Some similar
variations
like La Folia
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Some similar |
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I received some nice suggestions for intriguing variations which are very similar to the technique of the Folia-variations. I enjoy listening to these variations and expect that other people interested in Folia-music, will appreciate these pieces too. With a lot of thanks to the people who made these contributions.
This tune is from the Macfarlan Manuscript of Scottish fiddle
and flute tunes (National Library of Scotland MS.2084/5), compiled by David
Young in Scotland around 1740 for the antiquarian Walter Macfarlan (book
III #34 p20). It's obviously much older, but there is no earlier source
for it. The structure is like a piobaireachd (bagpipe variation set) but
the range is too wide for the pipes. Some people think it was originally
for the harp. The tune might just possibly be indigenous Gaelic, but the
basic rhythm is so Folia-like that a foreign influence seems more likely.
If it was a harp tune, that would make sense, as harpers had international
connections.
There were two possible bishops it could have been dedicated to; they lived
about 100 years apart. And there is another tune of the same name from another
Scottish manuscript of the 18th century. David Johnson thinks this one was
for the earlier bishop, who died in the late sixteenth century.
This has been recorded on the fiddle (by Mary-Ann Alburger, I think). There
is a published version of it in Scots on the Fiddle, book 2, edited by David
Johnson and available from him at 8 Shandon Crescent, Edinburgh EH11 1QE,
Scotland (phone 0131 337 4621). The other bishop's lament has been recorded
on the harp.
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Duration: 1'00", 942 kB. (128kB/s, 44100 Hz) |
There are two different tunes preserved that bear the title, ‘Lament for the Bishop of Argyll’; the other one is well known, having been recorded by Alison Kinnaird. This less well known one survives in the fiddle manuscript beautifully written out by David Young for his patron Walter MacFarlane, in c.1740. We do not know which bishop either lament might have been composed for, nor how ancient this tune was when David Young wrote it down. Its structure is very reminiscent of pìobaireachd, having its tune or ground developed in a melodic variation, which is then developed by figural variations of increasing complexity.
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The Sextet, Op. 18, sometimes known as the 'Spring' Sextet,
becoming a nickname for his happy work, was completed in September 1860
and, according to Clara Schumann, made a strong impression. Although
it is his first important work of chamber music, this Sextet is far
from being one of Brahms's first compositions.
The second movement is a theme and variations. It is well known how
fond Brahms was of this form which permitted him to combine discipline
with imagination. 'I do sometimes find, however, that we ... brood
too much on the theme. We all hold on timidly to the melody, but do
not treat it freely...' The theme can be broken down into two phrases
of eight bars each. It is a very simple tune built out of an ascending
scale. The harmonies, too, are simple, but with a hint of colour. The
overall character is grave - key of D minor - , a little ponderous -
vertical writing with double and triple stopping. This is reminiscent
of both the folksong and the chorale, both of which are often fused
in the popular imagination of Lutheran Germany.
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can also give you some more information about the music
"The Last of The Mohicans " Actually, it was not composed by Enja but by
a certain Dougie Maclean (the music was called 'The Gael') and was adapted
for the movie by Trevor Jones (This information are those found on the pocket
of the CD).
I have searched very hard to find the original music 'the gael' but
so far, I did not find it. More detailed information about the origins of
the tune can be found at http://www.musicweb.uk.net/Programme_Notes/macLean_thegael.htm
Starting like the Folia in d minor this piece is a simple repetitive theme
over 8 bars but not that complicated as the folia theme. The dominant septime
is no part of the chord progression
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Duration: 1'33", 06 kB. |
Hamilton H. Gilkyson III, nicknamed 'Terry' Gilkyson wrote this music in partnership with Richard Dehr and Frank Miller 'Greenfields' was a Top 10 hit in 1960 performed by 'the Brothers Four' which was an American folk group founded in 1957 in Seattle Washington. Other highlights this group performed included "The Green Leaves of Summer" from the John Wayne movie The Alamo (1961).
GREENFIELDS
Once there were greenfields...kissed by the sun
Once there were valleys...where rivers used to run
Once there were blue skies with white clouds high above
Once they were part of an everlasting hope
We were the lovers who strolled through greenfields
Greenfields are gone now...parched by the sun
Gone from the valleys...where rivers used to run
Gone with the cold wind that swept through to my heart
Gone with the lovers who let the dreams depart
Where are the greenfields where we...used to roam?
I'll never know what made you run away
How can I keep searching when dark clouds hide the day?
I only know there's nothing here for me
Nothing is now left for me to say
But I keep on waiting...until you return
I keep on waiting until the day you learn
You can't be happy when your heart's on the roam
You can't be happy until you bring it home
Home to the greenfields...and bleed once again
So, aside from this theoretical analysis, what do you think? Does Händel's 'Sarabande' have that 'folía feel? Will you be hearing echoes of it in a multitude of other compositions? Will you be humming it to yourself for the next five hundred years? Then that's a folía!
The popularity of Händel's Sarabande is immense after launching the arrangement for an orchestral setting in the film of Stanley Kubrick. It was shamelessly copied by the World Wildlife Fund (The Netherlands) and later on by Levi's Jeans (Europe, 2002) for their commercials. Even the dutch radio broadcasting of VPRO's 'Boeken'(1984/5) was weekly introduced by the film music of the film by Stanley Kubrick. In 2005 the BBC-documentary-series 'Auschwitz: The nazis and the final solution' was paved with it and I am sure many more examples will follow.Duration: 0'30" direct link to YouTube
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| the basic chord progression of Händel's
Sarabande in the key of d minor Note the difference with the folia-chord progression /DM___ /A7___ /F___ /C___ /GM___ /DM___ /GM___ /A7___ / /DM___ /A7___ /F___ /C___ /GM___ /F___ /GM A7__/DM___ / |
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In the slipcase is written: The disc opens and closes with sparkling works by George Frideric Handel. Loussier admits that the opening work, the Sarabande from Suite No. 11, is one of his favorites, where the format of theme and four variations allows him plenty of scope for invention. After a simple statement of the theme, Loussier takes full advantage of the form, employing a mixture of gentle swing, walking bass lines, syncopated piano chords, and a persuasive Latin beat from drummer Arpino to bring the variations to life.
Judith Robison wrote as introduction for the track:
Among other duties, Händel was much in demand as a harpsichord teacher. In 1727, he assisted in the publication of his second book of suites, which he entitled 'Lessons for the harpsichord'. The Sarabande, from the fourth suite in this volume, is deceptively simple looking on the printed page. In this recording, it has been embellished and elaborated according to the style of the period.
Indicated at the cover: George Frideric Handel's Sarabande is one of two
dance movements derived from a group of eight harpsichord pieces. The
thematic basis of the work is the familiar 'folies d'Espagne', an oft-quoted
theme from Spanish folk music.
Temple Painter wrote as introduction for the suite:
In the Suite XI in D minor, we find Händel turning to the
past for inspiration. For a moment, he forgets his brilliant keyboard technique, and
with masterful style and a flair for illusion, he deftly transforms the harpsichord
into a soft and persuasive lute.
A gently undulating allemande and rollicking courante seem to serve as a prelude to
an extraordinarily beautiful sarabande. (No more beautiful expression than this is
to be found in the whole of Händel's keyboard works.) Almost as an afterthought, the
little gigue ends the suite with a bit of humor.
This orchestral adaption
of a sarabande for harpsichord solo takes four different shapes: Sarabande
main title 2'38", Sarabande-duel 3'11", Sarabande-duel 48",
Sarabande end title 4'07". This arrangement was used several years
as tune for the dutch radioprogram 'Boeken' (VPRO).
The Suite in D minor, no 4 of the 1733 set, was composed not later than 1718, most probably earlier. Fotr it also exists, in an old manuscript published by Chrysander in the XIXth century, with a Prelude that eventually found its way into the 1720 set, but restored here by us to its original place. This Prelude is followed by the four dances traditionally found in a Suite; among these, a magnificent Sarabande with variations.
As I told you, Purcell often manipulates the original folia
theme to put it to more extensive musical use (probably to allow for some
more variety, although I think I could keep listening exclusively to folias
for months): the King Arthur Air could be the closest thing he ever wrote
to the original folia (while it is true that keeping a minor chord on the
fourth bar makes for a colder and less passionate folia); unfortunately
I am no Purcell-connaisseur either and I have no clue about other 'real'
folias in his works.
On the other hand, I'd like to stress the fact that the influences of the
folia on Purcell's music as a whole are incredibly vast (I would almost
be tempted to say the is not a single Purcell work I've listened to which
didn't contain a similar theme, or a directly inspired one); but as you
said, considering all of these similar themes as folias would devaluate
the collection. Anyway, the Fairy Queen probably based on that theme, not
on the original folia. As for the differences between the original folia
and that theme, I think you got it right, and that really makes a big difference,
in spite of the strikingly similar results obtained.
Listening again to both pieces I find that the fourth bar's progression
is quite similar, since they both seem to come back to I, even in the Air
(besides being a minor chord, it seems like the tonic to my perception),
which probably would lead us nearer to Purcell's vision of the folia (which
we should, perhaps, call 'Purcell's theme' rather than folia?).
He was a Roman violinist of the late 17th century who had contact with Corelli. He left two sets of trio sonatas, Opus 1 and 2. There could easily be a Folia in these. Opus 1 was published by Garland in facsimile (probably not in print), and there is a CD of excerpts from opus 1 and 2 (CPO 999 633-2; Parnassi musici) which however does not have a Folia setting
Das "Suario di otto battute a l´imitatione del Corelli Del Sig.
TIBALDI", ein aus 69 Teilen bestehendes Variationswerk für Violine
und Basso continuo über zwei ostinate Bässe, welche, (wie Andreas
Moser <1859-1925> in seiner "Genesis der Folies d´Espagne"
formuliert),"zueinander im Verhältnis von Vorder= und Nachsatz
stehen", hat ganz sicher Corellis zwölfte Violinsonate ("Folia")
Op. 5 zum Vorbild.
Denn wie ich nach eingehender Untersuchung erkenne, spaltet Tibaldi den
ostinato-Bass seines achttaktigen Vordersatzes, aus den ersten acht Takten
von Corellis ostinato-Basses ab. Corellis ostinato-Bass, der ersten acht
Takte, besteht aus zehn Noten. Aus diesen zehn Noten löst Tibaldi sechs
Noten heraus, nämlich die Noten 1,2,7,8,9,10. Und verbindet diese dann
miteinander. Aus dieser Verbindung, entsteht Tibaldis neuer 4 Takte langer
ostinato-Bass. Da nun Tibaldi diesen ostinato-Bass wiederholt, besteht sein
achttaktiger Vordersatz aus: 2 x 4 (Takten), oder 2 x 6 (Noten).
Die Melodie welche Tibaldi zu seinem ostinato-Bass erfand, also das Thema
zu seinen Variationen, kann man im Prinzip schon als erste Variation des
ursprünglichen Folie-Themas ansehen*.
Corellis zwölfte Violinsonate Op.5 ist also der Urprung bezw. die Urquelle
für Tibaldis auf zwei ostinaten Bässen fußendem Variationswerk.
Und deshalb können Sie mit gutem Recht Tibaldis "Suario di otto
battute a l´imitatione del Corelli" in dem Kapitel "Similar
Music" erwähnen.
Tibaldi bildete zwar, wie gesagt, aus acht Takten Follia-Thema eine neue
Melodie, trotzdem bleibt, , auch in allen Variationen über den achttaktigen
Vorderatz, das Follia-Thema permanent im "Hintergrund" ** präsent.
Soviel zu Tibaldis erstem achttaktigen (2 x 4) Vordersatz.
Nun noch kurz zu Tibaldis zweitem achtaktigen Nachsatz:
Dieser Teil fußt, wie ich sehe, auf einer, (im Rahmen des Diapason),
absteigende Terzen-Sequenz. Ganz sicher war Corellis charakteristisch absteigendes
Terzenintervall, Takt 7 im Bass, der Auslöser für Tibaldis weiterführende
großräumige Sequenz. Allerdings dieser zweite eigenständige
Teil hat keinerlei Ähnlichkeit mehr mit Corellis Follia.
Deshalb hat Andeas Moser unrecht, wenn er in seiner "Genesis der Folies
d´Espagne schreibt, Tibaldis Variationswerk würde sich "nach
jeder Richtung hin als Nachahmung von Corellis zwölfter Solosonate"
erweisen.
*
Für Tibaldi's Variationen 35 (über Vordersatz) und 36
(über
Nachsatz) dürfte die englische "Sailors Hornpipe" (holländisch "Horlepiep")
Modell gestanden haben. Das wird besonders in Variation 36 offenkundig. "The
Sailors Hornpipe", ein synkopierender Tanztypus, fand auch Eingang in Suiten,
Kammer-, Orchester- und Bühnenmusik von Purcell, Händel und Telemann.
**Das Kapitel III in "Gödel, Escher, Bach..." von Douglas
R. Hofstadter heißt und behandelt: "Figur und Hintergrund".
Im übertragenen Sinne: Tibaldis neue Melodie = "Figur". Das
Follia-Thema = "Hintergrund."
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Dimitri Tiomkin often worked on John Wayne films like "Red River" and "Rio Bravo", and even Wayne's non-Western movies "The High and the Mighty" and "Circus World". When John Wayne came to create his showpiece "The Alamo" it was therefore natural for him to turn to Tiomkin for the soundtrack. The composer wrote a number of songs for the film (e.g. "The Green Leaves of Summer") which in part emphasise the homesickness and the heroism of the defenders. The soundtrack is most memorable for the stirring martial music depicting the relentless advance of the Mexican army. When asked why a Russian composer should be able to so easily depict the Wild West, Tiomkin would joke that there was little difference between the Steppes and the Prairies. Not a straight answer but the lessons in counterpoint at the St. Petersburg Conservatory are evident during these scenes.
The first 5 bars of this 16 bars tune are similar to the chord progression
of the folia and the ending of the first line in the dominant 7th (bar 8)
is like a Folia, however the rest of the chord progression with its chromatic
progression (bar 7) is another statement.
THE GREEN LEAVES OF SUMMER
A time to be reapin', a time to be sowin'.
The green leaves of Summer are callin' me home.
'Twas so good to be young then, in a season of plenty,
When the catfish were jumpin' as high as the sky.
A time just for plantin', a time just for ploughin'.
A time to be courtin' a girl of your own.
'Twas so good to be young then, to be close to the earth,
And to stand by your wife at the moment of birth.
A time to be reapin', a time to be sowin'.
The green leaves of Summer are callin' me home.
'Twas so good to be young then, with the sweet smell of apples,
And the owl in the pine tree a -winkin' his eye.
A time just for plantin', a time just for ploughin'.
A time just for livin', a place for to die.
'Twas so good to be young then, to be close to the earth,
Now the green leaves of Summer are callin' me home.
'Twas so good to be young then, to be close to the earth,
Now the green leaves of Summer are callin' me home.
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The Napolitan organist Antonio Valente, probably born in Portugal, composed the 'Ballo dell' intorcia' with a binary rhythm, made up of 6 variations and 8 bars each, on a bass related to that of the Follia. It is taken from his 'Intabolatura de Cimbalo' (1576), one of the oldest collections of music for keyboard composed in Naples.
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Throughout the piece there are weird percussion sounds (whooshing cymbals, woodblocks and rattles) which are easily
associated with steam engines, the breathing of a living being or the recording of Paniagua (1980, La Folia) as a quotation
of the literal meaning of the word Folia 'madness'. It makes the music very suggestive and powerful. In the opening of the
piece it is not that hard to hear the imitation of tropical birds with the glissandos on the recorder. The tone is set for
a playful but ambitious piece for full orchestra.This Madrid-born composer has a catalogue with more than
200 compositions that range from guitar and piano music to the most diverse
combinations
of instrumental, choral-symphonic and stage music. The work included in
this concert, "Vanitas con chaconas y folías" is the product
of a commission by the ORCAM that took place after
Marcó had already composed a work for Alvaro Marias, "Floreal 2" for
solo recorder. The idea of an orchestral work where the recorder was the
soloist instrument,
was fascinating for both performer and composer, and thus, the commission
of this work by the Madrid-based group generated this score, which,
as many other works by Marcó is strongly rooted in the Spanish culture.
According to the author, he wanted to create a musical "Vanitas" about
the pass of time and the vanities of life, following the same principles
found in some paintings and literary works of the Spanish baroque, as conceived
by Juan de Valds Leal o Antonio de Pereda. This explains an abundance
of baroque references that occur in many forms within the composition.
For instance, the use of an instrument linked to that period: the recorder,
of which three types are used: alto, soprano and sopranino.
Equally important, is the nature of the musical material with multiple
elements borrowed from the Chacona, as well as the theme of the Spanish
Folia.
In the composer's own words, the work does not follow a progressive development,
but is instead a juxtaposition (mixture) and a series of variations of
very well-defined
musical objects which are artistically modelled without losing their original
character. It is, according to Marco, a reflexion of the flow, recurrence
and inexorable pass of time, key elements in music.
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