improvisation by the musicians on the most popular themes of the day. This is a freedom which, for several centuries, European musicians seemed to forgot.

    • Title: Folias
    • Released by Chandos August 1994 compact disc Chan 0562
    • Duration: 3'38"
    • Recording date: November 17-19, 1993 in Orford Church, Suffolk England
32. Lacrimae Ensemble (Regina Albanez: baroque guitar) 'Flow my tears'
    • Title: Folias (with improvised prelude)
    • Released 2005 by Skarster Music Investment compact disc (SACD) ACD HL 005-2
    • Duration: 1'42"
    • Recording date: August 2-4, 2005 at the Nederlands Hervormde Kerk Kolham, The Netherlands
33. Lemaigre, Philippe (guitar)
    • Title: Folias
    • Released by ALP DB 234
34. Lindberg, Jakob (5 course baroque guitar) 'Spanish guitar music'
    • Folias
    • Released 2000 by BIS compact disc BIS-CD-899
    • Duration: 1'46" (theme, 3 variations, theme)
    • Recording date: February 1999 at Länna Church, Sweden
    
    
35. Lislevand, Rolf (5 course guitar) "Encuentro Sanz & Santa Cruz"
    
    • Released 1997 by Avidis Astree compact disc E 8575
    • Duration: 1'27" (theme, 3 variations, theme)
    • Recording date: November 1995 in l'Abbatiale de Beinwil, Soleure Zwitserland
    
    
36. Lislevand, Rolf (baroque guitar)
    • Broadcasted by KRO Radio (The Netherlands), September 10, 1998 of a live concert
    • Duration: 1'20"
    • Recording date: August 30, 1998 in the Ottone at the 'Festival of Ancient Music', Utrecht
    
    
37. Lislevand, Rolf (guitar) 'Altre Follie'
    This Folias tune of the compact disc 'Altre Follie' is a combination of different lines from the Folia composition by Corbetta and by Sanz. The opening is for the Corbetta strummed lines followed by the theme of Sanz. The music swiches several times between the two pieces. Overall, one can globally identify the Corbetta elements by the strummming style and the Sanz lines by the plucked style.
    Rui Vieira Nery wrote for the slipcase:
    

    Corbetta seems to be one of the first authors to superimpose to the traditional bass of the Folia the characteristic treble melody in triple meter, with a dotted second beat in each measure, that was to become associated with the genre from the late seventeenth century on. In fact, Gaspar Sanz' 1674 version was basically an adaptation of Corbetta's setting., which the Spanish master must have acquired shortly after its publication in Paris.

    • Title: Folias (1674)
    • Released 2005 by Alia Vox compact disc AV 9844
    • Duration: 3'14"
    • Recording date: February 28-March 3 and June 6-9, 2005 in the Collégiale of the Château de Cardona, Catalogne
    • See also the page Recommended Folia-recordings
    
    
38. Lopátegui, José Luis (guitar) 'Spanish Guitar Music'
    • Title: Folias of Suite Espagnol
    • Released unknown year by Turnabout LP TV-S 34390
    • Duration of Folia: 3'15"
    • Recording date: not mentioned in the documentation
    
    
39. Lundestad, Sven (guitar) 'Rendez-vous'
    • Title: Folias
    • Released 1995 by Okapi Records compact disc ORCD 001
    • Duration of Folia: 2'36"
    • Recording date: November 17, 1994 and January 26 and February 10, 1995
    
    
40. Mailburg, Anette (flute), Potasinski, Leszek (guitar), Gula, Wlodzimierz (double bass) 'La Fiesta'
    • Title: Folías
    • Released 2000 by Zuk Records compact disc 319
    • Duration of Folia: 2'49"
    • Recording date: unknown
    
    
41. Maroto, Sebastian (guitar) 'La Guitare Espagnole'
    • Title: Folia
    • Released by Harmonia Mundi vinyl HMO 25.302
    • Duration: 2'30"
    • Recording date: not mentioned in the documentation
    
    
42. Mason, Barry (baroque guitar) 'Masters of the baroque guitar
    • Title: Folia
    • Released 1990 by Amon Ra compact disc CDSAR 45
    • Duration: 2'20"
    • Recording date: December 1988 at West Dean, Sussex
    • Guitar by Klaus Jacobsen, London 1977 after Vovam, France mid 17th century
    
    
43. Martinez, David (guitar) 'Guitar Recital'
    This is an early arrangement of the Folias by Sanz which differs not that much from the more common arrangements for modern classical guitar. However for this recording not Sanz but Regino Sainz de la Maza is mentioned as the composer.
    In the slipcase is written:
    

    Regino Sainz de la Maza (1896-1981)4 Danzas Cervantinas (after Gaspar Sanz) Folias, Españoleta, Marizapolos, Canarios. A leading guitarist, composer and teacher of his time, Regino Sainz de la Maza has also earned a mark in history by being the first performer of the most played concerto ever, Rodrigo's 'Concierto de Aranjuez'.
    Many of Sainz de la Maza's compositions are flamenco-based, but another passion was the Baroque. and the four 'Danzas Cervantinas' constitute in effect a homage to the great master of the Baroque guitar, Gaspar Sanz (1640-1710). The dances transfer wellfrom the Baroque guitar to the modern guitar, once the six single strings of the modern guitar can be reconciled with the five double strings of the Baroque instrument.
    Saionz de la Maza's rescue work was done before the Early Music movement got into its stride, and the musical values of his time were unimpeded by questions of authenticity.

    • Title: Folias as part of Danzas Cervantinas
    • Released 2005 by Naxos Laureate Series - Guitar compact disc 8.557808
    • Duration: 1'55"
    • Recording date: April 22-24, 2005 at St.John Chrysostom Church, Newmarket, Ontario, Canada
    
    
44. Martinez, Kurt (guitar) 'Folías'
    • Title: Folias
    • Released without indication of year (but it is 2003) by martinezkurt@cs.com without order number
    • Duration: 3'16"
    • Recording date: not mentioned in the slipcase
    • See also the page Recommended Folia-recordings
    
    
45. Moreno, Jose Miguel (vihuela or baroque guitar or guitar) 'La guitarra española (1536-1836)'
    • Title: Folias
    • Released 1994 by Glossa, San Lorenzo de el Escorial, Espana compact disc 920103
    • Duration: 3'48"
    • Recording date: March 1994, at Villa Consuelo, San Lorenzo de El Escorial
    
    
46. Navascués, Santiago (guitar) 'Spanische Gitarrenmusik, Santiago Navascués spielt Albéniz, de Falla, Rodrigo, Sanz, Turina'
    • Title: 12 Tänze aus Instruccion de musica sobre la Guitarra Espanola: Folias
    • Released 1973(?) by Ariola LP 86853 KK
    • Duration: 2'45"
    • Recording date: May 1973 in Berlin, Germany
    
    
47. 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
    
    
48. Orphénica Lyra [Moreno, José Miguel (baroque guitar), Mulder, Juan Carlos de (theorbo), Quinteiro, Eligio (tiple)] 'Gaspar Sanz, Instrucción de música sobre la guitarra española' '
    
    • Title: Folías
    • Released 2000 by Glossa, in the series The Spanish Guitar Vol. V compact disc GCD 920206
    • Duration: 3'12"
    • Recording date: April 2000 in Auditorio del Conservatorio de la Mancomunidad del Valle del Nalón
    
    
49. Parkening, Christopher (guitar) 'A Tribute to Segovia'
    • Title: Suite española: Folias
    • Released Nov 12, 1991 by EMI Classics compact disc 49404
    
    
50. Pujol, Emilio. Transcription for guitar from guitar tablature
    • Published 1928 by Max Eschig Editions, anciens 1006 M.E. 2096
    • Part of: Les guitaristesespagnols du XVIIe siecle
    • Score 3p., 32 cm.
51. Robert, Jean Michel (lute) Tramier, Brigitte (harpsichord) "Musique baroque pour luth, chitarrone et clavecin"
    This is a nice medley of the authentic score for keyboard by Pasquini with a lute-part added and the authentic score for guitar (in this case lute) by Sanz with a harpsichord-part added. And that's not all. Every variation of Pasquini is immediately followed by a variation of Sanz and every variation of Sanz by a Pasquini-variation till all variations have been played.
    • Title: Variations sur "Les Folies d'Espagne"
    • Duration: 3'33"
    • Released by Koch Schwann compact disc 3-1544 2
    • Recording date: October 1991 dans la salle de concerts, Centre Culturel de Valprivas, France
52. Santos, Turibio (guitar) 'Concierto de Aranjuez: Rodrigo, Sor, Sanz, Mudarra, de Narvaez'
    
    • Suite Espanole: Españoleta, Rujero y Paradetas, Folias de España, Zarabanda al aire español, Toques de la Caballeria de Napoles, Canarios
    • Released without indication of the year of release by Musidisc LP 30 RC 894
    • Duration: 3'18" (just the Folias de España)
    • Recording date: not indicated
    
    
53. Sauvage, Valéry
    

    Duration: 1'51" direct link to YouTube The complete Folias as played by Valéry Sauvage © 2008 Valéry Sauvage, used with permission

    • Title: Folias from the 'Instruccion de Musica sobre la guitarra española (libro segundo, f. 40r).
    • Baroque guitar strung with nylon strings
    • Released for YouTube December 30, 2008
    • More about Valéry Sauvage at http://perso.orange.fr/luthval/discographie.html
    
    
54. Scheit, Karl edited the music for guitar
    • Title: 'Folia - Espanoleta - Matachin - Espanoleta - Preludio o Capricho - Corriente' (aus 'Instruccion de Sobre la Guitarra Espanola', 1674)
    • Published 1974 by Universal Edition
    • Score 8 p. in total 23,2 x 30,5 cm
    • Publisher No. UE14469
    • ISMN M-008-00536-7
    
    
55. Schmitt, Thomas (guitar) 'Gitarrenmusik des Barock - Spanien'
    
    • Title: Folias
    • Released 1996 by Musicaphon (distributed by Qualiton) as compact disc 56819
    • Duration: 1'43"
    
    
56. Smith, Hopkinson (5 course guitar) 'Instrucción de música sobre la guitarra'
    • Title: Foliís, baile aristocratico algo estilizado (stylized aristocratic dance)
    • Released 1996 by Auvidis Astree compact disc E 8576
    • Duration: 2'25" (theme, 3 var., repetition of the 3 var., theme)
    • Recording date: December 1995 in Mandelsloh, Neustadt Germany
    
    
    
57. Smith, Hopkinson (baroque guitar) 'Sanz, Instrucción de música sobre la guitarra'
    • Title: Foliís, baile aristocratico algo estilizado (stylized aristocratic dance)
    • Released 2000 by NAIVE Astree compact disc 8828
    • Duration: 2'29" (theme, 3 var., repetition of the 3 var., theme)
    • Recording date: unknown
    
    
58. Takeuchi, Taro (5 course guitar) 'Folias!, virtuoso guitar music of C17th on period instruments'
    
    • Title: Folias
    • Released 2002 by Deux-Elles Limited, Reading, UK compact disc DXL 1030
    • Duration: 3'29"
    • 5 course guitar by Martyn Hodgson , Leeds 1982 after René Voboam, Paris, 1641. he original is in the Hill Collection, Ashmolean Museum, Oxford
    • Recording date: April 16 and 17 at St Martin's Church, East Woodhay, England
59. Terrago, Renata (5 course guitar) 'Three centuries of Spanish guitar music'
    Renata Terrago was born in Barcelona, where she studied music at the conservatory of the Liceo. She began her career as a professional guitarist when she was fourteen. Both in Spain and abroad, her recitals have met acclamation from the public and critics. In 1951, the city of Barcelona awarded her the Premio Extraordinario (award for excellent achievement).
    
    The Album cover says the following:

    Gaspar Sanz lived during the Seventeenth Century, and spent most of his career away from Spain. He became maestro to the Spanish Viceroy at Naples and guitar teacher to Don Juan of Austria, for who he wrote a book of instruction which contains interesting examples of Spanish dance music and folksong of that period.

    • Title: Folías
    • Released by Everest Productions LP without indication of year
    • Duration: 1'34"
    • Recording date: not mentioned in the documentation
60. Terrago, Renata (5 course guitar) 'Musique Espagnole pour guitare'
    • Title: Folías
    • Released by Vega Serie Artistique LP HH C 30 A 249
    • Duration: 1'37"
61. Torre, Rey de la (guitar) 'Music by Guliani, Sanz, Sor, Tárrega, Toroba'
    • Title: Folías
    • Released 1958/1959 by His Masters Voice LP CLP 3607
    • Duration: unknown
    
    
62. Vidal, Marcelo (guitar) 'La guitarra en la iglesia'
    • Title: Folías
    • Released 2005 by Balcon Records compact disc BCR 62604
    • Duration: 2'10"
    
    
63. Walter, Fried 'Reflexe, Variationen durch die Jahrhunderte über ein altspanisches Thema von Gaspar Sanz (1972).
    Walter uses the opening variation of Sanz to create his own musical time travel. See for more information at the composer Walter or click the link.
64. Yepes, Narciso (ten-stringed guitar) 'Narciso Yepes, Spanish guitar music'
    
    • Title: 'Folias' as part of the 'Suite Española'
    • Released 1997 by Belart,a Polygram company compact disc 461 2762
    • Duration: 2'31"
    • Recording date: 1968
    
    
65. Yepes, Narciso (ten-stringed guitar) 'Guitarra Española, Vol 1'
    • Title: 'Folias'
    • Released 1968 Polydor International, 1992 Deutsche Grammophon 4x compact disc 439 172-2
    • Duration: 2'31"
    • Recording date: September 1967, Beethovensaal, Hannover, Germany
    
    
66. Yepes, Narciso (ten-stringed guitar) 'Malaguena: Spanish guitar music'
    • Title: 'Folias'
    • Released March 2001 by Deutsche Grammophon compact disc 2894696492
    • Duration: 2'30"
    • Recording date: September 1967, Beethovensaal, Hannover, Germany
67. Yepes, Narciso (ten-stringed guitar) 'Cinco Siglos de Guitarra Española, VL. 1'
    • Title: 'Folias' as part of the 'Suite Española'
    • Released 1968 by Deutsche Grammophon Gesellschaft LP ALB 216 139 365
    • Duration: 2'30"
    • Recording date: September 1967, Beethovensaal, Hannover, Germany
    
    
68. Yepes, Narciso (ten-stringed guitar) 'The World of Guitar Vol. 1'
    • Title: 'Folias' as part of the 'Suite Española'
    • Released unknown by London Label LP SPA 4005
    • Duration: 2'30"
    • Recording date: September 1967, Beethovensaal, Hannover, Germany
    
    
69. Yepes, Narciso (ten-stringed guitar) 'Barockwerke für Gitarre, J.S. Bach, D. Scarlatti, Weiss, Sanz'
    • Title: 'Folias' as part of the 'Suite Española'
    • Released without an indication of the year by Deutsche Grammophon LP 2538236
    • Duration: 2'28"
    • Recording date: not indicated
    
    
    
70. Yepes, Narciso (ten-stringed guitar) 'Narciso Yepes'
    • Title: 'Folias'
    • Released without an indication of the year by London Continental series LP KL-320
    • Duration: 2'28"
    • Recording date: not indicated
    
    
71. Yepes, Narciso (ten-stringed guitar) 'Narciso Yepes'
    • Title: 'Folias'
    • Released 1956 Disques Festival LP Vinyl FLD 718
    • Duration: 2'34"
    • Recording date: not indicated
    
    
72. Zaczek, Brigitte (guitar) 'Music for guitar from the Spanish renaissance and rococo'
    • Title: Folias
    • Released 1969 by Musical Heritage Society LP MHS 991
    • The works by Sanz are from his book, 'Instrucccion de musica sobre la guitarra espagnola' (Zaragosa 1674) for five-course baroque guitar. Played here on the modern guitar.
    
    
73. Zayas, Rodrigo de (Baroque guitar) 'Luths - Théorbes, Vihuelas, Guitare Baroque'
    Rodrigo de Zayas wrote as an introduction to the piece: (the statement of Piccinini's 'early' folí will be a misunderstanding)
    

    Folías: the first report of a folía appears when one was danced for Queen Juana la Loca during a trip to Portugal, in the town of Evora. The Portuguese origin of this dance is therefore probable. This same folía appeared among the works for the theorbo of Piccinini written at the beginning of the 17th century long before Sanz.

    • Title: Folías
    • Released 1979 by Arion 3 LP-set ARN 336 018
    • Duration: 1'21"
    • Recording date: 1978 in la Maison de la Culture de Rennes, France

Scarlatti, Alessandro(1660-1725)

Variazioni su "La Follia" for keyboard (1723), 29 'eight-bars' variations The structure of these variations keeps within bounds of the first 8 bars of the Foliatheme and even the last bar is consequently in the dominant (and not in the expected tonica)
The original manuscript conserved in Naples (Conservatory Library, manuscript 9478: Primo e Secondo Libro di Toccata del Sig. Cavaglere Alessandro Scarlatti).
There should be an earlier version probably less variations or not embedded in a toccata by Scarlatti dated back to 1715.

Duration: 1'30", 531 kB.( 48kB/s, 11KHz) 6 Variations, featuring all different techniques on the harpsichord like the rich ornamentation (1), style brisé (2) and toccata (4) © Christian Brembeck 2002, used with permission

Theme of Variazioni su 'La Follia'	by unknown source

1. Alessandrini, Rinaldo (harpsichord) 'Toccate per Cembalo'
   • Title: Toccata per l'ottava stesa (1723)
   • Released 1992 by Arcana compact disc A3
   • Duration: 8'20" as part of the Toccata per l'ottava stesa (total time 19'28") not indexed at all
   • Recording date: october 8/10 1991 in the studio of Deutschlandfunk, Koln (Cologne)
   
   
2. Alvini, Laura (harpsichord) 'Studii e divertimenti percembalo: Francesco Durante, Con due toccate; Variazione sulla Follia di Alessandro Scarlatti'
   • Released 1994 by Tactus compact disc TC 680402
   • Duration: 7'32"
   
   
3. Bärtschi, Werner (piano) 'La Folia'
   • Title: Folia
   • Released 1983 by PAN LP ordernumber 130 051
   • Duration: 7'44"
   • Recording date: February 2nd in Thun Switserland, 1982
   • See also the page Recommended Folia-recordings
4. Brembeck, Christian (harpsichord) 'La Danza de los Poetas, harpsichord dances'
   • Title: Variazoni sulla Follia di Spagna
   • Released 2002 by Arte Nova in Co-Production with Bayerischer Rundfunk compact disc 74321 85298 2
   • Duration: 7'13"
   • Recording date: May 21-23, 2001, Studio 2 Bayerischer Rundfunk, Munich, Germany
   • See also the page Recommended Folia-recordings
5. Catalucci, Gabriele (harpsichord) 'Festival internationnal de l'orgue ancien et de la musique ancienne VOL 5'
   • Title: Follia
   • Released 1999 by Festival International de l'orgue ancien et de la musique ancienne compact disc without an ordernumber
   • Duration: 2'19"
   • Recording date: 1998 in Basilique de Château de Valère in Sion, Switzerland
   
   
6. Dawson, Lynn & The Purcell Quartet 'La Folia & Two Cantatas'
   • Released 1989 by Hyperion compact disc CDA66254
   • Duration: 13'04"
   • Recording date: April 29/30, 1987
7. Dawson, Lynn 'La Folia'
   • Released 1992 by Hyperpress Pub. Corp.
   • Source: CDNow with ISBN 6302005116
8. Frigè, Milena (harpsichord) 'Alessandro Scarlatti, Toccate per Clavicembalo e per Organo'
   • Title: Variazioni su "La Follia"
   • Released 1995 by Stradivarius compact disc STR 33386
   • Duration: 9'42"
   • Recording date: November 21/23, 1994 in the Aula magna del Seminario Superiore di Ivrea, Italy
   
   
9. Gaggini, Marco (harpsichord)

   Duration: 7'40" direct link to YouTube Follia from Settima Toccata as played by Marco Gaggini © 2009 Marco Gaggini and Romeoamkj, used with permission

   • Title: Variazioni su "La Follia"
   • Recorded by Romeoamkj during Rassegna Cembalistica 2009
   • Duration: 7'40"
   • Recording date: March 21, 2009 at Palazzo Annibaldeschi in Monte Compatri, Rome, Italy
   
   
10. Gerlin, Ruggero (harpsichord) 'Spanish and Portuguese Masters of the Harpsichord'
    In the documentation was written:
    

    The Toccata No. 7 in D minor appears in the manuscript of the two books of 'Toccate per Cembalo'. The second part of this toccata comprise twenty-nine variations on the 'Folia', popular theme of an old Spanish dance, in ternary rhythm. A detailed description of this dance was given by Salinas in in the seventh book of his 'De Musica' (1577). In 1600 Cervantes mentioned it, placing it with the saraband and the chaconne, and in 1625 Giovanni Stefani used it in his 'Scherzi amorosi'. A number of composers in addition to Scarlatti took up the theme, including Fresobaldi, Storace, Pasquini, Corelli, d'Anglebert, Bach, Sanz, Lully, Vivaldi, Keiser, Pergolesi, Grétry and Cherubini.

    • Title: Partitas on "La Folia"
    • Released mid 1950s by L'Oiseau Lyre LP OL 50032
    • Duration: 9'53" (as part of the complete Toccata in D minor)
    • Recording date: mid 1950s
    • More about Ruggero Gerlin at the website http://jsebestyen.org/gerlin/
    
    
11. Goebels, Franzpeter edited the sheet music
    From the preface:

    Out of the wealth of Follia compositions traceable from the late 15th century up to the turn of the 20th, we are publishing three salient works for the keyboard. Our edition is based on a critical revision of the source material.

    
    • Title of volume: Variationen über die Follia für Klavier. (incl. C.P.E. Bach & Pasquini)
    • Title: Variazioni sulla 'Follia di Spagna' (theme and 28 variations)
    • Published by Schott, Mainz 1970
    • In a footnote at variation 28 the editor writes: 'This may not be regarded as a suitable ending to the work. The editor follows it by a repetition of variation 24 with the perfect cadence'.
    • Publisher No. ED5775
    • ISMN: M-001-06326-5
12. Jensen, Lori-Ann editor and arranger of adapted score for any three suitable instruments.

    Duration: 0'28", 02 kB. The theme as indicated in the sheet music for koto, steel string guitar & dulcimer

    Opening theme by A. Scarlatti.	Arranged and edited for 3 instruments by Lori-Ann Jensen © 1995 Podium Music, reproduced with permission of Podium

    • Published 1995 © by Podium Music, Canada
    • Score 4 p. (66 bars), 23 cm by 17 cm
    • Publisher No. 3800
    • See the sheet music above, where the opening is shown
13. Kipnis, Igor (harpsichord) 'Italian Baroque Music for Harpsichord'
    Judith Robison wrote as an introduction:

    In this recording, Mr. Kipnis has made a keyboard transcription of Corelli's setting of the theme to open the variations and uses a theme from Vivaldi's Trio Sonata, Op. 1, No. 12 to close them.

    • Title: Toccata in D minor
    • Released 1966? by Epic LP BC 1311
    • Duration: 19'40" (complete toccata) 10'39" (variations)
    • Recording date: October 8, 11 and 12, 1965 at Columbia's 30th Street Studio, New York City
14. Kipnis, Igor (harpsichord) 'Europäische Cembalomusik des Barock und Rokoko'
    Ekkehart Kroher wrote as an introduction:

    Scarlatti hinterliess kein grossartigeres Werk als die dreiteilige Toccata d-moll, deren abschliessendes 'Partite sull' aria dell' follia' 29 Variationen über das durch Corellis Violinsonate op. 5 Nr. 12 berühmt gewordene Folia-Thema bringt

    • Title: Toccata nr. 7 in D minor
    • Released without indication of year by CBS LP 5-box S77501
    • Duration: 19'40" (complete toccata) 10'39" (variations)
    • Recording date: October 8, 11 and 12, 1965 at Columbia's 30th Street Studio, New York City (not indicated in the documentation)
    
    
15. Koppenwallner, Angela (harpsichord) 'Alessandro Scarlatti & Figlio, musica per il clavicembalo'
    
    • Title: 29 Variationen über 'La Follia'
    • Released 2006 by ORF Edition Alte Musik compact disc 458
    • Duration: 11'13"
    • Recording date: July 18, 19 2005 in Neander-Kirche, Düsseldorf, Germany
    • Harpsichord built by Joel Katzman, 1995 Amsterdam
    
    
16. Laganà, Ruggero (harpsichord) 'Follie, bizzarrie e stravaganze in musica, dal '500 all '800' Source: GB-Lbl, una più tarda versione in US-NH, in Toccate per cemalo, a cura di J.S. Shedlock, London 1908
    • Title: Variazioni sopra la Follia di Spagna (1723)
    • Released 2005 by Amadeus Darp, Milano, Italy double compact disc AMS 092-2 DP together with a magazine special devoted to the Folia Theme (April 2005)
    • Duration: 8'24"
    • Recording date: August 18-19 and November 15-19, 2004 in Chiesa di S. Maria Incoronata, Martinengo (Bg), Italy
    • All variations nicely indexed
    • See also the page Recommended Folia-recordings
    
    
17. Laganà, Ruggero (harpsichord)
    • Title: Variazioni sopra la Follia di Spagna (1723)
    • Broadcasted live of performance by Italian radio Rai Radio 3
    • Duration: 8'27"
    • Recording date: 28 October 2007, Palazzo del Quirinale, Roma, Italy
    • See also the page http://www.la7.it/news/dettaglio_news.asp?id_news=50360&cat=cultura
    
    
18. Longo, Alessandro editor 'Aria con variazioni per pianoforte di Alessandro Scarlatti'
    • Title: Variations on 'Folies d'Espagne'
    • Published 19? by G. Ricordi, Milano-New York
    • 15 p, 32 cm
    • Series: Biblioteca del pianista
    • Publisher No. 103113
19. Lucsaité-Mrázková, Giedré 'Italien Clavier of the 17th and 18th Centuries'
    • Title: Toccata per cembalo (1723)
    • Released 1994 by ARTA Classic Records compact disc F10053-2
    • Duration: 19'41"
    • Recording date and place unknown
    • Instrument: Double manual Flemish harpsichord after Ruckers 1627 (built in 1994)
    
    
20. Marcon, Andrea (harpsichord) 'Alessandro Scarlatti, works for organ and harpsichord'
    
    • Title: Toccata per cembalo d'ottava stesa
    • Released 1994 by Divox Antiqua compact disc CDX-79403
    • Duration: variations 13'05", in total 23'50"
    • Recording date: April 3-5, 1991 in the Chiesa San Giacomo, Polcenigo (Friuli), Italy
    
    
21. Martin, Béatrice (harpsichord) 'Alessandro Scarlatti, Totus Amore'
    
    • Title: Variations on "La Follia" for keyboard
    • Released 2006 by Deux-Elles compact disc B000FVX71S
    • Duration: 7'28"
    • Recording date: unknown
    
    
22. Norell, Judith (harpsichord) 'Scarlatti, A. & D. Harpsichord Sonatas, Partita & Toccata'
    • Title: La Folia: 26 variations and theme
    • Released 1978 by Sine Qua Non LP SA 2018
    
    
23. Pol, Wijnand van de (organ) 'Antichi Organi Italiani'
    In the documentation is written about the organ:
    

    The instrument used for this recording is an antique Neapolitan positive organ of the second half of the Settecento. It has, therefore, all the characteristics of the Neapolitan school: a narrow diameter of the pipes, the almost complete absence of tongues, low-pressured bellows. The result is a simultaneously sweet and crystalline sound. Outstanding is the rather accentuated and unique anticipatory statement of the pipes preceding the actual sound, which confers a clarity and polyphonic texture to the notes. The keyboard is disposed as follows: Principal 8', Octave 4', XV 2', XIX 1'1/3, Flauto 4' Vox Humana 8' soprani. The author of this precious instrument remains anonymous, but the tachnique and tone quality are closely related to that of Dominicus Antonius Rossi, organ builder for the Royal Chapel from 1761 to 1789.
    The organ was restored in 1969 by Bartolomeo Formentelli, one of Italy's most outstanding organ builders and the only one working on a completely artisan level. Restored according to strict historical criteria, it is one of the few existing positive organs able to recreate the true essence of the music which was written for it.

    • Title: Toccata del primo tono: Preludio, Adagio -Presto, Fuga, Adagio cantabile ed appoggiato - Follia (Partite sull'aria della ...)
    • Released 1971 by Vendetta Records LP VST 6036
    • Duration: 10'36" (Adagio cantabile ed appogiato - Follia)
    • Recording date: Registrazione stereofonica effecttuata nel Giugno 1971
    
    
24. The Purcell Quartet (harpsichord solo Robert Woolley) 'La Folia, variations on a theme'
    This cd assembles 'La Folia'-inspired works by six composers, starting with the original Corelli Sonata and ending with Geminiani's orchestral arrangement of it. The C.P.E. Bach and A. Scarlatti works are for solo keyboard. The six pieces are all taken from a series of earlier Hyperion cd's individually devoted to the respective composers. Duration of the six folias (incl. Marais, Vivaldi) 68'22"
    • Title: Folia from Toccata No. 7 (Primo tono) from the Primo e Secundo Libro di Toccate
    • Released 1998 by Hyperion compact disc CDA67035
    • Duration: 13'04"
    • Recording date: April 29/30, 1987
    
    
25. Raad, Nico de 'Van Hagerbeer organ, before and after the restauration'
    • Title: Folia in d
    • Released by TMD compact disc TMD 991101
    • Duration: 1'46"
    • recording date: September 1999 at the restaured Van Hagerbeer organ in the Pieterskerk, Leiden, The Netherlands (although in the container is mentioned that it was recorded at Chapel Studio Tilburg, The Netherlands which will be related to the mixing)
    
    
26. Radulescu, Michael edited the edition 'Toccata nel primo tono' for organ
    • Title: Preludio, Fuga , Partite sull'aria della Follia
    • Published 1969 by Paideia, Brescia
    • Score 31 p. 24 x 24 cm
    • Series Biblioteca classica dell'organista, v. 1
    
    
27. Sgrizzi, Luciano (harpsichord) 'Meister italienischer Cembalomusik des 17. und 18. Jahrhunderts' (Orbis) and originally 'Antologia della musica clavicembalistica italiana del secolo XVII' (Cycnus)
    Lothar Hoffman-Erbrecht wrote for the cover of the LP (Orbis release):

    Das bedeutendste Cembalowerk Alessandro Scarlattis sind aber seine 'Variazioni sulla Follia di Spagna', Variationen über die aus Spanien stammende 'Follia'. Die Follia war ein Tanz im Dreiertakt mit dem getragenen Charakter einer Sarabande; sie bestand aus einem achttaktigen Modell, das beim Tanz nach Bedarf wiederholt und variiert wurde. Bald in Spanien, sondern in Italien, wo die Follia (eigentlich = Narrheit, Laune) bald eines der beliebtesten Themen für Variationen wurde. Das bekannteste Werk dieser Art schrieb Arcangelo Corelli in seiner 12. Violinsonate, die als 'Folies d'Espagne' noch heute auf den Programmen der Grossten Geiger steht. Alessando Scarlatti aber übertrifft ihn noch an Zahl und Vielfalt der Variationen. Nach 25 Variationen, in denen der Bau und die Harmonik der acht Takte nur wenig verändert werden, besliesst die Wiederholung des Themas ein Werk, in dem wirklich alle Register der Komposition gezogen werden; Das thema wird melodisch aufgelöst, rhythmisch abgewandelt und im Charakter vielfältig verändert. Es ist das grösste und bedeutendste Variationswerk für Cembalo, das vor Bachs 'Goldberg-Variationen' geschrieben wurde, und es ist so recht geeignet, die universelle Begabung Alessandro Scarlattis ins Licht zu stellen

    • Title: Variazioni sulla Follia di Spagna
    • Released without indication of the year of release by Orbis LP 73987 originally released by Cycnus 60 vinyl CS 515
    • Duration: 7'58"
    • Recording date: not indicated at all in the Orbis release but mentioned as December 1-3, 1962 in Lugano in the Cycnus release
    • More about the oeuvre and life of this harpsichord player at http://jsebestyen.org/sgrizzi/
28. Sgrizzi, Luciano (harpsichord) 'Cinq Toccatas'
    
    • Title: Variazioni sulla Follia di Spagna
    • Released by Erato vinyl ERA 9089
    • Duration: 7'43" (19'26" the entire toccata)
    • Recording date: December 21-22, 1972 in Paris, France
    • More about the oeuvre and life of this harpsichord player at http://jsebestyen.org/sgrizzi/
    
    
29. Tasini, Francesco (harpsichord) 'Alessandro Scarlatti, Opera omnia per tastiera Vol. 1'
    Francesco Tasini (in a translation by Priscilla Worsley) wrote for the slipcase:

    To conclude, we would emphasise the grandeur of the structure of 'Toccata VII' of the 'Primo tono' (Naples, 1723) that concludes the CD, a Toccata that, in the extended version (Preludio [Presto], Adaggio [Cantabile, è appoggiato], Presto, Fuga [Presto], Adagio, Folia [29 Partite]), assumes something of the atmosphere of a 'Sonata da Chiesa'

    
    • Title: Toccata VII, Primo tono. Toccata per Cembalo dóttava stesa, Napoli, 1723 (Preludio, Adagio, Presto, Fuga, Adagio, Follia): Napoli, Manuscript 9478
    • Released 2007 by Tactus compact disc TC 661911
    • Duration: 9'31" (22'36" the entire toccata)
    • Recording date: August 17, 2005 in Ferrara, Italy
    • Harpsichord: Italian anonymous 18th century (Ferrara)rebuilt by Roberto Mattiazzo (Bologna) in 2001
    
    
30. Weimann, Alexander (harpsichord) 'Alessandro Scarlatti: Toccatas, complete keyboard works, volume 1'
    Alexander Weimann wrote for the slipcase (translated by Louis Bouchard):
    
    

    The 29 variations of this composition on the famous ostinato model, well loved by many composers, take the theme harmonically, rhythmically, tachnically, and emotionally to its limits. Scarlatti explores new keyboard possibilities (in Variation 17 to 19) and opens up the tonal infexibility with abrupt acciaccature (in variation 24). The piece builds up up tension over the last five variations and comes to a sudden and rough halt descending abruptly and, to our unbelieving ashtonishment, ending in an open question without returning to the original key.

    • Title: Follia en ré mineur
    • Released 2005 by Atma Classique compact disc 7 22056 23212
    • Duration: 7'27"
    • Recording date: October 14-17, 2003 in the Église Saint-Alphonse-Rodriguez, Saint-Alphonse, Québec, Canada
    • Harpsichord built by David Werbeloff, Boston 2002 after a harpsichord by a late-17th-century anonymous Italian maker attributed to Giacomo Ridolfi, Musical Instrument Museum, Berlin, Germany
    
    
31. Weimann, Alexander (harpsichord) as part of the ensemble 'Tragicomedia', ' Capritio, instrumental music from 17th century in Italy' by Tragicomedia
    
    • Title: Variazioni sulla 'Follia di Spagna' A. Scarlatti
    • Released 2001 by Harmonia Mundi USA compact disc 907294
    • Duration: 7'00"
    • Recording date: June 2000 at Skywalker Sound, Nicasio, CA USA
32. Weimann, Alexander (harpsichord) as part of the ensemble 'Tragicomedia', 'Concert at Bremen'
    • Title: Variazioni sulla 'Follia di Spagna' A. Scarlatti
    • Concert by Tragicomedia as part of their program 'Capritio'
    • Concert as part of the Festival 'Pro Musica Antiqua'
    • Broadcasted by the dutch radio NPS in a coproduction with Radio Bremen September 05, 2001
    • Duration: 6'32"
    • Recording date: May 06, 2001 at the Kirche Unser Lieben Frauen, Bremen Germany

Schickhardt, Johann Christian (1680-c.1762)

Variations on La Folia: opus 6, no. 6 for 2 treble recorders & basso continuo (1710). First edition by E. Roger 1710

1. Baak Griffioen, Ruth van (recorder and voice flute), Amano, Toshi (baroque violin), Sarah Glosson (viola da gamba and baroque cello), Marshall, Thomas (harpsichord) 'Baroque on Fire, 17th- and 18th- century Italian and German chamber music' '
   • Introduction to La Folia (Tom) and Variations on La Folia
   • Released 2000 by GCB Records
   • Duration Introduction 2'33", La Folia 5'19"
   • Recording date: live concert August 29, 2000 Bruton Parish Church, Duke of Gloucester St. Williamsburg Virginia
   
   
2. Lasocki, David editor of score. Figured bass realized for keyboard instrument; includes part for violoncello, viola da gamba, or bassoon.
   • parts: 1 Adagio, 2 Grave, 3 Vivace, 4 Allegro,
   • Published 1979 by Nova Music, London
   • Score 11 p. and 3 parts, 31 cm
   • Publisher No. N.M. 107
3. Legene, Eva (recorder), Krainis, Bernard (recorder), Scott, Christina (harpsichord)
   • Title: Variations on La Follia for two recorders and basso continuo, op. 6 no. 6
   • Recorded by the Indiana University, School of Music in Bloomington
   • Sound reel tape 1987-1988 no. 25
   • Duration: 4'42"
   • Recording date: July 2, 1987

Schoonenbeek, Kees (1947- )

La Folia (for oboe and piano)(1978)
The use and construction of the Folia in this composition is somewhat similar to the one by Nicolas Bacri with the fragmentations, the evolution and the revealing of the theme itself towards the end.
Kees Schoonenbeek wrote about his composition:

From the very start of the composition there is the reflection of the Folia-theme because the left hand of the piano plays an inversion of the theme, harmonizing with another inversion of the oboe-part, which results in a somewhat alienated effect. Some fragments of the Folia theme emerge as the composition is unfolding. In the conclusion of the composition the Folia-theme is finally stated.

The oeuvre of the composer can be found at http://www.gironet.nl/home/canzona/page6.htm

1. Schoonenbeek, Kees
   • Published 1979 by Donemus, Amsterdam
   • Duration: ca. 06'30"

Canzona (for organ solo and brass band) (1989)
In the second part of this composition the Folia-theme itself is introduced.

1. Schoonenbeek, Kees
   • Published 1989 by Haske Publication, Heerenveen, The Netherlands

Schouten, Joop (1907-1983)

© Stichting Het Joop Schoutenhuis used with permission

Variaties en Fughetta op "La Follia" for organ (Ms. 1971)
This composition with theme (Andante) and 9 variations (I, II Allegretto, III Allegro, IV, V Scherzando, VI Allegretto, VII Adagio, Fughetta, Largo) is kept rather close to the Folia chord progression and melody line in the traditional tonal style.
Joop Schouten frequently played this composition during concerts in the close intimacy of his private residence.

Although the composition isn't recorded yet (February 2005) for any official release (which is planned within a year by Stichting Het Joop Schoutenhuis), it seems worth to give visitors an impression of the composition. The only tool available for me was to turn it into a midi-file, lacking dynamics, proper voicing, use of stops, failing the elementary acoustic sound of an organ etc.
All praises to Johan Vos and Aart de Kort, two organ players who gave valuable advice especially about the tempi of the parts. I realize it must have been horrible for them to hear this composition in the limited midi-format.

Duration: 7'31", 09 kB. Theme and all variations.

1. Stichting Het Joop Schoutenhuis
   • Published (year unknown) in 'Joop Schouten, Orgelwerken, deel II' (Works for organ, part II) by Het Joop Schoutenhuis, Prinses Annalaan 232, 2263 XS Leidschendam, The Netherlands
   • 9 pages, size 21 x 29 cm
   • Duration: ca. 07'30"

Sebestyén, János (1931- )

La Folia improvisation for organ (1993)

Duration: 12'42", 11.91 MB. (128KB/s, 44100 Hz) The complete set of variations © János Sebestyén, used with permission

1. Sebestyén, János (organ)
   Robert Tifft wrote about this Folia-improvisation:

   János Sebestyén has performed throughout the world as organist, harpsichordist and pianist and is a veteran broadcaster for the Hungarian radio and television. He is one of the few performers today that incorporates improvisations into nearly all of his recitals. His free improvisation on the Folia theme was the final selection of a program performed on March 9, 1993 at the National Auditorium in Madrid, Spain. The improvisation begins with the unadorned theme quietly stated. A series of variations ensue, each one becoming more elaborate and gaining in intensity. The first variations are simple embelishments of the Folia melody with one incorporating aspects of a Spanish fandango. The keyboard figuration becomes more elaborate, eventually leading to the theme boldly stated by the vibrant Spanish reeds. An almost hymn-like statement of the theme follows, leading to a quiet passage of introspective character. The Folia melody gradually reappears in its hymn-like guise, modulating to a major key, for a triumphant conclusion utilizing the full organ.

   You can find more background information and acoustical samples (mp3-format) at the excellent webpage 'János Sebestyén - organist, harpsichordist, pianist' including a complete discography: http://www.jsebestyen.org
   
   
   • Broadcasted 1993 by the Spanish Radio RNE
   • Duration: 12'28" (without the applause)
   • Recording date: March 9, 1993 at the National Auditorium in Madrid, Spain

Sebestyén, János and Lantos, István

István Lantos and János Sebestyén in the Matthias Church, Budapest

Las Folias for piano four-hands (2000)

Duration: 5'46", 5.29 MB. (128KB/s, 44100 Hz) The complete improvisation quatre mains © Sebestyén/Lantos, used with permission

1. Sebestyén, János (piano) and Lantos, István (piano)
   A sparkling improvisation built around the Folia-theme which evolves towards a derivation of the 'folia'-progression of Händel (Sarabande from harpsichordsuite nr. 11 in D minor, Book II, 1727) before ending in the folia-theme in a brilliant style.
   • Recorded live 2000
   • Duration: 5'46"
   • Recording date: May 31, 2000 at the Sala de Columnas del Círculo de Bellas Artes, Madrid

Serrano, Valentín (1982- )

Folía Marialen (2003)
Valentín Serrano wrote about his composition in December 2004:

Although I'm not a composer, I like the Folía theme so much that I tried to write a little composition about the theme a year ago. Just for fun and to understand the music better. My friend Ale Delgado, who is a student at the conservatory pointed me in the right direction and gave me some general instructions. Still it took me great effort to master the composition the way it got its final shape.
Well, here you are. Regard it as a present for the work with the Folía pages, which is one of my favourites pages.

Duration: 1'38", 8 kB. Theme and all variations as sequenced by Valentín Serrano © Serrano 2004, used with permission

1. Serrano, Valentín
   • Recorded with the software Sibelius
   • Duration: 1'38"
   • Recording date: 2003 at the Spanish city of Cuenca

Shannon, Glen (1966- )

'La Follia', variations for Recorder Orchestra (2001)
This composition is clearly inspired by the music of the Baroque era. In every variation the theme is hard to miss and it takes you on a musical journey to the 'Beethoven' variations (6'10") to finish off in a typical symphonic manner.
Glen Shannon wrote about his composition:

It is a 14-variation piece composed for the American Recorder Orchestra of the West (AROW), a new group which began in May 2000 in northern California. The twelve parts consist of one sopranino recorder, 2 sopranos (descants), three altos (trebles), three tenors, one bass in F, one Great Bass in C, and one Contrabass in F. A Recorder Orchestra is an expanded recorder ensemble with more of the unusual large and small sizes for added tone colors.

Duration: 7'41", 58 kB. Theme and all variations as sequenced by Glen Shannon © Glen Shannon 2001, used with permission

1. Shannon, Glen
   • Published by Screaming Mary Music (http://www.screamingmarymusic.com/) 2001
   • Score 48 p. (including cover) and 12 parts of 3 p., 29 cm
   • The score can be browsed at http://www.sibeliusmusic.com/cgi-bin/showscore.pl?scoreid=3829 You need a browser plug-in called Scorch, but they provide a link to download it.
   • Publisher No. SMM400

Follia Variations for Recorder Quintet (2005)
This quintet is a reduction of the recorder orchestra version for 12 instruments. Each player except the bass recorder player is assigned two instruments and must switch between them as the piece progresses.
Glen wrote about this version December 6, 2006:

Charles Fischer (Unicorn Music, http://www.buyrecorders.com) commissioned it and it was completed in 2005. He believed in the quality of the music and wanted a version that was much more portable, noting that 5 players with Bass being the largest size is much more obtainable than 12 players and super-size recorders.

The recording is indeed a live performance in concert, recorded Aug. 15, 2006 at Arlington Community Church in Kensington, California. I'm glad you like the quality of the recording; the mics could have been closer. A friend of mine fixed up the original for me. My fellow players were excellent and their playing added so much more to the sound than I could have hoped for.

Each part switches between two recorders of adjacent size in order to cover everything in the original 12-part version, from smallest to largest:
Si/S means Sopranino/Soprano (Soprano = Descant in the UK)
S/A = Soprano/Alto (Alto = Treble in the UK)
A/T = Alto/Tenor
T/B = Tenor/Bass
B = Bass (this part does not change instruments)
S and T are one octave apart in the key of C (meaning lowest note, all fingers down, is C); Si, A and B are octaves apart in the key of F.

Duration: 8'44" direct link to YouTube (l-r) Rebecca Molinari, Mark McMahon, Annette Bauer, Glen Shannon, Frances Feldon © Glen Shannon, 2006, used with permission

Duration: 8'37", 8.29 MB. (128KB/s, 44100 Hz) Live performance by Glen Shannon, Annette Bauer, Rebecca Molinari, Mark McMahon and Frances Feldon recorded August 15, 2006 © Glen Shannon and Screaming Mary Music 2006, used with permission

1. Shannon, Glen (recorders Si/S) Bauer, Annette (recorders S/A) Molinari, Rebecca (recorders A/T) McMahon, Mark (recorders T/B) Feldon, Frances (recorder B)
   • Published by Screaming Mary Music SMM140 $15.00
   • Recording date of live performance: Aug. 15, 2006 at Arlington Community Church in Kensington, California

Sheriff, Noam (1935- )

Folia variations for orchestra (1984), prologue, 8 variations and epilogue
This work was commissioned by the Bavarian Radio Symphony Orchestra and was premiered at te same year by that orchestra under David Shallon in Munich in the framework of their Musica Viva series of concerts.

Duration: 1'11", 1124 kB.( 128kB/s, 44100Hz) Fragment with the theme of the early Folia © 2002 Col Legno, used with permission

Duration: 1'48", 1698 kB.( 128kB/s, 44100Hz) Fragment with the theme of the later Folia © 2002 Col Legno, used with permission

Ella Sheriff (the wife of Noam) wrote about the Folia variations for orchestra in November 1997:

The work is written for a large symphony orchestra and is published by the Israeli Music Institute (IMI) but can be obtained shortly by Peters Edition, Frankfurt.
Unfortunately, the record issued in Israel of this and other works of mine conducted by Gary Bertini is no more on the market and there is no CD yet. However the recording exists in the Bavarian radio and the Israeli broadcasting authorities.
Noam Sheriff's La Folia variations consists of a prologue, eight variations and an epilogue. The theme itself makes its appearance only after the fourth variation. The first half is composed rather of strictly conceived variations which unfold in the direction of the theme while the second half is more like a 'Folia', a madness, so to speak.

1. The Düsseldorf Symphoniker, conductor Noam Sheriff 'Noam Sheriff, "La Follia" Variations, Concerto for Violoncello and Orchestra, Akeda, Wenn das Pendel der Liebe schwingt'

Noam Sheriff wrote for the slipcase:


1 had already planned to compose variations for orchestra several years ago. This plan became a reality when, to my surprise, David Shallon (a former pupil of mine) asked me to write just such a work for a concert of the Munich "musica viva" which he was to conduct.
The "La Follia" Variations are in fact dedicated to him.
When I started the work, 1 didn't yet have a distinct idea on what theme or motto actually to base the variations. That initial uncertainty was indeed appropiate to the situation: variations in search of a theme. And the more 1 occupied myself with my musical sketches, the more it became clear to me that 1 was really looking for something well-known, that was resting forgotten and undetected in my memory. Only when the third variation had already taken shape on paper 1 suddenly realized that this enigmatic, indistinct theme was La Follia: that simple, beautiful melody, so familiar to every music-lover.
But as soon as 1 asked myself the question, "Why precisely La Follia?", 1 could not find a satisfactory answer. It is somehow a mystery. Looking closely at the melody itself, one cannot but wonder why it has been the source of inspiration for so many compositions since the 16th century: from Stefani's Folies d'Espagne (1622) to Frescobaldi, Lully, Corelli, Geminiani, Bach and Cherubini, on to Liszt, Nielsen, Rachmaninov and several contemporary composers like Henze. 1 was particularly happy to discover later that La Follia's first emergence goes back to the year 1505 in a work by the Portuguese poet and musician Gil Vincente. In this work, whose music is thought lost, four biblical figures - Abraham, Moses, Solomon and Isaiah - are singing a four-part Follia. My composition consists of a prologue, eight variations and an epilogue. The theme itself makes its appearance only after the fourth variation. In this respect, as welf as in others, this is a symmetric composition throughout although I wish to emphasize that in this case "symmetry" has manifold meanings. If I were, for instance, to explain more exactly the balance between emotion and form, I would say that the first half is composed rather of strictly conceived variations which unfold in the direction of the theme while the second half is more like a Follia, a madness, so to speak. Should I again ask myself the question, "Why indeed La Follia?", 1 can only try to give an answer by means of my music.
To all this, I would like to add the beautiful and poetical words by Gregorio Paniagua: "All the composers in the whole world, who write their own Follia, have hardly any clear idea of what they are doing. They are like a tree which will ripen without worrying about its sap. Like the tree, they absorb everything in the midst of the storms of spring, not being afraid that another springtime would perhaps never come. And spring does arrive and they are overcome by a mellow tiredness and they are patient without worries and so calm, as though they were in the presence of eternity. This way they are able to carry in themselves their Follia (their madness) and their loneliness. They tolerate the pain that both these are causing them and they succeed to lend beauty to the sounds of their lament" (quotation taken from the liner notes to Paniagua's CD La Follia de la Spagna).


• Released 2002 by Col Legno compact disc 20065. More information at the page http://www.col-legno.de
• Duration: 18'58"
• Recording date: June 25 till July 2nd, 2000 in Tonhalle Düsseldorf, Germany
2. The Jerusalem Symphony Orchestra, conductor Gary Bertini 'Noam Sheriff: La Folia Variations for Orchestra Akdamoth, Music for woodwinds, trombone, piano & bass'
   • Released 1985 by Jerusalem Records (manufactured in England by Nimbus) LP ATD 8601 DIGITAL (digitally remastered from analogue originals)
   • Israel music anthology volume 9
   • Duration: 17'55"
   • Recording date not mentioned in the documentation
3. Sheriff, Noam
   • Published 1985 by the Tel-Aviv Israel Music Institute, Israel
   • Also published in Hebrew
   • Publisher No. IMI 6493

Sierra, Roberto (1953- )

Folías for guitar and Orchestra (2002)
Folías was premiered with the New World Symphony with Alasdair Neale conducting in Miami September 21st, 2002. Other performances were scheduled with the Dallas Symphony, the Indianapolis Symphony, and the Bilbao Symphony in Spain.

In one aspect this Folia is unique. It is written for a large orchestra and the guitar as a solo-instrument. The orchestral part is written for the large section of strings, percussion, woodwinds, two horns and two trumpets. As far as I know this is the only guitar concerto that uses the Folia-theme as the subject.
When you hear this piece for the first time it will sound very familiar because there are simply no surprises in the music. It all sounds suspiciously smoothly, predictable and lighthearted. The woodwinds are waking the listener up now and then when they copy some Rodrigo-idiom. The rest you all have heard before I am sure but in a different context. It is like an exercise to implant style figures of the classical guitar-orchestral idiom into the Folia-theme by someone who has listened a lot to the guitar concertos of Rodrigo.
The composition is divided into 11 sections with unequal duration and different techniques. The opening does not start right away with the Folia-theme as most folia-compositions do. In the opening the prominent guitar backed up by cautious strings is trying to find its way in a quasi improvisation but the winds (trumpets) firmly sets in the theme to put the guitar on track with some fast variations of the Folia-theme starting in bar 29. In every section and variation the Folia-theme is clearly stated and all techniques for the guitar pass along from tremolo to rasgueado and punteado but the most interesting part is the shifting from the minor to the major and back again to the minor key. I guess this music will find its way easily to waiting rooms of dentists. Roberto Sierra wrote about his composition:

Folías is the second guitar concerto I composed for Manuel Barrueco. Like its predecessor, Concierto Barroco, the newer work has strong Baroque influences. The melodic-harmonic theme known as 'La Folía was widely used in the Iberian Peninsula since the sixteenth century. Countless composers wrote variations on 'La Folía', among them Scarlatti, Carl Philipp Emmanuel Bach, Arcangelo Corelli, and Marin Marais. It was the work of Marais which served as point of departure and inspiration in my treatment of 'La Folía' theme; in fact, some of the variations in my piece have their roots in Marais' 'Les Folies d'Espagne' (1701). In terms of instrumental writing, the guitar yields itself as a perfect vehicle for the haunting theme. In 'Folías' I evoke both the world of the Baroque and that of our own time

Eladio Scharrón called it a masterwork, comparable with the best achievements of twentieth century composers like Rodrigo and Ohana.

1. Barrueco, Manuel (guitar) and Orquesta Sinfónica de Galicia conducted by Víctor Pablo Pérez
   • Released 2005 by EMI compact disc ordernumber 5577862
   • Duration: ca. 11 minutes
   • Recording date: unknown
2. Barrueco, Manuel (guitar) and the New World Symphony conducted by Neale, Alasdair
   • Duration: ca. 11 minutes
   • Worldpremiere September 21, 2002 in Miami, USA and broadcasted simultaneously at Internet2
3. Barrueco, Manuel (guitar) and the Dallas Symphony Orchestra conducted by Cortese, Federico
   Laurie Shulman wrote in an introduction for the Playbill by the Dallas Symphony Orchestra conducted by Federico Cortese for three performances with Manuel Barrueco:
   (© Laurie Shulman, First North American Serial Rights Only, and used with permission)
   

   The work that we hear this evening (Dallas, March 13, 14 and 15, 2003) has both an Iberian flair and a strong connection to the music of the past. Folias is one of those tunes, like Paganini's 24th Caprice, that has inspired many composers writing in different eras and certainly different musical styles. In the case of Folias, the roots extend back much farther than Paganini's unforgettable melody: to the fifteenth century. The term Folia, which is of Portuguese origin, is related to the Latin root for 'fool' or 'madness', and refers to a dance that was likely a court 'fool's dance'. The music that has inpired composers from the Baroque era to the modern day is a harmonic pattern related to two additional dances: the passamezzo antico and the romanesca. In the late seventeenth and eighteenth centuries, Alessandro Scarlatti, Marin Marais, Arcangelo Corelli and Johann Sebastian Bach were among the many composers who took this harmonic pattern as the basis for variations sets. In the pre-classical and classical eras Grétry and Cherubini adapted it. Franz Liszt followed in the romantic era with his Rapsodie espagnole. Twentieth-century iterations include Carl Nielsen's opera Maskarade and Rachmaninoff's Variations on a Theme by Corelli, Op. 42. Now Roberto Sierra, in the twenty-first century, has taken his bow to Folias as well.

   • Duration: ca. 13 minutes
   • Played in the Eugene McDermott Concert Hall, March 13, 14 and 15, 2003 in a program with Dvoráks Symphony No. 6 and Haydns Symphony No. 94.
4. Sierra, Roberto (for Guitar & Orchestra - piano reduction)
   • Published by Subito Music Number 1301864CK
   • Score 36 pages Folio format

Sigmund, Oskar (1919- )

La Folia (before 1969)

Opening of one voice of La Folia, Neue Variationen nach Farinelli-Corelli	© Gustav Bosse Verlag, 1969 Reproduced with permission

1. Kula, Karl (edited the sheet music)
   • Title: La Folia, Neue Variationen nach Farinelli-Corelli für 4 oder 8 Violinen
   • Published 1969 by Gustav Bosse Verlag, Postfach 10 14 20 D-34014 Kassel
   • Score 4 voices, 4 p. each, 31 cm
   • Publisher No. Bosse Edition 332-22, ISMN M-2011-9599-5
2. Libbert, Jürgen (arranged the music for two guitars)
   • Title: La Folia, Neue Variationen über ein altes Thema für zwei Gitarren (1973/1974)
   • Published 1986 by Verlag Zimmermann
   • Publisher No. ZM25520, ISMN M-010-25520-0
   • Two identical parts of 10 pages each

Slyck, Nicholas Van (1922-1983)

Diferencias, variations on 'la Folia' for harpsichord or piano (1966)
More about the composer Nicholas Van Slyck you can find at the website: http://vanslyckmusic.com/
Trudi Van Slyck wrote in an e-mail June 8, 2008:

As to the form, there is an introduction (not called such) ending in a thin double bar, then the statement of the theme. The Allegro is next (really the first variation but not called that). Vivace is next (second variation), then Moderato which is the theme again in canon. Ritmico is the name of the next section followed by Parlando, senza misura. Next is Allegro which leads into the last section with no new tempo name. It functions as a coda and is the theme again in big chords with decorative scale figures between the phrases.
It is a sizable piece of twelve printed pages. I played the piece on the piano in a concert which I don't think was recorded and I have been told it is played by a harpsichordist at McGill in Canada. Also I know it was played on the organ many times in Europe by David Pizarro in 1967-1970, and also by some of his organ students.
Diferencias was composed in 1966 and edited in 1982 - probably for publication in 1984. I have looked at the original 1966 manuscript of Diferencias and there really is some difference though the basic piece is the same. In the early version the variations are numbered 1 - 6. In the printed edition several arpeggios have been added to the last variation. Also there are places which have been moved down an octave and places where an octave passage has been expanded. I also have found a few misprints in the printed edition. It seems the more I look the more I find.
The truth is that Irma recorded the printed (revised)edition with the added arpeggios. The original 1966 version was never recorded as far as I know. It is not a major revision but notes are added.

1. Rogell, Irma (harpsichord)
   

   Duration: 0'48", 1.1 MB. (192KB/s, 44100 Hz) Diferencia No. 2 as part of Diferencias, played by Irma Rogell © 1982 Van Slyck, used with permission

   Duration: 0'45", 1 MB. (192KB/s, 44100 Hz) Diferencia No. 4 as part of Diferencias, played by Irma Rogell © 1982 Van Slyck, used with permission

   Irma Rogell wrote as an introduction to the piece for the vinyl recording:
   

   In the Handel Suite, it is interesting to note that the Courante is itself a variation of the Allemande in that it uses the same melodic and harmonic material, transforming it from 4/4 time to 3/4 time.
   However, it is in the Sarabande that we finally come to the third and later type of variation, beloved of Bach, Beethoven and Brahms: the use of a familiar tune, usuallv borrowed from someone else's composition, followed by as many variations on this tune as the composer wishes to invent
   . In this dance, Handel uses the well-known Iberian folktune 'La Folia' as his theme, setting it forth in simple unembellished block chords. There follow two variations. The first is in lute style, meaning that the chords are broken up into their component parts and each notc individually struck, creating a lacy texture. The second returns to the chordal treatment in the treble, while the bass roams over the keyboard in a rising and falling pattern, creating a sweeping effect of agitation and restlessness.
   It is this same tune, 'La Folia' which becomes the theme for Van Slyck's 'Diferencias', or Variations. Striking the same tonality of D, the theme sounds forth from the lowest depths of the keyboard, mysteriously altered by chromatic ambiguities and dissonances which imbue it with a sombre chilling intensity.
   There is a startling transition of color as the theme sounds out in both hands high in the treble, but muted by the lute stop, as though rigid and still numb from its encounter with Death. In a miraculous moment. the theme frees itself from its static imprisonment and with a sudden flow of eighth notes moves into a singing sweetness, a return to life. There follow variations of dramatic contrast: exuberance, serenity, agitation, tenderness. With gathering energy, the music moves demonically to an impassioned climax before sinking again into dissonant depths of darkness. A theme from an eighteenth century dance, seen in a glass darkly.

   • Released by Mnemosyne Records vinyl Mn-6
   • Duration: 7'52"
   • Recording date: December 1982 in Newton, Massachusetts, USA
   • Irma Rogell performs on the Pleyel harpsichord built for her according to the specifications of her teacher, Wanda Landowska.
2. Slyck, Nicholas Van
   • Edited by Irma Rogell
   • Published 1984 by The Willis Music Company (Hal Leonard Music Publishing)
   • 12 pages
   • Ordernr. WMCo 11106

Small World Project (Ensemble)

Follias (traditional)

Duration: 4'57" direct link to YouTube Recorded at the Montreal Jazz Festival 2008 (title: Las Folias de Espagne) © Small World Project

1. Small World Project (Sébastien Dufour: ukulele, Patrick Graham: percussion, Frédéric Samson: double bass) 'Small is still beautiful'
   • Title: Follias (trad.)
   • Released 2008 by Fidelio Records compact disc FACD023
   • Duration: 5'20"
   • Recording date: Not mentioned in the documentation at l'Eglise St-François-de Sales, Laval, QC (whatever that might be)

Soler, Pedro (1938- )

Caminos (1994)
Nothing is said about the Folia-theme in the slipcase: 'Camino (Soler)' is all that is stated.
Very straightforward performance of the Folia-theme in 4/4 time (instead of the 'normal' 3/4 time) holding all the chords double as long where the progression normally changes after every bar. All four lines end up with the dominant 7th finally ending in the tonic as an extra bar.
Starting with a plucked walking bass with a smooth guitar playing single melody notes only in the first two lines, the lines three and four with bowed tones of the bass and the arpeggios of the guitar cannot conceal that this short improvisation is without any significance.

1. Pedro Soler (flamenco guitar) and Renaud Garcia-Fons (bass) 'Suite Andalouse pour contrebasse et guitare flamenca'
   • Released 1994 by Al Sur compact disc ALCD 137
   • Duration: 2'32"
   • Recording date: September 1994 at Studio Cargo, Montreuil, France

Solomons, David W. (1953- )

Baroque-Bossa Nova of La Folia (2004)
The first piece which David Solomons composed on the Folia theme is intended as the Finale of his Folia Suite. Who knows how many pieces will be pushed forward?

Duration: 3'30", 2465 kB.( 96kB/s, 22KHz) The whole composition as created by David W. Solomons © 2004, David W. Solomons, used with permission

Very formally I always ask for the recording dates and location of the Folia-composition (some composers seem to start with their final piece of a suite), because many Folias are recycled with compilations and so those duplications can be better identified. The answer of the composer was in this case not only extremely fast and accurate but his unexpected turn of phrase gave me quite a smile!

Well, it was written today (23 May 2004), in my bedroom located in Sale, England

David W. Solomons continues:

I chose the Folia because I've always liked the basic melody (I think I've known it for decades) and because Joe Dillon (of the Delian Society) mentioned your site. More generally, also, I like the use of basso ostinato, and I suppose that La Folia could be regarded as a glorified version of an ostinato. I suppose the best ever pure ostinato is in Dido's Lament from Purcell's Dido and Aeneas (which I sing in my alto arrangement on my site www.dwsmp3.com/dido.htm ). There is also one that I use quite a lot myself, a chromatic one and yet totally tonal - one of the best examples of my use of that one is the Amble round Mercury here: www.dwsmp3.com/recorder.htm
I suppose it helps to give structure to a piece much in the way a blues riff does. So maybe I'll start a series using the La Folia ostinato over the next few years, who knows...
BTW I wonder whether the ostinato feel of la Folia relates to the original meaning - madness due to the mind going round the same theme, unable to break out.. hmm?

1. David W. Solomons
   • Released at the website of the composer, no cd planned as yet for that piece
   • Equipment used: Finale 2004 software and musicmatch to create the mp3pro-file
   • Duration: 3'30"
   • Recording date: May 23, 2004 Sale, England
   • More about the oeuvre of the composer/performer http://www.dwsolo.com/

David was so captivated by the charms of the Folia that he decided to start his open Folia project where his 'Baroque-Bossa Nova of La Folia' is the finale: see his Folia-page http://www.dwsmp3.com/lafolia.htm

One of my projects is to make my own La Folia variations in a sort of multi-forces suite (a-cappella, song, guitar quartet, jazz band, tuba quartet, string quartet and who knows what else...).

Let's sing la Folia, first movement (2004)
David wrote about this part of his Folia-suite:

This is for voices and guitars. It introduces the theme as a repeated verse on voice 1 and then adds a couple of vocalize additions above and below it. The cuckoo style interpolations by voice 3 presages the madness of the third movement....

Duration: 1'53", 1328 kB.( 96kB/s, 22KHz) The whole composition (31 May, 2004) by David W. Solomons © 2004, David W. Solomons, used with permission

La Folia Guitar Quartet, second movement (2004)
David wrote about this part of his Folia-suite:

This re-introduces the theme and then adds various neo-renaissance divisions, ending up with the main theme a quaver apart between parts to give the effect of dreaming empty headedness (or possibly even madness itself?). The guitarists are also asked occasionally to tap their guitars - hence that knocking sound!

Duration: 2'51", 2005 kB.( 96kB/s, 22KHz) The whole composition (May 31, 2004) by David W. Solomons © 2004, David W. Solomons, used with permission

La Folia Multimodal, third movement (2004)
David wrote about this part of his Folia-suite:

This a-cappella version uses three altos and one (sort of) bass, a-cappella, i.e. me singing on multitrack. It explores a couple of alternative modes for the theme: Octatonic and Dorian and it also explores the theme of madness a little - Beware!

Duration: 2'47", 1964 kB.( 96kB/s, 22KHz) The whole composition (May 30, 2004) by David W. Solomons © 2004, David W. Solomons, used with permission

String Quartet Variation, fourth movement (2004)
David wrote about this part of his Folia-suite:

This string quartet version starts in the major (Ionian) mode in a fast 5 time and explores some slightly Brittenesque ideas. After a short interlude which grasps helplessly for the home key the time changes to 7/8 and the mode returns to a sort of minor (aeolian) and the feeling of madness becomes almost "acceptable". The major theme in 5 time returns and we are prepared for the planned climactic and crazy 5th movement (.... which is yet to be composed - hang on in there...!)

Duration: 3'45", 2641 kB.( 96kB/s, 22KHz) The whole. so far unfinished, composition (June 1, 2004) by David W. Solomons © 2004, David W. Solomons, used with permission

Sor, Fernando (1778-1839)

Les folies d'Espagne et un menuet composé pour guitare seule Op. 15a (c.1815): theme, 4 variations and menuet
Original manuscript in Biblioteque Nationale Paris.
First published by Heugel, Paris between 1810 and 1823.
The minuet has no musical connection whatsoever with the Folia-theme. There is even some debate going on till the present day if Sor intended to connect the Folies d'Espagne with the menuet.

5 pages in pdf-format (including menuet) with fingersetting of theme and first variation © Thomas Königs 2003, used with permission

Duration: 3'53", 08 kB (including menuet), sequenced by M. Knezevic I took the liberty to slow down the tempo from 120 to a more customary 90. Used with permission 1998.

Opening of Les folies d'Espagne et un menuet

1. Attademo, Luigi 'Folías; Sanz, Giuliani, Ponce, Gilardino, Sor, Ohana'
   
   • Title: Les Folies d'Espagne Variées e un Minuet op. 15a
   • Duration: 1.re Variation 0'27", 2.me Variation 1'00", 3.me Variation 0'29", 4.me Variation 0'45", Menuet: Andante 2'00"
   • Recording date: March 25 and 29 2001 at Quality Audio, Vercelli, Italy
   • You can listen to the first variation in MP3 (542 kb) at the website of Luigi Attademo http://www.luigiattademo.it/
   • Guitar by Carlo Raspagni, 1996
   • See also the page Recommended Folia-recordings
     
2. Bote & Bock Verlag
   • Title: Las Folias de Espana
   • Published by Bote amp; Bock, distributed by Schott Music Distribution, Mainz
   • Publisher No. bb0923
   • ISMN: M-2025-0923-4
   
   
3. Brown, Elizabeth C.D. (19th century guitar) 'La Folía de España'
   
   Elizabeth Brown wrote for the slipcase:

   Thanks to the efforts of several very successful guitarists who also composed, the guitar enjoyed a resurgence in popularity in the early 19th century. The Spaniard Fernando Sor was such a guitarist, and was also one of the better composers. Although Sor actively performed and was considered a virtuosic guitarist, he also devoted himself to composition, producing several successful operas, ballets, symphonies and various chamber pieces in addition to his works for guitar. Perhaps as a result, his guitar compositions are in a sophisticated style that goes beyond merely showcasing the instrument's idiomatic capabilities. Published in Paris in the early 1820's, Sor's version of the folía exhibits a classical approach to the theme and variation form, with each variation serving as its own entity, often sharply contrasting in mood from the others. Since folías are always in a minor key, Sor is unable to include a major variation as further contrast, a common practice of the time. This may be why he chose to end the composition with this charming Menuet in the parallel major.

   • Title: Les Folies d'Espagne, Variees, et un Menuet
   • Released 2005 by Rosewood Recordings compact disc ROSE 1007-CD
   • Duration: 4'27"
   • Recording date: Fall 2004, at Queen Anne Christian Church, Seattle, Washington, USA
   
   
4. Caceres, Oscar (guitar)
   • Les folies d'Espagne op. 15 a
   • Released 1990 by Adda compact disc 581214/17
5. Casseus, Frantz editor of 'World's favorite selected masterpieces for the classic guitar'
   • Title: Las Folias de Espana
   • Published 1970 by Ashley Publications Inc.
   • p. 108-110 (3 p.)
6. Clifford Essex Music
   • Published by Clifford Essex Music Co. 195? or 196? London, as part of The Clifford Essex classic series of Spanish guitar solos by the world-famous masters and popular composers.
   • Score 2 p., 30 cm
   • Publisher No. 618 Clifford. Cover has label with imprint Mills Music.
   
7. Jappelli, Nicolia (Romantic guitar) 'Fernando Sor, Pièces de Sociétè'
   • Title: Les Folies d'Espagne variees, Op. 15/a
   • Released 2002 by Frame compact disc FR0242-2
   • Duration: 3'18"
   • Recording date: January 2002 in San Angiolo Vico l'Abate
   • Guitar by Bernhard Kresse after a 'Stauffer' Legnani model
   
   
8. Jeffery, Brian editor of 'Fernando Sor, complete works for guitar' in a facsimile edition
   • Title: Les Folies d'Espagne, variees, et un menuet ... Oeuvre 15
   • Published 1977 by Shattinger International music corporation
   • Volume 1, p. 134-136 (3 p.)
   
   
9. Karstens, Thomas (guitar) 'Pasión Española'
   • Title: les Folies d`Espagne variées op. 15 (from tecla edition edited by Brian Jeffrey)
   • Released 1995 by Abadone compact disc abcd 93206, distributor Audio Electronic G.m.b.H.,P.O.B. 101338, D-40004 Düsseldorf, Germany (optionally the cd can be ordered at: Karstens@uni.koeln.de)
   • Duration: 3'51"
   • Recording date: August 1995 at Castle of Morsbroich, Leverkusen, Germany
   
   
10. Martinez, Kurt (guitar) 'Folías'
    • Title: Les Folies d'Espagne
    • Released without indication of year (but it is 2003) by martinezkurt@cs.com without order number
    • Duration: 4'48"
    • Recording date: not mentioned in the slipcase
    • See also the page Recommended Folia-recordings
    
    
11. Papas, Sophocles T. revised and figured the manuscript
    • Published by Columbia Music Co.
    • Score 3 p., 31 cm
12. Scheit, Karl revision and editor of fingering theme, 4 variations and menuet for guitar solo
    • Published by Universal Edition c.1983 Wien
    • Score 5 p., 31 cm (also 8 p., 23,2 x 30,5 cm)
    • Publisher No. 16709
    • ISMN: M-008-00615-9
13. Segovia, Andres (guitar) '1950s American recordings volume 2'
    • Title: Variations sur les Folies d'Espagne & Menuet, op. 15a : Menuet en mi majeur
    • Released 2007 by Naxos Historical series ADD compact disc 8111090
    • Duration: 1'46"
    • Recording date: 1952, 1954 and 1955 in New York for the Decca label
    
    
14. Segovia, Andres (guitar) 'Nocturno'
    • Title:Folías de España
    • Released by Intercord (Germany) LP LC-1109
    • Duration: 3'48"
    
    
15. Segovia, Andres (guitar) 'My favorite Spanish encores'
    • Released 1973 by RCA Red Seal New York LP ARL1-0485
    • Duration: 3'48"
16. Segovia, Andres (guitar)
    • Title: Folias de Espana Op. 15 A
    • Released by Intercord Int. 160815
    • Recording date: May 1973
17. Simov, Simeon (guitar) 'The Spanish Guitar - Fernando Sor'
    
    • Released October 1, 1996 by Laserlight compact disc 14298
      Album Notes: This disc is also available as a part of Laserlight 15-929.
    
    
18. Smith Brindle, Reginald revised and edited the manuscript
    • Published by Schott c.1982, New York
    • Score 6 p., 30 cm
    • Publisher No. Edition 11448 for guitar solo
    • ISMN: M-2201-1041-2
19. Teicholz, Marc (guitar) 'Guitar Collection, Sor'
    • Released 1996 by Naxos compact disc 8.553354, re-released June 2005 by Naxos compact disc 8.553722
    • Duration: 2'47" (excluded the menuet) variations not indexed at all
    • Recording date: February 21/26, 1995 at St. John's Church, Newmarket (Canada)
    
    
20. Walkerova, Luise (guitar) 'Luise Walkerova - Leo Witoszynskyj, Kytarovy Recital'
    • Title: Las folias de España
    • Released 1971 by Supraphon 2 LP-set 1871/2
    • Duration: unknown
    • Recording date: May 29 - June 2, 1971, Studio Domovina, Prague
    
    
21. Weiser, Aurelia (guitar) 'Fernando Sor (1778-1839)'

    Duration: 1'19", 1.6 MB. (160KB/s, 44100 Hz) The opening of Folie d'Espagne op. 15 © 2008 Aurelia Weiser, used with permission

    • Title: Folie d'Espagne op.15
    • Released 2008 by Aurelia Weiser compact disc LC 18340
    • Duration: 3'52"
    • Recording date: September 6, 2007 in the Kammermusiksaal of the Hochschule für Musik Würzburg, Germany (Tonmeister Jürgen Rummel).
    • More about Aurelia Weiser (and how to order the cd) at her website http://www.aureliaweiser.de/
22. Yamashita, Kazuhito (guitar) 'F.Sor Complete Works for Guitar (16CDs), Vol 1'
    • Title: Les folies d'Espagne op. 15 a
    • Released 1988 by Victor as compact disc VDC 14-16
    • Duration: 4'39" (included the menuet)
    • Recording date: December 1987 Kitakata Plaza Main Hall, Japan

Spears, Britney (1981- )

Oops, I did it again (2000)
In the popular music culture composers are completely disregarded and the scene of the performer is everything. So I could have catalogued this tune as written by Rami Yacoub and Max Martin but no-one would associate it with the tune in the hit charts sung by Britney Spears. Richard Thompson and the Children of Bodran has made versions based upon the tune sung by Spears.
The second part of the Folia chord progression is fully exposed in the refrain although the meter is 2/4 instead of the 3/4 Folia-theme. However many variations on the Folia-theme are written in 2/4 meter so no excuses to leave this tune out.

1. Spears, Britney
   • Released April 2000 as a single and as compact disc track
   • Duration: c. 3'30" vocal version and 3'29" instrumental version
   • Recording date: unknown

Sprung, Arnd (1954- )

Reflexiones sobre la Folia (2002), Komposition für Gitarre

1. Sprung, Arnd
   • Duration: c. 12'30"

St. Pierre, Anthony

See Pierre, Anthony St. (letter P)

Stegemann, Michael (1956- )

Inquisition for Organ solo (1997)
The composition is a passacaglia over two 'grounds': La Folia and the gregorian Dies irae at the same time.

1. Stegemann, Michael
   • First played: Nov. 19, 1997 in the Gedächtniskirche in Berlin by Wolfgang Zoubeck (a wellknown german organ-player and composer)
   • Duration: c. 9'00"

Steup, Hendrik Conrad (1778-1827)

Les folies d'Espagne

1. Étrennes contenant les danses favorites de la troupe de Ravel: cahier 1, arrangé pour piano par l'éditeur. Includes 27 dances
   • Published 180? by H.C. Steup, Amsterdam, The Netherlands
   • 5 volumes, 25 cm
   • Collection dr. D.F. Scheurleer (Inv. 3826)
   • Part of the collection of the Royal Library in Den Hague, The Netherlands NMI 21 F 11

Stiller, Andrew (1946- )

Spanish Follies for two guitars (1981), arrangement for four guitar 1984
Andrew Stiller wrote about his composition:

My piece was inspired by Marin Marais' wonderful set of folia variations for gamba, but is not based on or imitative of it. The title is a deliberately over-literal translation of the French 'les folies d'espagne', which I used both in homage to Marais and in recognition of this being a guitar piece. It is a 'folly', too, because for most of its length it treats the theme 'foolishly'--not as a ground bass but as a simple sequence of notes (G D G F Bb F G D) that has 'adventures': very fast repetitions in the minimalist fashion, for example; transpositions, distortions, various kinds of contrapuntal manipulation. The guitars are required to use scordatura, so that the range goes down to a low D, and quarter-tones are available. In places, the music modulates into tonalities with quarter-tone tonics, in other places the quarter-tones are used to imitate the upper partials of drums: there is a quote from Ravel's Bolero, and a spoken line from Windsor McKay's Dreams of the Rarebit Fiend. A long rock-'n-roll passage leads to a climax invoking the great lute tradition of the 16th-17th century, in the middle of which a simultaneous cross-relation (Fis against F) finally forces the theme to acknowledge its tonal roots and produce the traditional cadence that had hitherto been missing. Following this resolution the last five bars are repeated, then the last four, the last three, the last two, the last...

More about the oeuvre of Andrew Stiller, the founder of Kallisti Music Press at: http://www.kallistimusic.com/Stiller.html

1. Castellani-Andriaccio Duo (guitar)
   • First performed (2 guitars): February 14, 1992 at the Smithsonian Institution
   • Duration: c. 14'00"
   • Yet to be recorded, the four guitar version remains unperformed
2. Stiller, Andrew
   • Published 1981 (two guitar version) and 1984 (four guitar version) by Kallisti Music Press, Philadelphia
   • 25 pages (two guitar version) in two parts
   • 30 pages (four guitar version) in four parts

Stingl, Anton (1908-2000)

Variationen über ein altspanisches Thema zur Übung in d-moll (1939), theme and 3 (42?) variations for solo guitar

1. Spielbuch für Gitarre, Heft II 3752 (28 pages in total)
   • Published 1939 Edition Schott s.s.s.35998
   • 4 pages: number 22, 23, 24, 25, size 28x19cm (landscape)

Strauß, Marlo (1957- )

La Follia per Mandolino solo, theme and 10 variations (1991)
Marlo Strauß wrote about La Follia per Mandolino solo:

One day I had to write and play a continuo for Corelli´s Follia-variations. To study and really understand the whole thing I wrote these variations first to make sure that I really know the theme and its character.

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)

Duration: 1'38", 481 kB.( 40kB/s, 22KHz) Theme as indicated in the sheet music and variation 9 as played by Leoniek Hermans © Marlo Strauß/Leoniek Hermans, used with permission

Theme of La Follia per mandolino solo	© Grenzland Verlag, used with permission

1. Hermans, Leoniek (mandolin) 'Schmetterlinge'
   • Released 1997 by Grenzland Verlag Theo Hüsgen Aachen, GVH KM - 2009
   • More about the oeuvre of the composer at http://marlostrauss.kulturserver-nrw.de/
   • Published by Grenzland Verlag compact disc AM 005
   • Duration:
     Thema - Adagio 0'49"
     Variation 1 0'46"
     Variation 2 - Allegro 0'25"
     Variation 3 0'27"
     Variation 4 - Vivace 0'23"
     Variation 5 0'18"
     Variation 6 - Poco allegro 0'29"
     Variation 7 - Allegro 0'33"
     Variation 8 - (nur auf der a'-Saite zu spielen) 0.25"
     Variation 9 - Adagio 0'52"
     Variation 10 - Allegro 0'38"
     Thema - Adagio 0'49"
     
   • Recorded 1994-1996 in Studio A, Stein

Stubbs, Stephen (? - )

Improvisation I on the Folia bass (2004)
Most Folia variations are played to show off the virtuosic capabilities of the performers. These variations are mainly designed to impress the listener and are not intended as an organic unity. The improvisations of Stubbs c.s. seem to have a different approach; to give an inner reflection of the music in a floating sober style.

1. Stephen Stubbs (baroque guitar), Maxime Eilander (Spanish aand Italian harps), Erin Headly (viola da gamba, lirone), Milos Valent (violin, viola) 'Teatro Lirico'
   • Released February 2006 by ECM New Series 1893 4763101
   • Duration: 7'45"
   • Recording date; February 2004 in Propstei St. Gerold
   • See also the page Recommended Folia-recordings

Improvisation II on the Folia bass (2004)

1. Stephen Stubbs (baroque guitar), Maxime Eilander (Spanish aand Italian harps), Erin Headly (viola da gamba, lirone), Milos Valent (violin, viola) 'Teatro Lirico'
   • Released February 2006 by ECM New Series 1893 4763101
   • Duration: 6'44"
   • Recording date; February 2004 in Propstei St. Gerold
   • See also the page Recommended Folia-recordings

Svenblad, Ronnie (? - )

Sinclairvisan (2001)
See for more detail about the tune Sinclairvisan Anonymous traditional

Ronnie Svenblad wrote about the tune:

I made a record with Swedish folk songs and Sinclairvisan is a well known folksong in Sweden. I think it is a great song. The first time I heard it was by Jan Johansson on the record "Jazz på svenska"

Duration: 4'28", 5.38 MB. (160KB/s, 44100 Hz) The complete set of variations © 2001 Ronnie Svenblad, used with permission

1. Svenblad, Ronnie (keyboard and computer-programs)
   • Released on the website http://www.electromancer.com/showTrack.php?id=1108852955.
   • Duration: 4'28"
   • Recording date: 2001 in Sweden in the genre Ambient/New Age

Svoboda, George (Jiri) (1954- )

Folias (6 variations for two classical guitars)
In September 2000 George Svoboda wrote in an e-mail:

Folia has always been a fascinating form to me. There is something eternal in those harmonies. I wrote that piece in 1994. It is not the greatest piece of music but we (Fred and I) had fun playing it!

Duration: 0'54", 03 kB Theme as indicated below in the sheet music

Theme of Folias	© G. Svoboda, used with permission

1. Benedetti/Svoboda Duo (2 guitars) 'Scirocco - Desert Wind'
   • Released 1994 by SBE Records compact disc SBECD002
   • Duration: 4'55"
   • Recording date: Summer 1994 at Gandharva Studios, San Diego, California US

Swerts, Piet (1960- )

La follia per violino solo (1990)

1. Swerts, Piet
   • Published by CeBeDeM (Aarlenstr.75-77 1 verd. 1040 Brussel + 32 2 94 230 94) c.1992, Brussels
   • Eight variations
   • Score 8 leaves of music, 31 cm
   • Duration c. 8'00"

Sychra, Andrei (1773-1850)

Les folies d'espagnes (c.1825) theme and 3 variations for semistrunnaia gitara

S. Walsh wrote about this piece in an e-mail March 2004:

There is a Folia-version for semistrunnaia gitara - a Russian seven-string guitar tuned DGBDGBD - by A. Sychra (1773-1850). He was the founding father of the Russian guitar and wrote hundreds of pieces. He taught the instrument and some of his pupils became composers too.
This particular piece is in 'Journal de Petersbourg' no. 33 and consists of the theme and 3 variations in E minor. Most of the title page is in Russian but it clearly states ' Journal de Petersbourg pour la guitare par A. Sychra'. The collection has 144 pieces in all. I think they were published in instalments. A lot of the pieces are very attractive but this setting of La Folia seems a bit dull.
The edition that is in the Library of Congress has the dates 1828-29 pencilled in by a librarian. But Oleg Timofeyev's liner notes to his cd 'The golden Age of the Russian Guitar' (Dorian Recordings) dates the start of this collection of pieces starting in 1818. I doubt if Oleg Timofeyev has ever recorded this particular piece which is not Sychra at his best.

1. Journal de Petersbourg
   • Edition available in the Library of Congress
   • Duration c. 1'50"

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