|Duration: 0'43", 01 kB.
The opening of reflexe with the theme of Sanz as indicated in the sheet music
|Opening of 'Reflexe' arranged for 2 guitars by Helmut Richter||© H. Richter, reproduced with permission|
I made the transcription for two guitars after talking with Fried Walter, who was pleased to hear about it and approved of the transcription afterwards. Walter takes the theme (Gaspar Sanz) and adapts it into variations according to the chronological style of later musical periods and composers in sometimes a very humorous way. He was not trying to duplicate the different musical styles in a scientifical historical context, but rather intended to create the means for an enjoyable journey through the musical history. However, you can always hear the 'melody' on top of things but in quite different rhythms. There is a theme and 8 Variations: 1550 Renaissance (1'45"), 1650 Barock (1'23"), 1750 Rokoko (1'58"), 1850 Fandango (1'34"), 1820 Biedermeier (1'37"), 1890 Wiener Walzer (2'06"), 1925 American Banjo (1'06"), 1965 Beat (1'08"), 1972 Avantgarde (1'23"), ...und noch einmal das Thema (1'01").
Duration: 3'15", 3.2 Mb (128kbs, 44100 Hz)
The complete Folia Variations, 9 pages in pdf-format, size 92 Kb
I wrote the piece during the last couple of weeks. My reasons for the composition were several. First, it's my first attempt at a quartet; I wanted to get a feel for the instruments. I chose the Folia theme because I've used it in several piano pieces and found it attractive. It's a nice progression to move from a minor tonic to a dominant chord in a decorated manner.
Duration: 3'38", 3.4 Mb (128kbs, 44100 Hz)
The complete Pentango, 8 pages in pdf-format, size 107 Kb
The main theme has a five note pickup, thus the name. .
© Jolanda van der Elst,
Duration: 3'38", 3.3 Mb (128kbs, 44100 Hz)
The complete Tangofolia V, 4 pages in pdf-format, size 64 Kb
Tangos usually consists of 16-measure sections so I wanted to try using the Folia harmonic scheme as half of a pattern. I've done this in other tangos, but for this one, I also used the Folia discant as the basis of the melody. The major-key theme is based on a descending scale pattern. The tango has had a long run as a living musical and dance style. My tangos tend to be a bit old-fashioned (maybe from the pre-1930 era in style.) I just find tangos to be fun to listen to, and thus fun to write.
|Folia theme in Magnolia bar 105-108||by Tony T. Warnock|
Duration: 3'05", 2.9 Mb (128kbs, 44100 Hz)
The complete Tango Magnolia, 7 pages in pdf-format, size 104 Kb
Attached is another composition. I was trying some new ideas but I still used the Folia chord pattern (and discant) in parts. Actually, I used the discant (the one Corelli used) for a bass line too in the syncopated section.
|Folia theme in Tango, bars 10 till 17||by Tony T. Warnock|
Duration: 3'43", 3.5 Mb (128kbs, 44100 Hz)
The complete Tango, 5 pages in pdf-format, size 70 Kb
Here is a new piece that uses the Folia chord scheme in the second part of the first section and then uses the scheme at double, quadruple, and octuple speed in the coda.
Duration: 3'30", 3.3 Mb (128kbs, 44100 Hz)
The complete Rumba # 1, 18 pages in pdf-format, size 229 Kb
I finally (or Finale2010ly) wrote another piece using the Folia chord progression. It's a rumba (can be danced either American or International style) rather than a tango. I suppose, techincally, it's a "bolero-son" but most dancers wouldn't recognize that term.
Duration: 3'19", 3.1 Mb (128kbs, 44100 Hz)
The complete Tango Ornitorrinco,
I have a new tango that uses the Folia chord pattern a bit. The name comes from the Spanish word for duck-billed platypus (a monotreme). It's a pun based on the monothematic construction of the music
The Folía is thought to have been a Portuguese folk
dance before it moved to the more sophisticated locales of court and theatre.
Contemporary accounts describe it as frenetic and noisy, hence the idea
that the name referred to the dance steps - "mad", "demented",
"crazy". By the end of the 15th century, comic scenes set to the
folía had become a staple at popular festivals and court shows. The
anonymous 16th-century Portuguese vilancete Não tragais borzeguis
pretos is an example; alluding sarcastically to the dreary dress code
imposed at the court of King João III, it instructs the courtier
that black buskins (the laced leggings covering the lowerleg and foot) shall
henceforth not be worn.
By the end of the 17th century, a dance called "Folie d'Espagne" had moved north to the Paris Opéra, where it was featured, fully choreographed, as a stylized dance in the noble style. Composers all over Europe found the folía's harmonic pattern an apt subject for extended instrumental variations; examples by Corelli (for violin) and Marin Marais (for viol) are among the best known today. Our diferencias (variations) are selected from an anonymous set, Folías de Espanya ab mudansas, written for an unspecified melody instrument and preserved in a Spanish manuscript from the early 18th century.
this recording concludes with a suite from the 1938 Joseph L. Mankevicz produktion of A Christmas Carol starring Reginald Owen as Scrooge. Edwin L. Marin directed this version of the Dickensian classic for MGM. The fifty-minute score contains ten themes incorporated into twenty-three orchestral numbers and seven choral selections. Waxman had to whip all of that into shape within five days! The recording session began at five in the afternoon and ended at nine the following morning. The composer noted: 'High pressure has no ill effect on the inspiration but it's pretty hard on the body'.
The complete Variations
on "La Folia" for violin duet
I composed it in the Summer of 2009 specifically to be included in a Concert of Historicist Composers sponsored by the Delian Society. Honestly, I cannot remember exactly how the idea came to me (probably in the middle of the night), though I do have fond memories of learning Corelli's La Folia variations as a child while studying violin.
I was especially intrigued by the meaning of "The Madness" or "Folly". So each variation depicts this in one way or another and the piece progresses to a rousing finale that incorporates some material from the previous variations. I'm planning to make a nice recording of this piece in the next few weeks and post a video on YouTube.
Then there is also an improvisation on the baroque La Folia, the oldest melodic-harmonic compositional structure, and finally a rendition of Johannes Brahms' Lullaby.
Duration: 2'07", 873 kB. (56kB/s, 22050Hz)
Das Stück, welches im Auftrag von Rahel Cunz und Jacqueline
Ott geschrieben wurde, basiert auf der berühmten Violinsonate Opus
5/12 von Arcangelo Corelli (1653-1713), genannt La Follia; Variationen über
ein Thema von Farinelli - einem Komponisten und Freund von Corelli und Onkel
des gleichnamigen Starsängers des 18. Jahrhunderts.
La Follia, ursprünglich ein wilder, hedonistischer portugiesischer Tanz, präsentiert sich beim Aristokraten Corelli als nobler Variationen-Satz, gehalten im Rhythmus der Sarabande.
Das Thema, genannt "Farinelli", begibt sich in diesem Duo auf eine phantastische Reise in ein Spiegeluniversum, wo es u.a. Leonard Cohens Song "First we take Manhattan (1988) und Ennio Morricones Mundharmonica-Melodie aus "Spiel mir dass Lied vom Tod" (1968) oder einem verlausten Mensuralkanon begegnet. Den Formen und Strukturen dieser "Variationen" liegt die vollkommene Zahl 28 zugrunde.
These are the stations of the journey:
Farinelli is enraged and no longer sober, Farinelli is unhappy and leaves his home, Farinelli takes a walk in the cold night, Farinelli sees the shining stars, Farinelli strays away and is overcome with yearning, Farinelli tries to gain momentum, Farinelli begins running, Farinelli takes off, Farinelli sees the ground disappearing, Farinelli floats to cold heights, Farinelli arrives in a foreign world, Farinelli rises to new spheres, Farinelli traverses turbulent stratums, The solar wind carries Farinelli to outer space, Farinelli sinks into dark depths, The sinking turns into an ascent, Farinelli leaves Death lying to the left, Farinelli sees his mirror image, Farinelli finds himself in a worm-hole, Did something happen?
Duration: 5'24", 19 kB.
Since Corelli's LaFolia variations had been a favorite since my youth, for me it wasn't a matter of choosing to write LaFolia variations, but avoiding the obvious choice for many years. Even though Corelli's set was the most valuable instructional model for writing variations that I was familiar with, I hesitated to use it because (as illustrated by your website) so many others had already done that. I also preferred writing variations of pieces that were more familiar to modern audiences because I think variations of familiar tunes are more appreciated by the listener because it is easier for them to hear the underlying original tune than with unfamiliar pieces. It wasn't until I started writing more trios that I decided that my versions of LaFolia would be more original.
I especially enjoy hearing and playing three part pieces where all three parts have important, independent, and melodic lines. In the baroque period trios were very popular and were considered the true test of a composer. Recent psycho-acoustic studies have shown that most listeners can keep track of 3 simultaneous lines fairly well but have difficulty with 4 or more. This piece contains 21 variations written in a semi-canonic form in that the first melody line always plays new material while the second melody line plays the material that the first line just finished.
The work derives its inspiration from the traditional melodic
– harmonic – rhythmic pattern called "La Folia" which served as
a framework for dozen of works written since the Renaissance to the present
day. The name’s origin relates to the fact that, at first it served as pattern
for music and dance in which the dancers became ecstatic, and seemingly
struck by madness.
In my treatment of this traditional form, I tried to derive my ideas from its typical melodic structure, its basic rhythmic character and its dance-like origin as well as form the obsessive, everlasting repetition of the basic pattern while making changes and variations, in my own language.
The Work consists of four movements: Fast-slow-fast-slow, with the first three almost connected and the fourth independent. This last movement is in the form of a funeral march in which I tried to express my feelings and pain in regard to the collapse of the process and the loss we are experiencing in the present era.
The four movements of Concerto da camera are
arranged fast-slow-fast-slow (a rereversal of the more customary baroque
arrangement of slow-fast-slow-fast). The first three movements are connected,
with no discernible pause between them. Wiesenberg writes with a rhythmic
and harmonic spikeness reminiscent of Stravinsky's neoclassical period,
initially alternating the concertino group (solo flute, oboe,
horn and bassoon) against the strings. Complex rhythmic motives travel
among the solo players above the pulsing regularity of cellos and basses.
At first, after the opening gambit, they play in steady motor rhythm,
as we familiarize our ears with the recurrent harmonic pattern of the
Folia. Presently Wiesenberg varies the bass as well, imbuing
each variation with its own character and moving from one to the next
with seamless transitions.
The spirit of the dance suffuses the first three movements of Folias, allowing opportunities for elegant solo work in the four woodwind instruments. Wiesenberg's piquant harmonies are flavored with hints of Middle Eastern scales. His handling of the strings is particularly effective, with several passages for the principal players and a couple of passages for the first three chairs in each string section, in addition to writing for the full complement. Each section of the music (Allegro ritmico, Intermezzo, Allegro molto ritmico and Largo: Marcía alla funebre) is defined by its own distinctive set of rhythmic motives, often in imitation. For example, the Intermezzo begins with oboe and horn in a slow-moving duet above a jagged line from muted cellos and basses. Eventually flute and bassoon join in, then Wiesenberg provides a lyrical passage for principal strings. Nowhere in the Intermezzo does the full ensemble play.
The finale stands as an indepedent movement. Wiesenberg has cast it as a funeral march. "I tried to express my feelings and pain in regard to the loss we are experiencing in the present era," he explains.
Wiesenberg begins the finale with a chorale for the
first chair strings (excepting bass), playing as a string quartet without
vibrato. Gradually he expands the ensemble until the full string choir
is playing, then introduces plaintive commentary from each of the solo
woodwinds. The music is powerful and emotional, anchored by the inexorable
repetition of the folia bass. In light of the Columbia shuttle
disaster early last month, in which an Israeli astronaut died along
with six Americans, Wiesenberg's closing movement takes an added poignancy.
Concerto da Camera is scored for one flute, one oboe, one bassoon, one horn, and strings.
Duration: 4'39", 62 kB.
This 'symphony' only survives in two copies, with differnet finales. One in the music archive of the Lobkowicz family where Paul's brother Anton was music director, and one in the former music collection of the empress Marie Therese (wife of Franz II of Austria).
This particular 'symphony' amounts to some kind of potpurri with music taken from different other works by Wranitzky - something which is not representative for his general output. I would guess it was hastily compiled for one of the concerts of the imperial family.
All movements evidently come from different works, except for this third movement - a depiction of a battle ending with a lyrical cello solo. It is likely it also comes from some other work, but I have not yet found a source for it. Anyways, the short Folia progression starts at bar 61 and is hard to miss!
|The Folia theme, bars 61 till 64||by The Wranitzky Project, used with permission|
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