Manuscript LBII II. nr. 40 (Library of Leuven?)(Folie des Spanie)A small introduction of the carillon as an instrument might be handy because it is not that familiar to a larger audience. The instrument is built around a number of bells in a church-tower and with an ingenious system of levers and wires the player is able to let the differently tuned bells ring using his fist to depress the clavier's wooden keys and his feet to control the pedals. Dynamics is possible because the amount of force applied, controls the loudness.
Jeff Davis, the university carillonist of Berkeley, enlightened me about the developments of the instrument:
Originally from Belgium and The Netherlands, the carillon is found throughout the world and is experiencing a real golden age at this point in history. There are close to 200 instruments in North America alone, and the performers are frequently superb virtuosi on the instrument. A modern carillon is capable of extraordinary sensitivity to touch and has, in the latter part of the 20th century, become a true concert instrument. There are national schools in The Netherlands (Amersfoort), Belgium (Mechelen), and France (Douai). In North America, while there is no national school, there are two large centers of carillon study: the University of Michigan at Ann Arbor, and at Berkeley. The difficulty in playing comes not from the delay between striking the note and the sound of the bell (that is minimal in a modern instrument), rather the real difficulty comes in controlling such a large collection of very heavy weights and still taking care with voicing and other musical matters
For further reading about this instrument http://www.ls.berkeley.edu/dept/music/carillon.html, http://www.msu.edu/~carillon/batmbook/index.htm Chapter 7. and http://carillon-museum.nl/
It was known that the melody of the Folies d'Espagne as a popular tune was used in the mechanical carillon music at least in Belgium. In the slipcase of the cd by Luc Rombouts (see below) three of those sources are mentioned (De Gruytters V.- fel. 23 (13/6/1745) Wyckaert, nr. 36 (12/8/1692) (La Folie d'Espagne) and Van Belle. without a number (La Folie D'espagne) The melody was played in some of the clockworks of churches too by the beiaardiers in Belgium and the Netherlands. Some sources mention ocasionally that the La Folia-theme was part of the program to get the appointment of beiaardier.
The Leuven manuscript is not just a simple transcription (although some passages are transcribed literally) of the melody because several variation are written specifically to meet the demands and features of this peculiar instrument.
- Assche, Koen van (carillon-beiaard) 'Matthias Vanden Gheyn: Preludia'
- Title: Les Folies d'Espagne
- Released 1997 by SABAM compact disc GH1
- Duration: 13'46"
- Recording date: November 20, 1997
- Carillon of the town of Veere (Netherlands)
- Assche, Koen van (carillon-beiaard) 'Musica Reservata, endangered sounds II'
- Title: les folies d'Espagne (1755)
- Released after 1998 (not indicated but some tracks are recorded in 1998) by the Alamire Foundation compact disc without order number
- Duration: 2'28" (this should be an excerpt of the original manuscript)
- Recording date: not mentioned in the slipcase
- Compact disc is a compilation. As a source is mentioned the compact disc 'Preludia, Matthias Vanden Gheyn' SABAM TM HG 1, 1998 (all the spellings and year of release are as written in the slipcase!)
- Rombouts, Luc and Huybens, G. (editors)
- Released in 'Het liedeken van de Lovenaers. Een 18de-eeuws Leuvens beiaardhanschrift' (translation: the songs of the Lovenaers. A manuscript for Carillon dated back to the 18th century, found in the Belgium city of Leuven)
- Published in facsimile 1990 in Belgium
- total: XLV and 115 p. (size and number of pages Folies d'Espagne unknown)
- ISBN 90 6186 398 8 Hardcover
- Rombouts, Luc (carillon-beiaard) 'Beiaardmuziek van vroeger en nu'
Duration: 0'47", 754 kB. (128kB/s, 44100Hz)
Two variation of the Folia theme in triplets
© 1994 Luc Rombouts, used with permission- Title: Les Folies d'Espagne
- Released 1994 by GRE compact disc GRE 1594 (together with the book 'Beiaarden en torens van Belgie')
- Duration: 5'53" (not all variations are played, only variations 1, 4, 5, 7, 10 and 12)
- Recording date: unknown
- Carillon of the church St. Gertrude of Leuven, Belgium
- Realisation sponsored by KU Leuven, Stad Leuven, Gemeentekrediet, Jeugd en Muziek Leuven amongst others
- Sint-Pieterskerk (Sergeys-beiaard), Leuven (carillon-beiaard)
Duration: 0'17", 254 kB. (128kB/s, 22050Hz)
Sint-Pieterskerk (Sergeys-beiaard), Leuven. Heard every hour from Eastern 2003 till Eastern 2004
Thanks to Pierre Chantrenne for making this field recording at Leuven
Folies d'Espagne (2003)
Sint-Pieterskerk, Leuven, BelgiumPublished by the magazine "Campanae Lovanienses"
June 2003, page 29, used with permission
© sheet music by Nieuwsbrief Campanae Lovanienses The sheet music of the automatic-play drum. The drum's rotation, similar to a music box,
activates the hammers located on the outside the carillon's bells. The vertical lines indicate the musical bars
while the dotted lines (at the same spots in this particular case) have the size of
the play drums in mind. The numbers are ment to indicate the division of the play drum.
- Title: Folies d'Espagne
- Created Eastern 2003 as an automatic mechanism
- Duration: From Eastern 2003 till Eastern 2004 for every half an hour (so not on the hours itself where another melody is to be heard)
- Recording date: September 2003
- Carillon: Sergeys-beiaard of the Sint-Pieterskerk, Leuven, Belgium
- Bos, Chris 'Historische Beiaardopnamen 1941-1983'
- Released 1999 by Nederlandse Klokkenspel-Vereniging (http://www.carillon.org) Sonante compact disc CD 1499862 (no longer available)
- Made available by the NAA (Nederlands Instituut voor Beeld en Geluid) and in corporation with the NPS (Nederlandse Programma Stichting) and AVRO (a dutch broadcasting company)
- Duration: 3'23"
- Released as a tribute to the carillon-players who contributed to the revival of the dutch carillon art in the 20th century
- Recording date: May 31, 1957 in de Domtoren, Utrecht, The Netherlands
- 6 microfiches part of "Diverses pièces pour clarinette seule"
- Dated between 1814 and 1822
- Published by Janet et Cotelle, Paris, France
- Part of the collection of the Royal Library, Den Hague, The Netherlands
Manuel Machado was a composer who lived from c.1590 till 1646, so where the 'later' Folia tune is coming from (introduced in 1672) is a mystery (probably a later arrangement in the manuscipt or the personal influence of Stephen Stubbs who performs on both recordings).
Nonetheless it is a pleasure to listen to this excellent 'collage' of music, especially because 'later' vocal Folias are hardly recorded at all (although there are plenty of vocal Folias especially in the Swedish tradition). Such a collage with a vocal part (although no vocal Folia in itself) is a phenomenon in the repertoire of Folias only used in a track recorded by Maddy Prior called Rejoice ye shining worlds and The York Waits with Deborah Catterall in Le triste etat de cette pauvre etable.
Obviously the problem for the Machado-piece was to get some body for the short vocal line of Machado. The chosen formula was to clasp it together with the Folia-progression. To give the tune a nice balance, an intro of an expectant progression is introduced, followed by three later Folia-variations. The vocal Machado piece starts at the 16th bar of the last Folia-variation and ends at the first bar of another three later Folia-variations to conclude the piece once more with the Machado-fragment again with the same bridge between the Folia-variation and 'Dos estrellas le siguen' by Machado.
As the source of the Machado-piece is mentioned Cancionero Sablonara, Bayerische Staatsbibliothek, Mus. ms E 200 / BNM M. 1263. Manuscrito en forma de libro de coro, copiado en Madrid en la corte por Claudio Sablonara c. 1625. Contiene 75 canciones a cuatro, a tres y a dos, cuyos autores son Blas, Romero, Machado, Pujol, Ríos, Torres, published in an edition of 1996 by Judith Etzion, The Cancionero de Sablonara, a Critical Edition (London: Tamesis Books, Ltd.)
The text of the Machado-piece:
Dos estrellas le siguen, morena,
y dan luz al sol :
va de apuesta, señora morena,
que esos ojos son.
- A Corte Musical directed by Rogério Gonçalves (Mercedes Hernandez,
Natacha Ducret (sopranos)
Annemieke Cantor (alto),
Felix Rienth (tenor),
Stéphanie Erös, Birgit Goris (violins),
Agathe Gautschi (cornet à bouquin),
Gilles Vanssons (chalemie),
Ilze Grudule (cello),
Rogério Gonçalves (bassoon & percussions),
Vincent Flückiger (baroque guitar baroque & archlute)
Norihisa Sugawara (baroque guitar & viola da gamba),
Marie Bournisien (double harp),
Corien de Jong (organ)
(organ after instrument Aragonais, beginning 18th century, Église Saint Laurent in Lausanne 1991) 'Flores de Lisboa'
- Dos estrellas Folias
- Released 2007 by K617 compact disc K617195
- Duration: 6'56"
- Recording date: April 24-27, 2007 in Temple de Sainte Croix, Switserland
- Ensemble Anthonello (Yoshimichi Hamada (cornetto and recorder), Kaori Ishikawa (viola da gamba), Marie Nishiyama (harpsichord and harp) and Rafael Bonavita (lute and vihuela), António Carrilho (recorder) and Paulo Gaio Lima (cello)
- Title: A. Falconiero / Manuel: Machado Folias e Dos estrellas le siguen G.
- Broadcasted by Portuguese Radio April 29, 2009
- Duration: 8'01"
- Recording date: July 2008 during the 'Festival de Música de Caldas da Rainha', Centro Cultural e de Congressos de Caldas da Rainha, Portugal
- LeBlanc, Suzie (soprano) and Les Voix Humaines: Susie Napper (viola da gamba), Margaret Little (viola da gamba)
together with Maxime Eilander (Spanish harp) and Stephen Stubbs (Baroque guitar) 'Ay que sí, ay que no'
Duration: 1'58", 1760 kB. (128kB/s, 44100Hz)
Fragment of two variations of the Folia theme followed by the Machado piece and back again to the Folia-theme
© 2002 ATMA Classique, used with permission
Jacques-André Houle wrote for the slipcase:
Nearly the equal of Hidalgo and Marín by the quality if not the quantity of his output (two other composers featured at the compact disc, editor), Manuel Machado (c.1590-1646) was a composer and instrumentalist of Portuguese extraction who pursued his career in Spain. He seems to have been much appreciated at court as a chamber musician and he mastered a number of instruments. Only twenty works of his are extant, all secular songs in Spanish, and all of exceeding beauty. A case in point is the finesse of his 'Dos estrellas le siguen', comprising a single stanza. This gem of a song, which opens this recording, is encased in a series of variations elaborated by our musicians on the famous 'Folía', a ground bass that was popular throughout Europe.
- Title: Dos estrellas le siguen
- Released May 2002 by ATMA Classique ACD 2 2244
- Duration: 4'35"
- Recording date: March 12, 13, 15 17, 2001 in Eglise Saint-Augustin, Saint-Augustin de Mirabel (Québec), Canada
- More about the oeuvre at the website of Les Voix Humaines (including some fine acoustical examples).
- Lesne, Gérard and Ensemble 'Circa 1500': Nancy Hadden
(flute and director), Erin Headley (basse viola da gamba), Andrew Lawrence-King
(harp), Paula Chateauneuf (guitar), Stephen Stubbs (lute). 'O Lusitano
Portuguese vilancetes, cantigas and romances'
- Released 1990 by Virgin Veritas compact disc 59071
- Duration: 2'14" (La Folia) and 2'12" (Dos estrellas le siguen)
- Recording date: November 1989
- Lesne, Gérard and Ensemble 'Circa 1500', Nancy Hadden (flute and director), Erin Headley
(bass viola da gamba), Andrew Lawrence-King (harp), Paula Chateauneuf
(guitar), Stephen Stubbs (lute). 'O Lusitano Portuguese vilancetes, cantigas
and romances'
- Re-released June 5, 2001 by Virgin Veritas compact disc 759071
- Duration: 2'15"
- Recording date: November 1989 in St Paul's, New Southgate, London
The famous Follia is a dance of Portuguese origin of the XV century. Exported to Spain, France and Italy becomes a society and court dance. On the contrary, Lei foulié espagnolo, also known as Danse du Turc, was performed in Provence as a representation of two young Saracens’ story. .
- Dujardin, François (fifre with one hand and drums with the other hand) Rodi, Silvano (organ) "Les tambourins provençaux"
- Released 2010 by Elegia, Organ and Classical Recordings compact disc B3253255BB
- Duration: 6'04"
- Recording date: recorded live 2009 in Bussoleno, parish church of Santa Maria Assunta (organ: Gioacchino Concone)
- More information about this recording you can find at http://www.elegiarecords.it/en/catalogue/details/1/1/catalogo-cd/les-tam
Manuscript di Venezia, Music in the Biblioteca Palatina di Parma.
- Conti, Annaberta edited the basso continuo and made some revisions
- Published by Societa Italiana del Flauto Dolce © 1982, Rome as part of series: Armonia strumentale (9)
- Score 24 p. and 2 parts 10 p. each, 31 cm
- Publisher No. E SIFD 18 Societa Italiana del Flauto Dolce
- Rubato Appassionato 'Le Temple Du Goût : 18th Century Music From Italy And France'
- Released 2008 by MA Recordings compact disc M075A (JP)
- Duration: 13'56"
- Recording date: October 2006 in Capella de la Mare de Déu de l'Esperança, Barcelona, Spain
- More about Rubato Appassionato at their website http://www.rubatoappassionato.com/
- Tarsetti, Valeria
- Title: Follia di Spagna. 25 Variazioni (Anonimo sec. XVIII) dal ms. CF-V-23 della Biblioteca Palatina di Parma per Flauto Dolce Contralto (Flauto Traverso, Oboe) e Basso Continuo
- Published 1998 series Hors, musica varia, by UT Orpheus Edizioni, Bologna, Italy
- Score 26 p. and 7 p. for cello and 9 p. for the recorder
- Publisher No. ISMN M-2153-0383-6
Manuscript: Livro de Guitarra do Conde de Redondo (Count of Redondo's guitar book)
Original source: LVSITANA MUSICA, 1/ opera mvsica selecta - 2 Uma tablatura
para guitarra barroca - O livro do Conde de Redondo, edição
fac-simile, Lisboa, 1987. Edited by the Musicology Departement of IPPC - Portugal| |
Duration: 2'10", 1781 kB. (112kB/s, 44100Hz) |
Although the manuscript is not dated, it must have been
produced after 1700. In this manuscript there is a Giga from Corelli's Op.
5 (that was published on 1700). Monica Hall thinks that around 1730 is more
likely because it sounds similar to S.Murcia's book published on 1732. I
can agree with this.
In the Iberian tradition, the book is notated in numerical (as opposed to
alphabetical) tablature; though the notes are there, however, as is the
case with the two other Portuguese baroque guitar sources, rhythmic indications
are lacking (with a small number of exceptions), the interpretation in this
respect being left to the performer (I reconstructed the rhythmic structure
by myself).
| Theme of Folias de Espanha (c.1700) | Transcribed by P. Galvão, used with permission |
|---|---|
 |
|
- Galvão, Paulo 'O Livro de Guitarra do Conde de Redondo'
Ivan Moody wrote for the booklet notes: - Released 2000 by Musicália compact disc M.01.03.003
- Duration: 2'11"
- Recording date: May 2000 at Lagos
- Instrument: a copy of Voboan's model by Oliver Wadworth built in 1993
The variations on the Folias are also highly idiomatic, and a brilliant rhythmic and melodic exploration of this famous basso ostinato theme.
These three variations for harp solo might be identical to the variations mentioned at the next item, although different sources are mentioned.
Music in manuscript 34802 at the Conservatorio Luigi Cherubini, Florence.
- Griffiths, Ann revised the modern edition
- Published as Telwn Dewi in Tregaron, Wales in 1980
- O'Farrell, Anne-Marie (Irish harp) 'Number Twenty Nine presents Harping Bach to Carolan'
- Title: Folia
- Source: Telwn Dewi, ed. Ann Griffiths
- Released 1993 by Number Twenty Nine and Anne-Marie O'Farrell. For information and ordering you can mail to amofharp@iol.ie
- Duration: 2'34"
- Recording date: between 14th and 17th April 1993, Park House Recording Studios, Dunshaughlin, Co. Meath
- Irish harp made in Ireland by Jan Muyllaert
These three variations for harp solo might be identical to the variations mentioned at the previous item, although different sources are mentioned.
Music in manuscript Biblioteca Nacional de España, Madrid Ms 816.
 |
Duration: 1'26", 03 kB. |
| Theme of Diferencias de las Folías (c.1700) | Hudson, Richard Vol I, p. 122 |
|---|---|
 |
|
- Armoniosi Concerti 'Zarambeques, Música Española de los
Siglos XVII y XVIII en torno a la Guitarra'
In the slipcase is stated: - Title: Folías
- Instrumentation: guitarrilla (J.C. Rivera), barock guitar (Juan Miguel Nieto), theorbo (Consuelo Navas) and viola da gamba (Sara Ruiz).
- Released 2002 by Harmonia Mundi compact disc HMI 987030
- Duration: 2'00"
- 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
- Eilander, Maxime (Spanish and Italian harps, Stephen Stubbs: baroque guitar) 'Teatro Lirico'
Folia Variations for harp solo (2004)
These Folia-variations are an enumeration of two pieces: an anonymous Spanish manuscript for harp and the manuscript by Lucas Ruiz de Ribayaz with a nice intro.- Title: Folia Variations (for harp and baroque guitar, 2004)
- Released February 2006 by ECM New Series 1893 4763101
- Duration: 3'32"
- Recording date; February 2004 in Propstei St. Gerold
- See also the page Recommended Folia-recordings
- Zabaleta, Nicanor 'Spanische Harfenmusik des 16, und 17. Jahrhunderts'
- Title: Folias
- Released 1968(?) by Archiv Produktion LP SAPM 198 458
- Series: Archive production, 4th research period Forschungsbereich Westeuropa zwichen Barock und Rokoko (1650-1800), Serie: Spanischen Meister
- Missing in the collection of the Rotterdam Discotheek in The Netherlands, October 12, 1999 (cat.number CF00023)
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).[...] The Diferencias de Folías taken from an anonymous book of harp tablature coming from Avila (and preserved today in the Biblioteca Nacional de España in Madrid) are of particular interest as they contain three original variations in plucked style (clearly those in the strummed style are additions here) which correspond to the two most common forms of folías known in the Spanish Baroque; folías a la Italiana (variations I and III) and folías a la española (variation II). The latter are distinguished by their melodies with upbeats and a clear preference for the dominant key. The use of the campanela (a frequently employed guitar resource in the seventeenth and eighteenth centuries) which consists of plucking the melodies with the fingers on several strings whilst allowing them to resonate, in this way perfectly imitating the sound of the harp.
The collection, of which the Folies d'Espagne is a part, was collected by Marc Roger Normand Couperin (1663-1734), organist at the Court of Sardina and the first cousin of François Couperin le Grand. Because of this last fact he gave himself the name of 'Couperin of Turin' (Turino, Italy) when staying there and he got the nickname 'Coperino da Torino'.
Although the 27 couplets on La Folia are anonymous, there are clearly links with the Folies d'Espagne by d'Anglebert. Moroney speculates that Coperino may have had lessons with d'Anglebert, and composed them himself.
- Published 1998 by Minkoff as a facsimile edition
- Preface by Davitt Moroney
- Moroney, Davitt (harpsichord) 'Livre de tablature de clavescin'
Davitt Moroney wrote for the slipcase: - Released 1999 by Hyperion compact dic CDA 67164
- Duration: 11'51"
- Recording date: July 29, 30, 31 and August 1 in la Maison de l'Orchestre National d'Ile de France.
- Harpsichord by John Phillips, built 1997 in Berkeley after Nicolas Dumont 1707.
Folies d'Espagnes (f. 6v). By far the longest and most difficult piece in the collection, this work is a series of variations on the well-known theme and bass of La Folia. Couperin's set is noteworthy for more than one reason. First, its unusual length is impressive: containing no fewer than 27 couplets, it is longer even than d'Anglebert's famous set. The set in Couperin's manuscript has clear links with d'Anglebert's work, which was published only after Couperin left for Turin: 4th couplet = d'Anglebert's 4th, 7th couplet = d'Anglebert's 6th, 13th couplet = d'Anglebert's 22nd, 16th couplet = d'Anglebert's 21st, 26th couplet = d'Anglebert's 16th. Some of these correspondences are extremely close, even down to the little ornamental notes, and cannot be the result of coincidence. We may conclude that Couperin had some contact with d'Anglebert. Perhaps he studied harpsichord with him. The work is conceived according to a solid plan, not without its own internal subtlety. After the opening statement of the theme, there follow four groups of six variations (couplet 2-7, 8-13, 14-19, 20-25), followed by a short coda (the last two variations). Each group of six is different as a result of the increasing virtuosity but is nevertheless built in the same way structurally and organised identically: (i) figuration for th e right hand, followed by (ii) the same figuration for the left hand and (iii) a melodic variation starting on D. Then (iv) the two previous figurations of each hand combined together in both hands, followed by (v) a melodic variation starting on F, derived from (iii). Each group of six variations ends with (vi) a bass solo. The most elaborate and rapid figuration is reached in the 23rd couplet, after which the intensity relaxes somewhat.
- Immerseel, Jos van (virginal) 'Hans Ruckers, The musical legacy'
- Released 2000 by (super-audio-CD) NorthWestClassics compact disc NWC-128390
- Duration: 3'08"
- Recording date: 2000, in Museum Vleeshuis, Antwerpen, Belgium
- Virginal built by J. Couchet 1650 reconditioned by Frank Hubbard and Hubert Bédard
- Production has been possible through the cooperation of Het Ruckers Genootschap vzw and Jos van Immerseel amongst others
Tono I from the books for keyboard San Rafael of Chiquitos, collected by the
originally Swiss Jesuit missionary Martin Schmid (born in Swiss 1694, arrived
in Bolivia in 1729 and left for Lucern, Swiss in 1768, where he vanished in
1772) for the spiritual education of the Indian people of Chiquitos.The source of the Folia is not known. Although the manuscript contained some pieces by Domenico Zipoli (1688-1726, who was familiar with the compositions of both Pasquini and Corelli) and his style is recognizable in many of the pieces, Martin Schmid himself was a minor composer too.
- Broggini, Norberto 'De la musique des conquistadores au livre d'orgue des indiens Chiquitos'
- Released 1998 by Discographique lorrain K.617 compact disc set of 3 discs K617093/3 with the support of the French Ambassy
- Duration: 4'08"
- Recording date: April 18-20, 1998 organ of Santa Clara in Sucre, Bolivia
Played on the famous bamboo organ in the village of Las Pinas just outside the Philippine capital.
There is no documentation about the anonymous Folia included at the vinyl release
- Saciero, Antonio 'Ten Years Bamboo Organ Festival' (1st in 1976 through 9th in 1984)
- Released 1984 by BOR 2LP-set BOR 4010 and 4011
- Duration: 4'30"
- Recording date: 1983 at the 8th Bamboo Organ festival at the Philippine village of Las Pinas
| |
Duration: 1'38", 1.5 Mb. (128kB/s, 44100Hz) |
- The Broadside Band 'Popular tunes of 17th century England'
- Released 1980 as LP HM 1039 and 1992 as CD by Harmonia Mundi compact disc HMA 1901039
- Duration: unknown
- Recording date: not mentioned in the slipcase of the cd
- La Cetra d'Orfeo: Caroline Weynants (soprano), Michel Keustermans (recorder and director), Hervé Douchy (violoncelle), Jacques Willemijns (harpsichord), Jurgen De Bruyn (theorbo and baroque guitar),
Stephan Pougin (percussion), Laura Pok (recorder), Ingrid Bourgeois (violon).
Michel Keustermans wrote for the slipcase (translation by Rachel Stacchini-Betton-Foster):
'Pagginton's Pound' was one of the most popular ballads in England during the Elizabethan era, for which one can count no fewer than 100 different texts with numerous immoral themes: criminality, infidelity, thefts, executions, hangings, etc. This is a dialoque between a valet and his mistress who complains that her husband is always drunk, stupid and a liar. Only a few verses are used here because of course the mistress leaves with the valet. This song is based on the bass line of a primitive Folia for which we have used Corelli's variations and parts of du Faronel's Ground.
- Title: Paggington's Pound
- Released 2007 by EOLE compact disc EAD002
- Duration: 4'09"
- Recording date: May 2006 at Chapelle du Bois
- Edition John Playford published in the year 1651
- See also the page Recommended Folia-recordings
- The City Waites (shawm, lyra da braccio, bass rebec, drum) 'How the world wags, Social Music for a 17th-century Englishman'
In the slipcase is written about this tune:
An Elizabethan tune, Packington's Pound was so popular that by the end of the seventeenth century more than a hundred ballads has been printed calling for the tune. It continued in popularity until at least the middle of the eighteenth century and instrumental versions abound. This recording attemps a performance such as would have been heard on a street corner in the seventeenth century. No ballad survives to tell us who or what Packington was, but there are three people with whom the tune may have associations: Sir John Pakington (a favorite of Queen Elizabeth); his great uncle, Sir Thomas Pakington (who was instrumental in walling up the fourth side of the Inner Temple Gardens); and Thomas Paginton (a court musician who died in 1586). ('Paginton's Round' is called for on some ballads.)
- Title: Packington's Pound (anon)
- Released 1981 by Hyperion LP released as originally as compact disc 1999 A66008 and later Hyperion series Helios compact disc CDH55013
- Duration: 2'12"
- Recording date: October 7 and 8, 1980
- The City Waites 'Bawdy Ballads of Old England: The Mufitians of Grope Lane'
- Title: The Maid's Complaint for want of a Dil Doul. Tune used here: one of many versions of Packington's Pound, said to be the most popular tune used for broadside ballads before 1700.
- A cappella version
- Released by Regis compact disc RRC 1175
- Duration: 5'28"
- Recording date: Spring 1995 at The Premises, London, England
- Text: Bagford Collection, Pepys Collection.
- The English Cornett and Sackbut Ensemble: Robert Howarth: virginals 'Flower of Cities All'
- Title: Pakington's Pownde (anon) for harpsichord solo
- Released 2008 by Deux-Elles compact disc DXL 1118
- Duration: 2'20"
- Recording date: February 2006 in Forde Abbey, Dorset and December 2006 in All Saints East Finchley, London
- The Harp Consort conducted by Andrew Lawrence-King 'Spanish Gypsies'
Andrew Lawrence King mentions in the slipcase:
The modal tunes of Pakingtons Pound & Parsons Farewell and the rhythmic 'Scotch snaps' in Stingo sound Celtic, but they are all based on the Spanish folías ground.
The later Folia-theme is briefly quoted twice as an arrangement of Pakington's Pownde, but I fail to see any similarity with the theme of the early Folia and the tunes mentioned above.- Pakingtons Pound (a mixture of the tunes Parsons Farewell and Stingo collected by John Playford in 'The English dancing master', 1651)
- Released November 1, 1999 by Deutsche Harmonia Mundi compact disc 05472 77516 2
- Duration: 3'16"
- Recording date: April 1999 at St. George's, Cambridge
- Koopman, Ton (harpsichord) 'Fitzwilliam Virginal Book'
That the Folia theme is also present in the Beggars Oper (Pepusch e.o.) may have its origins here:
Ton Koopman wrote for the slipcase (translation by Rick Fulker):
In the eighteenth century the Fitzwilliam Virginal Book manuscript was owned by the composer Johann Christoph Pepusch. His wife, an excellent harpsichordist, found the pieces in the FWV technically far more demanding than the most difficult sonatas by Scarlatti.
- Title: Pakington's Pownde
- Released 1989 by Capriccio compact disc 10211
- Duration: 2'10"
- Recording date: December 1986 in Utrecht, The Netherlands
- Instrument built by W. Kroesbergen after Stephanini, tuning Werckmeister 3
- The Musicians of Swanne Alley (Nordstrom, Lyle and O'dette, Paul directors and Douglass, David and Nordstrom, Patricia Adams and
Thielmann, Christel and Van Evera, Emily) 'In the Streets and Theatres of London, Elizabethan Ballads and Theatre Music'
- Title: Paggington's Pound
- Released 1989 by Virgin Veritas compact disc VC 7 70989-2 and 2005 2-set cd 482079 (budget)
- Duration: 3'05"
- Recording date: unknown
- Winogron, Blanche (virginal) 'The Fitzwilliam Virginal Book'
- Released 1966 by Dover Publications, New York LP R63-2729
- Duration: 4'30"
- Recording date: after 1963 (publication of the Fitzwilliam Virginal Book by Dover Publications)
First comes an anonymous setting of the theme from the Fitzwilliam Virginal Book and then an extemporised version by the whole band.
Manuscript Res 1186 bis, p. 30-fol.31, Bibliotheque du Conservatoire, National de Musique, Paris France
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Duration: 2'38", 06 kB. |
| Theme of The Spanish Follye | by Hudson Vol I, p. 113 |
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- Laganà, Ruggero (harpsichord) 'Folías italianas'
- Title: The Spanish Follye (1685)
- Released 2010 by Concerto compact disc CD 2058
- Duration: 2'06"
- Recording date: October 2009 Bartok Studio, Bernareggio (Mi), Italy
- See also the page Recommended Folia-recordings
From the slipcase:
the program opens with one of the many sets of variations on the theme of Folia de España by an anonymous composer of the 16th century.
Not much to go on, but the 16th century as indication needs some correction because the later Folia melody and chord progression is involved (introduced in 1672). As the name already indicates i guess some variations of the manuscript collected by Martín Y Coll are involved.- Nosetti, Massimo (organ) 'L'Orgue de Concert, Vol2 Massimo Nosetti à l'orgue historique de la Collégiale Sant'Ambrogio d'Alassio'
- Released 2001 by Syrius, compact disc SYR-141363
- Duration: 5'45"
- Recording date: January 2001, in Alassio, Italy
- historical organ of Collégiale Sant'Ambrogio d'Alassio
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All variations of Follia parte pa |
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5 page in pdf-format, 589 kB |
- Released 2011 by Paolo Dugoni
- Pages: 5 pages
- Published by Paolo Dugoni, Italy
Unfortunately no documentation about this Folia is included in the slipcase of the recording. As the source an anonymous composer in the 16th century is given which can't be true because the later Folia-theme (introduced in 1672) is clearly exposed in several variations.
- Rouet, Pascale (organ) 'Autour de l'Espagne'
- Title: Diferencias sobre la Folia
- Released by Pavane Records 2003 compact disc ADW 7468
- Duration: 2'31"
- Recording date: July 2-4, 2001 in l'Abbatiale B-D de Mouzon, France
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Duration: 0'29", 01 kB. |
| Manuscript from the archive Bosch van Rosenthal | © Rijksarchief Gelderland, used with permission |
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- Rijksarchief Gelderland in Arnhem (RAGld) (Archives of the Province
(region) of Gelderland in the Netherlands)
Drs. W.T. Resida (associated with the Rijksarchief Gelderland) was so kind to give notice of this manuscript and the context. The booklet with sheet music was part of the archives of the family Bosch van (von) Rosenthal and was intended as a guide to practice for B. Kloeckhoff (1680-1764) and was dated 1695. For this Folia no particular editor was mentioned (while for some other tunes from the booklet the teacher has signed with his name). Notice that a bit of the tune at the backside of the paper seems to shine through due to the agressive chemical reaction of the ink on the paper over the ages. The booklet contains another extensive version of the Folia (13 variations) which is classified under the composer Reinis, Hen(dricus?). - Manuscript 0724 Archives of the family Bosch van (von) Rosenthal and relatives
- The years 1418, 1539, 1584, 1600-1953
- Inventory number 960
- Rijksarchief Gelderland is vested in the city of Arnhem The Netherlands and can be contacted at http://www.geldersarchief.nl
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Duration: 5'08", 17 kB. |
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6 page in pdf-format, 97 kB |
| Manuscript from the archive Bosch van Rosenthal | © Rijksarchief Gelderland, used with permission |
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- Rijksarchief Gelderland in Arnhem (RAGld) (Archives of the Province
(region) of Gelderland in the Netherlands)
Another Folia from a booklet conserved at the Rijksarchief Gelderland. This booklet with sheet music was like the previous item part of the archives of the family Bosch van (von) Rosenthal and was intended as a guide to practice for C.A. Kloeckhoff (1676-1746), dated back to 1695. For this Folia no particular editor was mentioned (while for some other tunes from the booklet the teacher has signed with his name). It is almost identical to the previous item, the standard folia-theme. Notice that a bit of the tune at the backside of the paper seems to shine through due to the agressive chemical reaction of the ink on the paper over the ages.
The booklet contains another extensive version of the Folia (13 variations) which is classified under the composer Reinis, Henrich. Some variations are identical. For instance variation 5 matches variation 9 of the Reinis' Folia and variation 8 is identical to variation 2 of Reinis. Variation 9 matches variation 6 of the Reinis manuscript. - Manuscript 0724 Archives of the family Bosch van (von) Rosenthal and relatives
- The years 1418, 1539, 1584, 1600-1953
- Inventory number 956
- 13 pages
- Rijksarchief Gelderland is vested in the city of Arnhem The Netherlands and can be contacted at http://www.geldersarchief.nl
Original: Manuscript 815, Libro de música de clavicimbalo del Sr. Dn. Francisco de Tejada (1721), fols 72r-73r., Biblioteca Nacional, Madrid. Interesting is that variations 5 and 6, as well as the opening half of 2, contain nine measures.
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Duration: 2'43", 08 kB. |
| Theme of Folías graves | by Hudson Vol I, p. 140 |
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- Atrium Musicae de Madrid / Paniagua, Gregorio
'La Folia de la Spagna'
His 'Parsimonia aristocraciae' (track 5) for harpsichord is actually the Folías graves. Unfortunately the original source for the music is not mentioned in the documentation of the compact disc (but it is in the LP-version!) - Released 1982 by Harmonia Mundi LP HM 1050 & compact disc HMC 901050
- Duration: 3'09" including some noisy weird effects
- Recording date: June 1980
- Laganà, Ruggero (harpsichord) 'Folías italianas'
- Title: Folias graves
- Released 2010 by Concerto compact disc CD 2058
- Duration: 2'09"
- Recording date: October 2009 Bartok Studio, Bernareggio (Mi), Italy
- See also the page Recommended Folia-recordings
- Tamminga, Liuwe (organ) 'Islas Canarias, Historical Organs of the Canary Islands'
- Title: Folías graves
- Released 2008 by Accent compact disc ACC 24204
- Duration: 2'01"
- Recording date: October 2007 in La Orotava, San Juan Bautista, Tenerife
- Organ built by Otto Diederich Richborn (1723), restored by Bartelt Immer (1990)
Music in manuscript Bodleian Library (GB-Ob) Ms. Mus. Sch. F 576, page 7-9 and page 45-47 and page 82-89, dated 1690-1700, lute with 11 strings (A d f a d' f')
Mathias Rösel wrote about the origins of this manuscript:
What is strange about the Oxford manuscript is that the French tuning (aka D minor tuning) required for this piece was not commonly used in Britain. So, the manuscript may be French. If it is French it probably is from before 1700 because new music for the lute was not produced anymore in France after 1700.
- Bailes, Antony edited the music for '32 Easy pieces for baroque Lute'
- Published 19?? by Tree edition, Lubeck, Germany publishers no. unknown
- Pages and size unknown
- Sauvage, Valéry
- Plays the manuscript as edited by Antony Bailes 2007.
- Oxford manuscript F 576
- Baroque lute built by Didier Jarny
- More about Valéry Sauvage at http://perso.orange.fr/luthval/discographie.html
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Duration: 0'32", 01 kB. |
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Valéry Sauvage plays |
Duration: 3'41" direct link to YouTube
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- Satoh, Toyohiko (lute)
- Released 1990 by Klavier Records as compact disc KCD 11026
- Duration: 4'25"
- Recording date: not mentioned in the slipcase
- 14-Note, 26-string Baroque lute made by Nico van der Waals. Its double peg-boxes classify it technically as a theorbo
Music in manuscript Staatsbibliothek Preussischer Kulturbesitz Berlin (west)
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Duration: 3'47", 07 kB. |
- Bruger, Hans Dagobert (theme and three variations written for the guitar)
1 page in pdf-format, 71 kB
© N. Simrock 1923
thanks to Abel Nagytothy-Toth for making this available
In the preface was written about Folies d'Espagne:
.Folies d'Espagne (Spanische Torheiten), eine Lautenkomposition mit Variationen aus dem handschriftlichen Lautenbuch des Grafen Wolkenstein- Rodenegg (Ms. Berlin), um 1685, deren weite Verbreitung aus ihrer Wiederkehr in zahlreichen zeitgenössischen Lautenbüichern erhellt; ja, damit nicht genug: auch für verwandte lnstrumente aller Art iibertrug man sie - ais Kuriosum sei ihr Auftau chen als "Folie de Spange" in einer Berliner Handschrift (Mus.MsA0267) für das "Hamburger Cithrinchen" (eine Art Cither mit 5 gleichgestimmten Saiten) vermerkt. Dabei ist die Melodie hochst ansprüchslos und einfach, ebenso wie die gewiss harmlosen Variationen über sie, und hat hier hauptsächlich wegen ihrer enormen Popularität als Probe einer volkstümlichen Lautenkunst Aufnahme gefunden*). - Franzosische Tabulatur
- Source: "Aus dem Handschriftl. Lautenbuch des Grafen Wolkenstein-Rodenegg (Berlin) um 1685"
- Published in "Alte Lautenkunst aus drei Jahrhunderten, Heft II, Das XVII.und XVIII. Jahrhundert"
- Published by N. Simrock, G.M.B.H., Berlin, Leipzig, year of publication 1923 (year 1923 handwritten on the cover)
- 1 page 21 x 29 cm
- Quadt, Adalbert edited the music for guitar 'Lautenmusik des 17. und 18. Jahrhunderts heft 1' Edited from tablatures and selected with regard to practicability on the guitar by Adalbert Quadt
- Published 1978 by VEB Deutscher Verlag fur Musik, Leipzig (page 53), Lizenznummer 418-515/D119/78, printed in the German Democratic Republic, Druck und Bindearbeit: Offizin Andersen Nexö Leipzig - III/18/38, Bestellnummer 32070
- With a preview by Adalbert Quack, june 1977 Berlin
Farinel's variations were published by John Playford in The Division Violin in 1684 (London) where it is listed in the index as 'A Division on Mr Farinell's Ground' and in the first part of The Division Flute by anonymous published in 1704 by Walsh in London.
- Ciuffa, Romeo (recorder) and Chiaie, Giancarlo delle (harpsichord)
Faronells Ground (from 'The division flute') as played by Romeo Ciuffa and Giancarlo delle Chiaie
Duration: 5'21" direct link to YouTube
© 2008 Romeo Ciuffa (Romeoamkj), used with permission- Broadcasted at YouTube April 3, 2008 by Romeo Ciuffa
- Duration: 5'21"
- Recording date: April 2, 2008 in Palazzo Annibaldeschi in Monte Compatri, Rome, Italy
- More about the concerts organized by Romeo Ciuffa at http://www.amkj.org
- Holman, Peter editor 'The division recorder, a complete collection of
English divisions on a ground bass for alto (treble) recorder (c.1680-1708)'
- Published 1979 by Schattinger-International Music
- Score 2 Vol. 31 cm
- Publisher No. H1020-1021
- Munrow, David (treble recorder) 'The Amorous Flute' with Oliver Brookes bass viol and Christopher Hogwood harpsichord
From the documentation of the Vinyl:
An anonymous set of divisions on the famous Follia ground bass, from The Division Flute issued by Walsh in London, 1704
- Title: Faronells Ground `
- Released 1974 by Argo, London LP ZRG 746
- Duration: 3'40"
- Recording date: not mentioned in the documentation (but indirect sources mention 1973)
- Munrow, D. (recorder) & Brookes, O.(bass viol) & Hogwood, C. (harpsichord) 'The amorous flute'
- Title: Faronells Ground
- Released 1995? by Decca as compact disc 440 079-2DM
- Recording date: 1973
- Duration: 3'35"
- Review in Gramophone 10/95
- Munrow, D. (recorder) & Brookes, O.(bass viol) & Hogwood, C. (harpsichord) 'The artistry of David Munrow, Baroque and Renaisance works for recorder including 'La Folia'
- Title' La Folia' but this is exactly the same tune and recording as mentioned above with the title 'Faronells Ground '
- Released by Decca as tape (cassette) AWC 8240 without indication of year
- Recording date: 1973
- Duration: 3'35"
- Munrow, D. (recorder) & Brookes, O.(bass viol) & Hogwood, C. (harpsichord) 'The artistry of David Munrow, Baroque and Renaisance works for recorder including 'La Folia'
- Title' La Folia' but this is exactly the same tune and recording as mentioned above with the title 'Faronells Ground '
- Released 1996 by Big Joke Music compact disc
- Recording date: 1973
- Duration: 3'47"
- Pottier, Laurence (recorder) & Amade, Jacques (organ) 'Méditation, flûte a bec and organ'
- Title: Farounels Ground (1706)
- Released 2002 by Bayard Musique compact disc D9739260
- Duration: 4'28"
- Recording date: July 18-19, 2002 in the church of Saessolsheim
- Collegium Musica Rara conducted by Peter Thalheimer (Altblockflöte, Gitarre, Bassgambe, Kastagnetten)
- Title: Follia (1680)
- Released by Fidulafon compact disc Fidula-CD 4469 (year not mentioned in the documentation)
- Duration: 2'49"
- Recording date: 1988, place not mentioned in the documentation
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Duration: 5'50", 11 kB. |
| Theme of Follías de España | by Hudson Vol I, p. 143 |
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- Alcock, Gillian (hammered dulcimer) 'The Pleasures of Hope' Alcock only plays the theme of this piece as an introduction to her own variations for hammered dulcimer
- Title: La Folia in OZ
- Released 1997 by Alcock compact disc GA001
- Duration: 6'29"
- Recording date: 1997 in Canberra, Australia
- Instrument (hammered dulcimer) built by Gillian Alcock
- Atrium Musicae de Madrid/ Paniagua, Gregorio (guitar, percussion, harpsichord, recorders, clarinet) 'La Folia de la Spagna'
- Title: 'Fons vitae',track 1 from 'La Folia de la Spagna'
- Released 1982 by Harmonia Mundi compact disc HMC 901050
- Duration: 6'01"
- Recording date: June 1980
- Jenny, Tobias (hammered dulcimer) 'Chains, roaming minds' music with
links to mountains and memories'
In December 1998 Tobias Jenny wrote about this folia-piece: - Title: Folias de España, Anonymous from a manuscript in Barcelona 1764
- Released 1998 by Striking String Sounds compact disc TB001
- Duration: 7'51"
- Recording date: Spring 1997 in Alberta, Calgary
- 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
- Schickhaus, Karl-Heinz edited the music for psalter (Hackbrett)
- Title: 10 Solostücke aus der Handschrift Barcelona 1764, Spanische Hackbrettmusik, Heft 2
- Published by Musikverlag Josef Preissler, Munchen
- Publisher No. 6316/II
- Stolzenburg, Birgit (Barockhackbrett/Salterio) 'Il Salterio'
- Title: Folias de Espana
- Released 1996 by NYX compact disc NYX1111 address: Lindenstr. 18, 83607 Holzkirchen, Germany
- Duration: 6'32"
- Recording date: 1996 at the Iceland Studio
- Übellacker, Margit (Dulcimer/Barockhackbrett/Salterio) 'Clarini'
- Title: La Folia for hammered dulcimer
- Recorded by Radio Bremen
- Released 2010 in a coproduction by Radio Bremen and Laika-Records compact disc 3510266.2
- Duration: 9'28"
- Recording date: June 14 and 16, 2010 in the Sendesaal Bremen, Germany
Many composers were inspired to write variations to the
famous dance piece Folias de Espan˜a. For centuries it rated in the top
ten along with Greensleeves. My version is from a manuscript datet 1764
in Barcelona containing a vast collection of Hammered Dulcimer music
(Salterio). It is the piece de resistance in my programs. I love playing
it and put it in the programs, since it allways arrives well even with
folk audiences. So for the last 2 years I played it in various concerts
(Folk and Classical) in Canada and Argentina. I play the Folias 1 tone
lower (in d-minor) because the range of my instrument is not high enough.
I combine pizzicato and hammering in my interpretation. Var 6 both hands
Pizz. (as suggested in the edition by Schickhaus). Var 7 and 10 'melody'
pizz. lower part hammered after var 10 I repeat the theme pizzicato.
I play the variations on a Appenzell stile Hackbrett which I built in
a Hackbrettbuilding course at the Heimatwerkschule in Richterswil, Switzerland
back in 1992 in the tradition of the Alpstein region in eastern Switzerland,
where it is THE regional instrument . All music schools offer lessons
on the Hammered Dulcimer and it is now enjoying a revival at the Conservatory
level in Europe. That is when I started playing the instrument.
This is a very unique and rare performance of the Folies d'Espagne.
The length of the music is no more than 22 seconds but just imagine that you are going back in time to the year 1763 and realize that your ears are able to hear the exact authentic sound of a Folia-tune as it was heard in those days. OK, not a fashionable folia because the sound is determined by the technical limitations and the specific purpose of the instrument, namely to learn birds some popular chirping, but still it is quite fascinating.
Jean-Michel Roudier, the museum conservator of the musée Auguste Grasset de Varzy (http://www.cg58.fr/services-ouverts-au-public/musees-de-la-nievre/musee-auguste-grassetvarzy.html) wrote in August 2002:
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| serinette manufactured by Gavot
1763 © Musée Auguste Grasset de Varzy Click picture for magnification |
Bird-organs, in french 'serinettes' derived from the word
'serin' meaning European canary (in Latin serinus serinus) were intended
to learn domestic birds to sing melodies by repeating the tunes over and
over again.
In our museum collection we have such an 18th century bird-organ. This charming
mechanical instrument (table-model) was dated March 28, 1763 and signed
by 'Gavot', a well known instrument manufacturer from the city of Mirecourt
(in the Vosges, east of France). The organ is well-equipped with two stops
(registers) of 10 pipes each,
one in the upper register (treble-notes, in french registre aigu) and one
in the lower register (registre grave). So people could choose to play melodies
in one of the two registers. However it is not possible to make use of both
registers at the same time. The barrel contains 10 tunes and the titles of
the melodies are labeled with handwritten paper on the box of the serinette
(see photo).
Recently the instrument has been restored in its full glory by the restorer
Bernard Pin. Now it can produce the original sound again of all the ten melodies
(small airs and dances) in both registers for which it was originally intended.
Because of the extraordinary pure and authentic sound, I decided to record
all the ten melodies in both registers for a compact disc release, with the
financial help of the 'Association des Amis du Musée Grasset Conseil
général de la Nièvre'. The last melody is 'Les Folies
d'Espagne' a tune which will have your special interest. You might notice
the very high tempo of the Folia-theme, especially in the last eight bars.
The speed is also more up tempo compared to the other tracks which have less
bars than the sixteen of the Folies d'Espagne because of the limited absolute
duration of the pieces to be played. On a serinette, to come full circle of
the barrel, must be achieved by the player (the guy that turns the crank)
in more or less than 20 seconds. Otherwise, the bellows will not blow air
enough, and the notes are not hold.
About the name of the man who did put all these small things of brass (in
french 'picots') on the wood roll : i should say 'anonymous'. There was, in
the 18 th century, a man specialized in this sort of job in every workshop.
Unfortunately, he has no name, and the only signature we know here is 'Gavot
fils' (the son of Gavot). Some specialists in mechanical music told me, after
listening to the record, that the roll was very well 'noted'. Some others
are much more simplified. And the notes of the 10 pipes are unusual, compared
to other serinettes made at the same time. However due to its very specialized
disposition the compact disc is not available in record shops as you might
understand.
- Gavot (manufacturer of the mechanical instrument) 'La Serinette du musée Auguste Grasset de Varzy'
- Title: Les Folies d'Espagne
- Released 2002 (year not indicated) by musée Auguste Grasset de Varzy compact disc without order-number
- Duration: 0'22"(in high register)
- Duration: 0'22"(in low register)
- Recording date: 2002 in the museum Auguste Grasset, Varzy
- Instrument (serinette) manufactured by 'Gavot' and reconditioned by Bernard Pin
- The compact disc with a total duration of 8'24" and with the tunes Contredanse, Pardon ma Mère, Prélude Italien, Gigue et son prélude, Menuet allemand, les Mousquetaires, La Badine en chasse, Menuet, Air en contredanse and Les Folies d'Espagne all played in both registers can be ordered for the price of 6 Euro including shipping by the Musée Auguste Grasset de Varzy: jimbea@wanadoo.fr
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Duration: 0'22", 254 kB. (96kB/s, 44100Hz) |
- Les Musiciens du Palais Royal (theorbo solo - Kléber Besson) 'Les joyaux de la musique Baroque Française'
- Title: Les Folies d'Espagne
- Released April 2004 by MPR compact disc 001 and it can be ordered for 12 euro or $12 (including post handling) at http://perso.wanadoo.fr/lesmusiciensdupalaisroyal/contact.htm
- Duration: 1'55"
- Recording date: February 29, 2004 at Claye Souilly 77410, France
- More about the oeuvre of Les Musicians du Palais Royal at http://perso.wanadoo.fr/lesmusiciensdupalaisroyal/
Kléber Besson wrote about this piece:
This Folia was part of a manuscript in the collection of the duc d'Aiguillon, now preserved in Agen (France), known as Folia in La mineur, F 6,7 Ms. Agen. The piece is written down in two sections: A and B. I recorded the piece as A-B-A to extend the solemn atmosphere of the composition and as you probably will know the theme was often repeated at the end of these kind of Folias.
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Duration: 1'55", 964kB. (64kB/s, 44100Hz) |
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2 pages in pdf-format with fingersetting, 71 kB |
- Inventory of the Royal Library, Den Hague, The Netherlands as part of the collection Frans Vester
- Inventory number NMI42.1
- sheet music pages 54-55, size 33 cm
Richard Hudson (p. 108, Vol 1) stated that variations 2, 3 4 and 11 are almost identical to the variations 3, 2, 4 and 9 of the ground by Farinelli.
- manuscript Res 1186 bis, fols. 33-36, Bibliotheque du Conservatoire
National de Musique, Paris France
This is the only piece in the manuscript that is not clearly for keyboard. It contains some keyboard fingering for the upper part, but the bowing slurs and the texture point to a performance by violin and continuo. (source R. Hudson 'La Folia' p. XXXVII)
Text: D'Urfey, Thomas (1653-1723), created in 1682 published 1719
'Farrinel's Ground' is the label of the Folia-tune in Great Britain derived from the violinist Farinel (with different spellings of the name Farinel). Although D'Urfey was also a composer, he did not compose this tune but only wrote the text with the indication that it should be sung on the Folia-theme which was included in the publication.
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| Joy to great Caesar, long Life, Love, and Pleasure 'tis a Health that Divine is, fill the Bowl high as mine is. Let none fear a Feaver, but take it off thus Boys. let the King live for ever, 'tis no matter for us Boys, Try all the Loyal, defy all. give denial sure none thinks the Glass too big here, nor any Prig here, or sneaking Whig here, of Cripple Tony's Crew, that now looks blew, his Heart akes too, the Tap won't do, his Zeal so true, and Projects new, ill Fate does now pursue Let Tories guard the King, let Whigs in Halters swing. let Pilk- and Sh- be sham'd, let bugg' ring O be damn'd. let cheating Pl-- be nick'd, the turncoat Scribe be kic'd. let Rebel City Dons never beget their Sons. let ev'ry Whiggish Peer that Rapes a Lady fair and leaves his only Dear the Sheets to gnaw and tear, be punish'd out of hand, and forc'd to pawn his Land t'attone the grand Affair |
Great Charles, like Jehovah, spares Foes would unking him, and warms with his Graces the Vipers that sting him. 'till crown'd with just Anger the Rebels he seizes. Thus Heaven can Thunder when ever it pleases Then to the Duke fill, fill up the Glass, the Son of our Martyr, belovev'd of the King. Envy'd and lov'd, yet bless'd from above, secur'd by an Angel safe under his Wing Faction and Folly, and State Melancholy, with Tony in Whigland for ever shall dwell. let Wit, Wine and Beauty, then teach us our Duty, for none e're can love, or be wise and rebel |
- Thomas D'Urfey
- Published in 1719 in Wit and Mirtth: or Pills to Purge Melancholy. being A Collection of the best Merry Ballads and Songs, Old and New. Fitted to all Humours, having each the their proper Tune for either Voice, or Instrument: Most of the Songs being new Set. Vol IV.
- Printed 1719 by W. Pearson for J Tonson at Shakespear's Head, over against Catherine Street in the Strand
- Published Pills to Purge Melancholy (1719) in 1991 by Bartholomew Press, Boulder, Colorado, USA
- As far as I know this tune has not been recorded yet
Text: D'Urfey, Thomas (1653-1723), created 1702 (Coronation of Queen Anne was on the 8th of March 1702) published 1719
- Thomas D'Urfey
- Published in 1719 in Wit and Mirtth: or Pills to Purge Melancholy. being A Collection of the best Merry Ballads and Songs, Old and New. Fitted to all Humours, having each the their proper Tune for either Voice, or Instrument: Most of the Songs being new Set. Vol IV.
- Printed 1719 by W. Pearson for J Tonson at Shakespear's Head, over against Catherine Street in the Strand
- Published Pills to Purge Melancholy (1719) in 1991 by Bartholomew Press, Boulder, Colorado, USA
- As far as I know this tune has not been recorded yet
Text: Jean de La Fontaine (1621-1695), created 1687, published after his death| Text: | |
| On languit, on meurt près de Sylvie C'est un sort dont les rois sont jaloux. Si les dieux pouvaient perdre la vie, Dans vos fers ils mourraient comme nous. Soupirant pour un si doux martyre, A Vénus ils ne font plus la cour; Et Sylvie accroîtra son empire Des autels de la mère d'Amour. Le Printemps parait moins jeune qu'elle D'un beau jour la naissance rit moins : Tous les yeux disent qu'elle est plus belle, Tous les coeurs en servent de témoins. Ses refus sont si remplis de charmes, Que l'on croit recevoir des faveurs La douceur est celle de ses armes Qui se rend la plus fatale aux coeurs. |
Tous les jours entrent à son service Mille Amours, suivis d'autant d'amants; Chacun d'eux, content de son supplice, Avec soin lui cache ses tourments. Sa présence embellit nos bocages; Leurs ruisseaux sont enflés par mes pleurs Trop heureux d'arroser des ombrages Où ses pas ont fait naitre des fleurs. L'autre jour, assis sur l'herbe tendre, Je chantais son beau nom dans ces lieux; Les Zéphyrs, accourant pour l'entendre, Le portaient aux oreilles des dieux. Je l'écris sur l'écorce des arbres; Je voudrais en remplir l'Univers. Nos bergers l'ont gravè sur des marbres Dans un temple, au-dessus de mes vers. |
| C'est ainsi qu'en un bois solitaire Lycidas exprimait son amour. Les échos, qui ne sauraient se taire, L'ont redit aux bergers d'alentour |
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- Deletre, Bernard (bass), Desrochers, Isabelle (soprano), Marais Symphony
Orchestra 'Jean de La Fontaine: A Musical Portrait, Lully, Couperin, Charpentier
and others'
In the slipcase is written: - Title: Couplets pour Mme d'Hervart sur l'air des Folies d'Espagne
- Released 1996 by Virgin Veritas, Emi Classics Import compact disc UPC: 724354522925
- Duration: 2'34"
- Recording date: August 25-28, 1995 at l'abbaye de Saint-Michel-en-Thiérache
Madame de la Sablière had provided lodgings for La Fontaine in her house since 1673, but she became increasingly religious and he took to spending more and more time with the Hervart family and their brilliant circle of guests. The Hervarts gave him a room, full of busts of philosophers, in which he kept his harpsichord. Françoise d'Hervart was 'one of the most beautiful women anyone has ever seen'. La Fontaine wrote that it was his 'desire and intention that in future Mme d'Hervart be called Sylvie in all my territory on Parnassus' i.e. in his poetry. That he had given his very name to Madame Fouquet thirty years previously shows how great a compliment he was paying his hostess, for whom he wrote some galant verses to the well-known tune 'Les Folies d'Espagne'.
Text: Voltaire (1694-1778) (born as François Marie Arouet)
qui s’appelait Madeleine. Chanson sur l'air des Folies d’Espagne Mais plus de coeurs vous sont assujettis. Elle obtint grâce, et c’est à vous d’en faire, Vous qui causez les feux qu’elle a sentis. Votre patronne, au milieu des apôtres, Baisa les pieds du maître le plus doux Belle Boufflers, il eût baisé les vôtres, Et saint Jean même en eût été jaloux. |
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7 pages in pdf-format 105 kB |
Manuscript 2151 of the university of Gand is mentioned as containing two pieces on the l'air de Folies d'Espagne: 'reviens pécheur, cést ton Dieu, qui t'appelle' and 'Profondeur, abime impénétrable'
- Smidt, J.R.H. de (collected by)
'Les Noëls et la tradition populaire, 142 notations populaires avec gravures'
- Published 1932 in Amsterdam by H.J. Paris
- Included a list of literature about Folies d'Espagne (La Folia)
The Folia theme is actually not sang at all. In the musical breaks between the verses twice a statement of the second line of the Folia (ending in the tonica) is to be heard while the instrumental intro and coda is an imitation of the melody of the verses.
- Prior, Maddy with The Carnival Band 'Sing lustily & with good courage'
- Title: Rejoice ye shining worlds
- Prior, Maddy (voice) Watts, Andy (recorders), Jub' (bass) and Badley, Bill (lute)
- Released 1990 by Saydisc Records compact disc CD-SDL 383
- Duration: 2'09"
- Recording date: March 1990 at Valley Recordings, England
preserved in a Spanish manuscript from the early 18th century, Escorial manuscript Bc M. 1452, circa 1731, a modern edition was published by Maurice Esses
Arrangements based upon this manuscript were used by:
- Baxter, Becky (composer letter B)
- Grupo de Música Barroca La Folía (composer letter G)
- The Waverly Consort (composer letter W)
This tune is firmly grounded in the genre of folk songs. The first 8 bars follow the chord progression of the last 8 bars of the Folia-theme. Like the Swedish Sinclair(s)visan the following 8 bars are somewhat like an answer on the Folia-theme. So in fact the Lampaanpolska is more complex than the Folia, while in the Folia theme the first 8 bars are the same as the first 8 except for the ending.
Arrangements based upon this traditional tune were used by:
- JPP (Järvelän Pikkupelimannit) (composer letter J)
- Kuula, Toiva (composer letter K)
- Rinda-Nickola, Samuel (composer letter R)
- Tapiola Choir conducted by Pohjola, Erkki (composer letter T)
- Zetterholm, Finn & Selander, Marie (composer letter Z)
This tune is firmly grounded in the genre of protest and folk songs. There are many sung versions of the tune. The first 8 bars follow the chord progression of the last 8 bars of the Folia-theme. Like the Finnish/Swedish Lampaanpolska the following 8 bars are somewhat like an answer on the Folia-theme. So in fact the Sinclairvisan is more complex than the Folia, while in the Folia theme the first 8 bars are the same as the first 8 except for the ending.
'Visa' in Swedish means roughly the same thing as 'song' in English. 'Sinclair' is derived from Malcolm Sinclair, a Swedish diplomat, who was murdered on his way home from Turkey 1739 on orders of the Russian government. The original 90 verse text was written by Anders Odel (1718-1773) but there are lots of variants on the original text, and many of them are of a political nature. The Swedish poet Carl Michael Bellman (1740-1795) also set words to the La Folia melody, no doubt helping along its spread in Sweden. The complete text in the Swedish language, written by Anders Odel can be found at http://members.tripod.com/minata/sincl.html
Arrangements based upon this traditional tune were used by:
- Adolphson, Olle (Composer letter A) title: Folia but the tune is Sinclairvisan
- Grieg, Edvard (Composer letter G)
- Johansson, Jan (Composer letter J)
- Knutna Nävar (Ensembler letter K)
- Svenblad, Ronnie (Composer letter S)
- Taube, Sven Bertil (Composer letter T)
- Willemark, Lena (Composer letter W)
Handwritten manuscript in tablature for organ (Sign. XIII c3, S 73-90) found at the Kloster Marienberg, Helmstedt Germany by Thomas Synofzik
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Duration: 10'00", 30 kB |
| Theme of Folie d'Espagne by Abel | © Synofzik and Concerto, used with permission |
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- Synofzik, Thomas
- Published in the magazine 'Concerto, das Magazin für Alte Musik', Vol. 145, July/August 1999 p. 24- 29
- Article with introduction, source and full score edited in modern sheet music with footnotes
- Score 3 p. 21 x 29 cm (original manuscript 17 x 10,5 cm example included in article)
- The magazine 'Concerto' can be found at: http://www.concerto-verlag.de
The opera, which had its premiere in May 1849, is loaded with hidden meanings, subtly describing ambiguous relations and misunderstandings between the three characters Don Belflor, his wife Coraline and her lover Tracolin.
Beside the well-known 'Ah vous dirais-je maman' ('twinkle twinkle little star') there are three famous Spanish melodies briefly introduced (the Fandango, the Cachucha and the Folies d'Espagne). These Spanish melodies are a set of conventions between Tracolin and Coraline how seriously Don Belflor has cheated his wife.
The Folia is played twice in act two, when Tracolin and Coraline agree upon which melody Tracolin will play in case Don Belflor cheated his wife badly. And in the finale, while Coraline reveals the reality with a deck of tarot cards, the Folia is played indeed to indicate Don Belflor's misbehaving.
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Duration: 0'32", 773 kB. (128KB/s, 44100 Hz) |
- Orchestre français Albéric Magnard conducted by Jean-Luc Tingaud 'Le Toréador, opéra
comique de Adolphe Adam' with Ghyslaine Raphanel (Coraline), Matthieu Lécroart (Don Belflor) and Franck Cassard (Tracolin).
Artistic director Pierre Jourdan.
Text: (while Coraline shuffles the deck of tarod cards to see, or might we say in this case better 'hear', the truth)
Coraline: Non pas, jusqu'au bout. Je vous dirai tout.
(Elle continue. Trancolin joue les Folies d'Espagne) Dieu! Qu'ai-je vu ! L'infâme vient, á ses pieds, de trahir ses serments !
Don Belflor: Ah ! je suis perdu ! Pardon, ma femme.
Translation into English:
Coraline: Not at all, I'm going to tell you everything, right to the end.
(She continues. Tracolin plays the Folies d'Espagne) Heavens! What's this! The horrid man, at her feet, has just betrayed his vows!
Don Belflor: Ah! I am lost! Forgive me, my wife.
- Title: Folies d'Espagne
- Released 2005 by Mandala compact disc Man 5098 distributed by Harmonia Mundi HMCD 90
- Duration: 2 fragments of quoting the Folia-theme less than 0'20" in 'Air de tracolin' (7'21") and Final (8'52")
- Recording date: Live in front of an audience June 2004 in Théâtre Impérial de Compiègne
- Adolphson, Olle (vocals and guitar) and Gothenburg Chamber Choir conducted by Gunnar Eriksson 'Ge mig en dag'
- Title: Folia (Rim i juli)
- Originally released 1983, re-release 2004 by Prophone compact disc PCD072
- Duration: 2'20"
- Recording date: 1983
This is a very popularized Folia. It was released as the A-side of a single. I don't know if it hits the charts in the seventies. The music is interesting in more than one way. The instrumentation is extraordinary. Besides the violin as the lead-instrument played by Igal Shamir, in the second and third variation a drumkit and an mood synthesizer is introduced, making it into a sort of James Last-tune.. Next to the instrumentation the structure is of interest. The last eight bars of the Folia-theme (ending in the tonic) are played three times but the theme is extended with another nine bars. The first eight bars are a kind of answer to the folia-theme somewhat similar as in the lampaanpolska. The ninth bar is the bridge towards the second line of the Folia-theme. Although I could not find the company to ask for permission to put a fragment of the music at the site it is just too curious not to introduce it.
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Duration: 0'56", 890 kB. (128KB/s, 44100 Hz) |
- Shamir, Igal (violin) and orchestra
- Title: La Folia
- Released 1970 by Polydor Brussels as a single 45 vinyl recording 2051 048 and 45 vinyl recording AZ SG 298
- Arranged by Bill Ador
- Duration: 2'50"
- Recording date: not mentioned at the cover or label
Both the name of the composer and the context of the music is not very clear. Sebastián de Aquirre is unlikely the be the composer and the piece was probably no part of a method. In this case it is classified as a piece by Sebastián de Aquirre because Los Otros (Lee Santana) made it famous as an improvisation on the cd "Aguirre". Eloy Cruz the musician who gave the manuscript to Lee Santana shared some background information about the manuscript including "Folias". The importance of this manuscript is definitely the location (Mexico) and the old age of the piece.
Eloy Cruz wrote about this source 16 January 2010 in an e-mail:
I gave Lee Santana (the author of the CD notes of "Aguirre" by Los Otros) all the info that I had about the MS, but it was several years before the making of this CD and I'm sure he had forgotten it, and I think his interests were somewhere else (hence the connection made by Lee between Sebastian de Aguirre -the supposed author of the MS- and Lope de Aguirre -the Spanish conquistador portrayed by Werner Herzog). Anyway, as long as I started this little Aguirre thing, I'd like to share with you some things I've learned of this MS; please don't take this as a criticism to Lee or anybody else, it's just my two-pence contribution for your wonderful page.
The Saldivar Codex 2 is a mexican manuscript for four-course cittern, or "cítara", discovered somewhere in Mexico by Dr Gabriel Saldivar y Silva (the same one who discovered the famous Saldivar Codex 4, the Santiago de Murcia baroque guitar ms), but both mss are not related to each other.
The Saldivar Codex 2 is undated, but was dated by Robert Stevenson as ca. 1650; in my opinion, because of its early repertoire (including Pavanas, Gallardas, Bacas and so on) and the lack of "modern" french pieces and menuets (always present in 18th century mexican mss), I think the Saldivar Codex 2 can be dated in the first half of the 17th century. Stevenson also says that the ms was written in the city of Puebla, in central Mexico, but he gives no reasons for this statement.
There are 2 names in the ms: Anttonio Marttin de Villegas and Sebastian de Aguirre, and I have found not one single piece of information about who these men were. There's no evidence that any of these 2 persons is the compiler or composer of the music, but then, apparently Dr Saldivar considered that the author was Aguirre and labeled the ms "Metodo de citara de Sebastian de Aguirre" and ever since Aguirre has been credited as the composer, and the MS considered a "method", which it is not. In fact, I think Anttonio Marttin de Villegas could be the author or compiler of the MS because his name is at the beginning of the ms. Aguirre's name appears only at the end in an acrostic (a very bad one) praising his nobility and making him some kind of a warrior or soldier, so I think Aguirre was the patron or boss of some guy who could or could not be a musician, called Anttonio Marttin de Villegas, but it's only guesswork.
I don't have the xerox copy of the MS with me, but according to my index,
there are only 2 folias in it, in f. 16v., headed: "folias por 6 y 7 rasgas" and "folias por elami rasgas." rasgas (last 2 letters in superscript) is an abbreviation for "rasgadas", strummed. This would mean
that only the basic folia chords are in the original, and all the rest of the music was composed by Lee Santana. As I tell you,
I don't have the xerox with me, I'll check it.
I use to say that Lee "reconstructed" the music of the MS, but in this case
he probably composed it. This folia was first recorded by Lee on the cittern and myself on baroque
guitar at the CD "Laberinto en la guitarra. El espíritu barroco del son jarocho".
- Ensemble Continuo (Lee Santana cittern, Eloy Cruz baroque guitar) 'Labyrinth in the Guitar'
Eloy Cruz wrote about this Follia:
This is a very simple version, the one in the Los Otros Aguirre CD could be very different (I've never heard this CD), because as Lee says, they all were improvising.
- Title: "Folias"
- Released 2004 by Urtext Digital Classics (Mexico) compact disc UMA 2018
- Duration: 3'23"
- Recording date: unknown
- available in itunes and at http://www.classicsonline.com/catalogue/product.aspx?pid=786752
- Los Otros (Hille Perl: viola da gamba, Lee Santana: Mexican cittern, Steve Player: Xarana) 'Aguirre'
I really don't know in how far Aguirre is involved in this Folia-composition because in the documentation of the cd there is no detailed account for the sources of the manuscript, but I guess it will be catalogued as Aguirre's Folia in the future.
If I understand it correctly it will be a book with exercises how to play the Mexican cittern. It looks very plausible that a Folia is included because it was one of the most popular tunes in the 18th century, but I lost count how many different Folias the members of Los Otros has recorded so far. In the documentation is stated that the manuscript was more the vehicle to put together some improvisations and that is reflected in the music because there is almost no structure whatsoever in this Folia-tune. An acoustic mix of popmusic close to the Eagles and the Hidalgo brothers of Los Lobos (instead of Los Otros?) pops into my mind although the viola da gamba seems a very long way from home here.
Lee Santana wrote for the slipcase:
I locked myself in with a copy of the Manuscript, which is a very chaotic (typical cittern!) collection of chord charts and 'licks' for what must have been some of the hits of that era, a kind of 17th century fake book. There are no rhythmic indications whatsoever, and lots of mistakes all over (cittern!)., so I had a heyday making sense and nonsense out of these fragments. [...] The pieces are sketches; some bits of tunes, bass lines, chords, forms, sometimes germinal ideas for solos.
- Released 2004 by Deutsche Harmonia Mundi, BMG compact disc 82876 60489 2
- Duration: 6'30"
- Recording date: February 24-28, 2004 at Colnrade, Germany
- Tembembe Ensamble: Leopoldo Novoa ( marimbol, guitarra
de son, jarana huasteca, arpa llanera y tiple) ,
Enrique Barona (voz, huapanguera, jaranas, marimbol, leona, pandero y maracas), Eloy Cruz (guitarra barroca jarana barroca y tiorba)
Invitados: Ulises Martínez (violín, cajón de tapeo y voz), Ada Coronel (vihuela y voz), Andrés Flores (jarana y voz), Donají Esparza (baile tradicional) 'Diferencias e invenciones: Nuestro son barroco ' - Title: Folías from Códice Saldívar 2: Método de cítara de Sebastián de Aguirre, México, siglo XVII, reconstrucción: Lee Santana.
- Broadcasted by a Mexican Radiostation during the anual festival 2009 in Guanajuato which is a state very close to Zacatecas in Mexico. It is a mixture of everything, including dance, theatre and plain entertainment. Savall has been there several times.
- Duration: 2'27"
- Recording date: October 22, 2009 in Templo de la Valenciana in Guanajuato, Mexico
- More about the performance at http://www.festivalcervantino.gob.mx/fic09/node/410
In the announcement during the concert was stated:
La pieza que vamos a tocar ahora es de las pocas que estan... mas bien quiero decir que es un par de piezas: es una Folia que procede de un libro mexicano del siglo XVII que le dicen el Metodo de Citara de Sebastian de Aguirre, porque era para un instrumento que ya no se utiliza en absoluto que se llama citara y Leopoldo va a tocar la parte de la citara con este tiple Colombiano
Translation in English by Carlos E. Osuna:The piece that we are going to play now is one a the very few that...I really want to say that it is a pair of pieces: one is a Folia that comes from a 17th-century Mexican book named "Method for the Cittern (Citar) by Sebastian de Aguirre", because it was for an instrument that is now obsolete that was name Cittern, and Leopoldo is going to play the Cittern part on a Colombian tiple.
Eloy Cruz wrote about this concert 16 January 2010:
The version we played at the Festival Cervantino is basically the same as in
the Laberinto CD, but played on a 4-course, triple-strung colombian guitar
called "tiple", and blended with a Colombian piece called "La Guaneña".
This version has been very recently recorded in the CD: "Diferencias e
Invenciones. Nuestro son barroco", Tembembe-M Sonido (Mexico).
This last version is somewhat of a divertimento and I had forgotten all of
the Aguirre-Santana thing; sorry, I'll never again say that this piece comes
from Saldivar Codex 2.
Incidentally, in the Festival, after this folia, we played the Follia by A.
Corelli in a "Huasteco" versiona. Our fiddler, Ulises Martinez, is very well
acquainted with the music of the Huasteca region by the Gulf Coast of Mexico
(always played by one violin and 2 guitars, all tuned at A=415) and he said
that this Follia could very well be a traditional piece from this region in
Mexico.
There is little known about Luigi Agliati. He was very probably from Milan, for it is in this city in Lombardy that he pursued his activity as guitarist and composer for the guitar in the first years of the 1800's. Some of his works were published by Ricordi in the first decades of the century and amongst the highlights of his oeuvre most certainly belong his Folia-variations.
Birgit Schwab wrote about the piece in an e-mail February 11, 2010:
Each of the variations is written in the style of an important mandolin composer: No.1 Gabriele Leone, No.2 Carlo Munier, No.3 Heinrich Konietzny.
Duration: 3'05" direct link to YouTube
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- Ahlert, Daniel (mandolin) and Schwab, Birgit (guitar)
- Title: La Folia
- Originally released on YouTube December 8, 2009 of a recording during a live concert
- Duration: 3'00"
- Recording date: July 4, 2007 in Herzogenrath, Germany.
- More about the oeuvre of this duo at their website http://www.ahlert-schwab.de/
Interesting detail: sometimes the 16th bar (ending of variation) is also used
as the first one of the next variation. Gives a very nice drive to the music
(yes, this is still my personal favorite after all these years, how did you guess?).Albicastro as an historical figure including playing his Folia stood model for a personage in the historical roman Secretum by Menaldi & Sorti.
- Banchini, Chiara (violon) Brugge, Hendrike ter (violoncelle) Murray, Gordon (harpsichord Dominique Laperle d'après Grimaldi) 'Albicastro: Cantate, sonates & concertos'
Jean-Yves Haymoz wrote for the slipcase:
His output consists of four opuses of trio sonatas for violin and continuo, one of Concerti grossi and a motet entitled 'Coelestes angelici chori' for tenor or soprano which has remained in manuscript form. The style is Italian and the fact that at the end of Opus V there is, like in Corelli, a 'Folia', is a wink that speaks volumes! Albicastro thus ranks among those southern German composers who drew much of their substance from the Italian style, such as Froberger, Walther or Sebastian Scherer
- Released 1991 by Harmonia Mundi compact disc HMC 905208, re-released 1998, series Musique d'Abord compact disc HMA 1905208
- Duration: 11'32"
- Recording date: January and June 1990 at the Studio Ernest Ansermet, Radio Suisse Romande
- Kraemer, Manfredo (violin), Ruiz, Mercedes (violoncelle), Behringer, Michael (harpsichord) 'Altre Follie'
Like the performance of Ensemble 415 (Banchini) this performance is excellent and includes one more fast variation. I don't know if this variation
was included in the original score but I suppose it was included by Kraemer cum sui. Otherwise I don't see any reason why
Banchini left out this variation.
Rui Vieira Nery wrote for the slipcase:
In 1704 one of the most representative composers of violin music of the German and Dutch school, Henricus Albicastro, an artistic pseudonym of Johann Heinrich von Weissenburg (ca. 1660-ca.1730), published a sonata "La Follia", which displays a clear Corellian influence in its virtuosic writing.
- Title: Sonata "La Follia"
- Released 2005 by Alia Vox compact disc AV 9844
- Duration: 11'41"
- 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
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Duration: 1'47", 264 kB. (20kB/s, 16KHz) |
Many composers over the centuries have written sets of variations, suited to different instruments, based on the popular old Portuguese folk tune, La Folia. As far as I know, this is the first set written for dulcimer as it is tuned and played today.
She verified that she used the theme of the Barcelona Manuscript (1764) for salterio solo as the introduction of 'La Folia in OZ':I actually performed all the Barcelona variations in 1996. It was while practising for that concert that I made up my own variations for dulcimer. The different tuning layout makes a difference in the ease of playing ... the Barcelona set is easier on a salterio, mine are easier on a dulcimer tuned the way modern dulcimers are tuned.
All activities of this composer, builder, teacher and performer can be found at http://www.netspeed.com.au/gillian.alcock- Alcock, Gillian (hammered dulcimer) 'The Pleasures of Hope'.
- Released 1997 by Alcock compact disc GA001.
- Duration: 6'29"
- Recording date: 1997 in Canberra, Australia.
- Instrument (hammered dulcimer) built by Gillian Alcock.
- Released 1997 by Alcock compact disc GA001.
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Duration: 4'50", 13 kB. |
The Folia progression takes 4 bars only because the piece is written in 5/4 meter. Don't let yourself distracted by the accent on the 5th count of every bar. Dividing up the 5/4 meter bars into 3/4 and 2/4 meter will help to spot the theme:
| The Folia progression in A minor by Alkan in 5/4 meter | |
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* The f in the g7 chord may be considered as the descending connection from g to e
** The e7 chord (dominant 7th) may be considered as a substitution of the g chord in front of the tonica (am)
- Martin, Laurent (piano) 'Alkan: The railway, preludes, etudes, esquisses and others'
and re- release 'Alkan Piano Music'
- Released 1995 by Naxos compact disc 8 553434, re release 2009 by Marco-Polo compact disc 0730099365727
- Duration: 4'47"
- Recording date: 1989-1992 in Studio Clara Wieck Auditorium, Heidelberg, Germany
As a source of this work is given:
A traditional Spanish/Italian dance that exists in many Latin American sources. Our version, arranged by Julie Andrijeski, uses some Mexican and Spanish sources, as well as some variations based on Corelli and Vivaldi.
- Chatham Baroque 'Sol y Sombra, Baroque music of Latin America'
Andrijeski, Julie (violin), Davidson, Emily (violin), Halverson, Patricia (viola da gamba), Pauley, Scott (theorbo, baroque guitar and archlute)
Scott Pauley wrote for the slipcase:The Folias performed by Chatham Baroque attempt to recreate an improvisatory feeling over a repeating ground bass pattern. Using sources from both the Old and New World, Julie Andrijeski has created a unique version of this well-known dance.
- Released 1999 by Dorian Recordings compact disc DOR-90263
- Duration: 8'27"
- Recording date: March & April 1998 at the Troy Savings Bank Music Hall in Troy, NY
Ms. in Deutsche Staatsbibliothek Berlin, Mus Ms. 30 206 p. 40-44
Ms. in Bibliotheca National Madrid, s-89ter nr. 21
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9 pages in pdf with all 22 couplets, 129 kB |
D'Anglebert follows the form of the later (as opposed to the early diverse one) folia
closely, but varies the final cadence by using submediant
or subdominant harmonies. His 22 variations constitute an
early instance of keyboard melodic variations. The form
is defined as having a generally fixed harmonic scheme and
constant formal proportions; the main notes of the melody
are retained but may be embellished in any number of ways by
addition of nonharmonic tones and rhythmic variation. The
melody of d'Anglebert's Variations undergoes continual alteration
in the soprano voice, supported by the harmonic structure and
fluent movement of the lower voices. Since D'Anglebert adheres
to the constraints of the form, the harmonies are simple. Occasionally
the rhythmic interest shifts to a lower voice or voices, or a
distinctive rhythmic pattern may be tossed between the hands,
as in Variation 16. In Variation 21 the melodic notes are trilled
with alternating upper and lower auxiliaries, almost producing the
effect of a continuous trill. The scale and arpeggio pattern in the
bass of the last variation resemble the Italianate violin style.
Although numerous settings of the folia melody occur in French
manuscripts of the period, D'Anglebert's Variations are possibly
the first published keyboard melodic variations on the folia, preceding
those of Pasquini (in manuscript from the 1690s),
Alessandro Scarlatti
(1715) and C.P.E. Bach (1778). D'Anglebert's Variations had great
popularity and longevity, for they are also found in a late eighteenth-century
German manuscript. They reflect characteristics of the Italian school-notably
those of Bernardo Pasquini.
D'Anglebert's Variations also fall into this classification of melodic variations,
with a homophonic texture and fixed harmonies, and they appear to antedate those
of Pasquini. Whatever the case, D'Anglebert was probably influenced by the Italians,
for traits such as violinistic gestures occur. His Variations, however, do not
reflect the virtuoso style, sharp contrasts , and vivid imagination of those by
Marais. One senses that Marais's variations were for the pleasure of a seated
audience, while D'Anglebert's could have accompanied dancers and may have been
included in his edition for their populair appeal. Although simply constructed,
these variations succeed admirably within their strict harmonic and formal
framework.
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Duration: 0'34", 02 kB. |
| First 8 bars of the opening-variation by d'Anglebert | by unknown source |
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- Published 1965 by Broude Brothers, New York
- Titel: Pieces de Clavecin, facsimile of the 1689 Paris edition
- Part of: Monuments of music and music literature in facsimile, First series Music IV
- 11 p. (page 88 till 98), 29 cm
- Farr, Elizabeth (harpsichord solo) 'Jean-Henri d'Anglebert, Suites de clavecin'
Elizabeth Farr wrote for the slipcase:
The Suite in D minor is a large suite that opens with a prelude non mesure twice as long as those of the previous suites, moving forward with excitement and anticipation.
The suite is capped by a set of22 variations on the Folies d'Espagne. The word folia, a popular ground that originated in fifteenth-century Iberia, literally means "insanity" in Portuguese. A wild, churning dance song, it was used as the basis of improvisations and virtuoso compositions. Its influence can be felt throughout this suite, in which the key of0 minor carries affects ofdevotion and grandeur, melancholy and phantoms- Title: Variations sur les folies d'Espagne
- Released 2008 By Naxos 2x compact disc-set 8.570472-73
- Duration: Variations sur les folies d'Espagne: Couplet 1 Couplet 1: 0':54", Couplet 2: 0'28" Couplet 3: 0'30", Couplet 4: 0'30" Couplet 5: 0'30", Couplet 6: 0'20", Couplet 7: 0'30", Couplet 8: 0'30", Couplet 9: 0'28", Couplet 10: 0'29", Couplet 11: 0'31", Couplet 12: 0'31", Couplet 13: 0'29", Couplet 14: 0'52", Couplet 15: 0'29", Couplet 16: 0'29", Couplet 17: 0'28", Couplet 18: 0'29", Couplet 19: 0'29", Couplet 20: 0'33", Couplet 21: 0'29", Couplet 22: 0'37"
- Recording date: August 2007 at Ploger Hall, Manchester, Michigan, USA
- Harpsichord: The lute harpsichord used in this recording is oneKeith Hill made in 2000 using a description found in Adlung's Musica Mechanica Organoedi (I768) of a lautenwerk made for J. S. Bach based on his special requirements. Tuning a' 415 Hz
- Gammie, Ian arranged Les Folies d'Espagne for three bass viols with
optional figured bass continuo for lute, keyboard etc.
- Published 1990 by Corda Music Publications http://www.cordamus.demon.co.uk/
- Part of: French music for Viols
- Score viol parts 4 p. each, basso continuo (partly realized) 8 p., size A4 - 210 x 297 cm
- One of the viols needs a low A-string in French style.
- The number of variations: 21 Couplets after the main theme, the ornamentation is mostly reduced to standard gamba ornament signs.
- Publisher No. CMP 406
- Gammie, Ian arranged Les Folies d'Espagne for three violas with optional
figured bass continuo for lute, keyboard etc.
- Published 1997 by Corda Music Publications
- Score viola parts 4 p. each, basso continuo (partly realized) 8 p., size A4 - 210 x 297 cm
- The number of variations: 21 Couplets after the main theme, the ornamentation is mostly reduced to standard gamba ornament signs.
- Publisher No. CMP 637
- Nyquist, Kristian (harpsichord solo) 'Jean-Henri d'Anglebert, pièces
de clavecin'
Kristian Nyquist wrote about Les Folies d'Espagne in the slipcase:
The triumph of the Folies d'Espagne started probably around 1656 after the appearance of the guitarist Francecsco Corbetta in Paris. The name is derived from, the Portuguese "folias", meaning lunacy. It originated from a noisy, very fast carnival dance of fertility and slowed down in the course of time. The wonderful melody enhanced its popularity throughout all of Europe. d'Anglebert's variations, maybe the first published version for keyboard, are not so much on the virtuoso order as the ones by Marais, Corelli or Vivaldi, but can be well imagined to have served for real dance occasions. Yet, in this form it survived its creator and even still is found in a German manuscript from the late 18th century.
- Title: Variations sur les folies d'Espagne, edition J.-H. d'Anglebert Pièces de Clavecin, editor Kenneth Gilbert, published by Heugel, Paris 1975
- Released without any indication of the year by Etoile Production Sabam TM compact disc EDPO311
- Duration: 10'53"
- Recording date: October 1998 in Centre paroissial de Boom, Belgium
- Temperament meantone
- Harpsichord made after Italian models by Colin Booth, Wells, 1993
- Rousset, Christophe (harpsichord solo) 'd'Anglebert, complete harpsichord
works (2 cd-set)'
Duration: 9'12" direct link to YouTube
Christophe Rousset plays Folies d'Espagne
© Decca records
- Title: Folies d'Espagne (grouped under pieces in D minor)
- Released 2000 by Decca compact disc 458 589-2 79.04 and 458 590-2 79.35
- Duration: 9'08"
- Recording date: Sept. 27 till Oct. 10, 1996 in Musée d'Unterlinden in Colmar
- Ruckers harpsichord from the Musée d'Unterlinden in Colmar
- Pitch a'= 392, temperament: meantone.
- Stolz, Ernst (viola da gamba) and Smagge, Karel (harpsichord)
This looks more like an arrangement of the Folies d'Espagne by Marin Marais but some variations of 'd'Anglebert are incorporated for the harpsichord.Duration: 8'33" direct link to YouTube
Ernst Stolz (viola da gamba) and Karel Smagge (harpsichord)
© Ernst Stolz and Karel Smagge, used with permission- Title: Variations sur les Folie d'Espagne after Jean-Henry d'Anglebert
- Released at YouTube April 9, 2010
- Duration: 8'33"
- Recording date: during a live concert April 8, 2010 in Den Hague, The Netherlands
- Tomás, Pilar (harpsichord) 'Obras para clave'
Pilar Tomás wrote about Les Folies d'Espagne in the slipcase:
The suite in d-minor ends with the set of variations on 'La Folia de Espana'. These are the only variations on this popular theme composed for a keyboard instrument in France during the 17th century*. 'Folia' meant 'madness' in Castilian [the standard literary form of Spanish], and it was originally used to refer to a very fast dance, 'out of control' ['alocada' means literally with madness but it really implies 'beyond the standards or beyond the reasonable framework']. Little by little, the dance becomes slower (being assimilated as a courtly dance). D'Anglebert variations are 22 pieces of notable 'richness'. Within their scope we discover different styles: Italian, French... The [contemporary] baroque choreographies (cf. Feuillet) justify the use of changes in tempo and character.
* In 1998 there was another long forgotten manuscript of the Folies d'Espagne for harpsichord published of minor importance and which was originally collected by Marc Roger Normand (1663-1734) in 1695.
- Title: Variations sur les Folies d'Espagne
- Released by RNE compact disc RNE M3/08
- Duration: 9'53"
- Recording date: 4/9 October, 1990 in Estudios Música 1 de la Casa de la Radio (RNE), Madrid
- Tramier, Brigitte (harpsichord) with Philippe Foulon (viola da gamba) and Alain Boucho (percussion) in Folies d'Espagne 'J.B. Lully, J.H. d'Anglebert, Les songes agréables d'Arys '
- Title: Les Folies d'Espagne
- Released 2002 by Parnassie éditions compact disc 3 361 540 151 100
- Duration: 12'24"
- Recording date: April 30-May 2, 1999 in les galaries historiques du XVIIème siêcle au Château de Versailles, France
- Harpsichord: J. Ruckers (1628)
- Willi, Barbara Maria (harpsichord) 'Jean Henri d'Anglebert, Sämtliche Cembalowerke Vol. 2'
Barbara Maria Willi wrote about Les Folies d'Espagne in the slipcase:
From among the pieces in the appendix, which encompasses all those movements not included in Part 1 of my complete recording, I would like to single out one that in terms of size and form is unique among d'Anglebert's original works for harpsichor: the variations on the famous Follia bass. As a mosaic of many dissimilar parts, the twenty-two couplets represent a great challange to the player.
In my opinion, the Follia variations are d'Anglebert's most 'Italian' work. Besides French style cantabile sections dominated by the upper voice, elements of the Italian style can also be found: variations with rhythmici ornamental figures and a clear alternation of regular motion between the bass and the soprano. The long series of small character sketches finally leads into a flashy solo in the left hand, which is accompanied in the right hand by chords enriched with acciaccaturas. The master arranger, the great protagonist of beautiful gaillardes, and creator of weighty sarabandes thus shows himself also to be a master of inventiveness and instrumental diversity. Let us hope that also from this recording he may be recognized as such.- Title: Variations sur les Folies d'Espagne
- Released 1999 by Musicaphon compact disc M 56828
- Duration: 9'18"
- Recording date: August 1998 in Schloss Bystrice pod Hostýmem
- Edition Kenneth Gilbert, Paris Heugel & Cie
David Arditti wrote about his composition (June 2002):
It had not occurred to me that my 'Song Without Words no. 2' was a variation
on 'La Folia' . You are right that it is, in the sense that it has the Folia
chord structure as it's basic idea, though the main difference between it
and all the Folias I see on your site is that it is in 4/4 time.
None of the people who have heard the piece before, including musicians,
have notice the resemblance to La Folia. This piece was described as
'Gypsy-sounding' by one listener, and 'resembling Fauré' by another - quite
a range.
I think the universality of the Folia chord-progression lies in the way it
is rooted in the minor but makes a central aspiration to the relative major
before dying back again. It is a kind of musical equivalent of a cycle of
life in its most simplified form.
I took this chord-progression from the general background of our musical
culture rather than in any deliberate attempt to write a variation on La
Folia, for one number in a set of romantic, short piano pieces that use the
title that Mendelssohn invented, and which re-interpret some techniques of
the cantabile piano style.
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Duration: 2'05", 12 kB. |
- Arditti, David 'Songs With and Without Words'
- Released 1999 by Menelik Music, 16 Menelik Road, London NW2 3RP, UK, e-mail menelik@darditti.com
- Duration: 2'17"
- Recording date: May 2, 1999 at Stanmore Church, Stanmore, London, England
- Arditti, David '6 Songs Without Words'
- Sheet music published 1998 by Menelik Music, 16 Menelik Road, London NW2 3RP, UK, e-mail menelik@darditti.com
- 3 pages (The whole set of six is 17 pages of A4)
- Bacevicius, Vytautas
Bret Werb wrote in an e-mail:The work takes the form of two original variations appended to Bacevicius' solo piano arrangement of Corelli's Op. 5 no 12.
In the introduction to the sheet music 'T.J.G.' wrote:this theme, an ancient Portugese dance melody, has been made famous and was composed by him for violin and piano*. This is the piano solo arrangement of the superb work. The 17th and 18th variations has been added and are in the modern contemporary atonal mode. For the music analyst, these last two variations offer a revealing study in contrast between the old and modern school. No more exquisite variations have been composed in the entire field of music composition - classic or modern'.
*Since the Folia variations of Corelli were published in 1700, when the forte-piano was not invented yet, the piano in the text should be read as the harpsichord.
Duration: 0'47", 4 kB.
Variation 17 in a 'modern contemporary atonal mode' Duration: 0'48", 4 kB.
Variation 18 in a 'modern contemporary atonal mode'- Published 1951 by Paragon Music in the series Paragon Library of Musical Classics Volume 13.
This piece is originally intended for the harpsichord or clavichord, however
Axel Wenstedt performed most variations on the Smits-organ in Sint Oedenrode quite convincably. It is the only performance I have
ever noticed for organ.
- Ahlgrimm, Isolde (harpsichord) 'Variationen für Cembalo'
Klemens Hippel (translation in English by Bernd Zöllner) wrote for the slipcase:
Carl Philipp Emanuel Bach's keyboard output, which is as extensive as it is important, does not yet find the attention it deserves. His "Folies", Wq 118/9, were composed in 1778, thus constituting a very late example of a "folia".
- Title: Les Folies d'Espagne
- Released 1972 LP, remastered 1996 by Eterna compact disc 0031682BC
- Duration: 8'03"
- Recording date: not mentioned in the documentation
- Ahlgrimm, Isolde (harpsichord) 'Cembalo, harpsichord - greatest works'
In the slipcase is written:
La Folia is a Baroque template which has induced countless composers to write variations. The material first apprears at the end of the fifteenth century and the first set of variations on La Folia is that for chitaronne (guitar) by Johann Hieronymus Kapsberger (1604). Jean Baptiste Lully and Arcangelo Corelli composed important La Folia variations. Vivaldi, Bach, Beethoven, Schubert, Liszt, Reger, Rakhmaninov and many other composers later followed. In1778 Carl Philipp Emanuel Bach wrote twelve variations for harpsichord set in the key of D minor, which is typical of Folia. They are a fine example of the timeless nature of the material which at that time was already three hundred years old.
- Title: Variations sur "Les folies d'Espagne'Wq 118, Nr 9
- Released 1972 LP, remastered August 2009 by Berlin Classics 2 cd-set 1435139
- Duration: 8'03"
- Recording date: not mentioned in the documentation
- Anderson, Elizabeth (harpsichord) 'Fandango'
Elizabeth Anderson wrote for the slipcase (1988):
A comparison of C.P.E. Bach's Folie d'Espagne variations demonstrates what a difference the empfindsamer-Stil made to Bach's approach. The Folie d'Espagne variations are highly dramatic. Where Rameau's variations charm with their subtle differences, Bach's are radically different in tempo, texture and mood, from the calculated under-statement of the theme in simple arpeggiated chords, to the twelfth variation, marked sehr geschwind, which brings the work flying to a rather sudden close.
- Title: 12 Variations auf die Folie d'Espagne
- Released 1989 by Move compact disc MD 3078
- Duration: 7'51"
- Recording date: not mentioned in the documentation, location in the dining room at Ormond College, University of Melbourne, Australia
- Bärtschi, Werner (piano) 'La Folia'
- Title: 12 Variationen auf die Folie d'Espagne (1778)
- Released 1983 Pan Records LP PAN 130 052
- Duration: 8'18"
- Recording date: February 2nd, 1982 Thun, Switserland
- See also the page Recommended Folia-recordings
- Bonn, James (Dulcken fortepiano) 'Klavier Variations on La Follia'
Maurice Hinson wrote for the Viny recording:
The music of Johann Sebastian Bach's second and most talented son, Carl Philipp Emanuel, is an encyclopedia of fundamental tonal procedures. There is art intrinsic quality in Bach's keyboard music which stands apart from the music of later composers, despite the tendency of commentators to consider it mainly as art ovenure to the schools of Viennese classicism. A study of his work reveals a unique musical consciousness, and a pioneering mind of considerable subtlety.
The set by C.P.E. Bach is entitled 12 Variations auf die Folie d'Espagne W. 118 and is one of his most original works. Unusual modulations and changes of key, unorthodox motives, rhythmic changes, brilliant and expressive keyboard treatment make for heightened interest through-out. The bare set of chords used by Bach could be placed by a more interesting version of the theme and Mr. Bonn treats it in effective triplets. Variation one carefully shares material between the hands while variation two has a brooding atmosphere of repressed power. Special mention should be made of variation three which achieves a magnificent and modern?sounding effect in virtue of "wrong notes" subtly inserted into the arpeggiation. Variation four is mainly imitative while variation five is especially striking as the bass figure is pursued remorselessly to the final cadence. Variation six exploits a "sigh" motif while variation seven partakes of keyboard acrobtics a la Scarlatti. Variation eight is written in a slow French overture style with contrasting dynamics and serves as art introduction to variation nine that is permeated with fleet figurations. Variation ten is imitative between the hands. Variation eleven is a study in syncopation to the final three bars where smooth rhythms take over. The final variation is a perpetual?motion idea with specific fingering indicated by the composer.- Title: 12 Variations auf die Folie d'Espagne (1778)
- Released 1982 Klavier Records LP KS-571
- Duration: 8'48"
- Recording date: not indicated in the documentation
- See also the page Recommended Folia-recordings
- Brauchli, Bernard (clavichord)
- Title: 12 Variations on the "Folies d'Espagne," H. 263 (Wq. 118/9)
- Released by Titanic compact disc Ti 186
- Duration: 19'19"
- Recording date: January 1990
- Brembeck, Christian (clavichord) 'La Danza de los Poetas, harpsichord
dances'
This recording which features three different harpsichords and a clavichord
in dances stretching from Renaissance, Baroque, Classicism to Romanticism
contains three great Folias. It is almost inevitable to pick up some Folias
with such a theme.
As Brembeck himself introduced La Folia in the slipcase (translation by Micheline Wiechert)Incidentally, at this point in our anthology [Sanz] we make our first encounter with the 'Folia', which runs through our programme like a silver thread. The Folia (also Follia) is an eight-bar (in later forms also sixteen-bar) bass, which was first used in Spain in 1494 by Juan del Encina. The 'Follia di Spagna' subsequently developed into one of the most popular bases for variations (the most famous example is probably the sonata 'La Follia' by Arcangelo Corelli).
The oeuvre by Sanz is normally played on the rizzio guitar, but Brembeck knows how to play these jewels on a delicate clavichord. The sustain of the basses sounds exceptionally well and the Folia by Sanz gets a new dimension this way.
High quality performances of the Folia-variations by Alessandro Scarlatti and Carl Philipp Emanuel Bach. The only small omission is that the documentation does not mention which instrument is used for which track. I guess the performer assumes that we are all familiar with early keyboard instruments and that the C.P.E. Bach Folia can only performed on a copy by Hemsch like Picci's Ballet is made for the copy by Ferrini.
It is of no importance considering the mid-price of this disc and the deal that the famous Fandango by Soler and fantastic transcriptions of Milan and Manuel de Falla are included to make it a bargain I enjoy very much.- Title: 12 Variations on the Folie d'Espagne, Wq 118, 9
- Released 2002 by Arte Nova in Co-Production with Bayerischer Rundfunk compact disc 74321 85298 2
- Duration: 8'00"
- Recording date: May 21-23, 2001, Studio 2 Bayerischer Rundfunk, Munich, Germany
- Clavichord after Johann Christoph Fleischer (Hamburg 1729)
- See also the page Recommended Folia-recordings
- Brosse, Jean-Patrice (harpsichord) 'Le clavecin au siecle des lumieres'
Adélaïde de Place wrote for the slipcase:
Along with many of his contemporaries, he (C.P.E. Bach) was inspired by the "folia", a quietly dignified Portugese dance akin to the passacaglia and known at the time as "Les Folies d'Espagne", whose popularity was such that many of the great composers, up to and including Liszt, made use of it. Taking the exceedingly simple "folia" theme as his starting point, Bach employs a variety of technical and rhythmical means to concoct a succession of extremely subtle ornamental pieces. Whether it be swamped by expressive virtuoso passages, hidden whitin compact counterpuntal textures or placed as a freely mobile bass, this theme remains present throughout.
- Title: Les Folies d'Espagne
- Released 1989 by Pierre-Verany compact disc PV 789054
- Duration: 8'33"
- Recording date:February 1988 in Château de Belbeze-en-Commingen
- Harpsichord: Kroll 1774 (école lyonnaise) collection Pierre Lacroix
- Cuiller, Joselyne (clavichord) 'O Süsser'
Jocelyne Cuiller wrote for the slipcase (translation by Jeremy Drake):
Next we have the Variations on the 'Folies d'Espagne' Wq 118-9, H 263, published in Vienna in 1803 though composed in 1778 after the death of his son Johann Sebastian II, in Rome.
- Title: 12 Variationen auf die "Folies d'Espagne" Wq 118-9, H 263
- Released by Fuga Libera compact disc Fug508
- Duration: 8'54"
- Recording date: October 2004 in Chateau de la Garenne Lemot, Gétigné
- clavichord built by E´mile Jobin after Christian Gottfried Friederici 1773)
- Döling, Waldemar (harpsichord) 'Virtuoso Harpsichord Music: Sons of J.S. Bach'
- Title: Variationen Wq 118 Nr. 1-10 / Slg. v. Klavierstücken mit Veränderungen: Nr. 9 (Folies d'Espagne d-moll)
- Released 2009 by Dabringhaus und Grimm compact disc MDG 605 0100-2, re-release of original vinyl
- Duration: 7'51"
- Recording date: 1983 in Schloss Nordkirchen, Oranienburg, Germany
- Dyson, Ruth (clavichord) 'The Arnold Dolmetsch Years, Programme Six'
From a series of concerts held in St. John's Smith Square to celebrate the life and work of Arnold Dolmetsch - pioneer
of the Early Music renaissance - on the 50th anniversity of his death.
From the slipcase:
La Folia (Les Folies), the name of a musical structure for songs, dances and variations that emerged early in the 16th century in Portugal, had developed by the 18th century into a fixed theme much used for variations. The most famous set is Corelli's (1700): C.P.E. Bach's dates from 1778.
- Title: Variations on 'Les Folies'
- Released 1992 by Allegro Innovative Music Productions Ltd compact disc PCD 1018
- Duration: 9'08"
- Recording date: May 1990, live in St John's Smith Square, Londen, England
- Gentili Verona, Gabriella (harpsichord) 'The Renaissance of the Harpsichord in Italy'
- Title: 12 Variations on La folia d'Espagne Wq 118-9
- Released by Dynamic compact disc IDIS310
- Duration: 8'47"
- Recording date: unknown
- 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. A. Scarlatti & Pasquini)
- Title: 12 Variations auf die Folie d'Espagne
- Published by Schott, Mainz 1970
- Publisher No. ED5775
- ISMN: M-001-06326-5
- Junghanns, Rolf (tangentenvleugel) 'playing various historic keyboard
instruments from the Fritz Neumeyer collection in Bad Krozingen Castle'
- Released by Teldec LP (part of collection of 12x LP in 4 containers) 6.35576
- Recording date: 1975
- Kalamkarian, Maria (piano) 'Carl Philipp Emanuel Bach, Klavierstücke'
In the documentation was written:
Likewise, his 12 Variations on the familiar theme Folies d'Espagne, which Corelli had already dealt with, permit us to sense the then so heralded virtuoso. His aim was, as he wrote, ' through the medium of instruments to express as much as is possibl, where it would otherwise be much simpler to use the voice and words.' He surprises the listener with unexpected rests or sudden changes from pianissimo to fortissimo, by recitatives, rubati, romantic motifs and rhythmic contours.
- Title: 12 Variations auf die Folie d'Espagne
- Released without indication of year by Columbia LP 80 826 (printed in Germany)
- Duration: 8'03"
- Recording date: not mentioned in the documentation
- Laganà, Ruggero (harpsichord) 'Follie, bizzarrie e stravaganze in musica, dal '500 all '800'
- Title: 12 Variations auf die Folie d'Espagne (Wotq 118/9 H. 263)
- Released 2005 by Amadeus Darp, Milano, Italy double compact disc AMS 092-2 DP together with a magazine special devoted to the Folia Theme (issue April 2005)
- Duration: 8'04"
- 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
- Lechner, Irmgard (clavichord) 'Tasten in der Stille, Irmgard Lechner spielt Clavichord'
- Title: Les Folies d'Espagne
- Released by Florian Lechner und Julian Benedickt 1997 compact disc without order number
- Duration: 9'41"
- Recording date: July 21-23, 1997 at Musikproduktion Lothar Solle, Hanses-Ketteler-Strasse 19, D-48165 Münster, Germany 1975
- Malcolm, George (harpsichord) 'George Malcolm plays Arne and C.P.E.
Bach'
Stanley Sadie wrote for the cover
The date of composition of the variations on the 'Folies d'Espagne (Wotquenne 118 no 9) is unknown. the piece was first published in Vienna fifteen years after Bach's death. The 'Folies d'Espagne' or 'La Follia' as it was often called wa a melody (or more precisely a melodic pattern with an associated bass pattern) on which composers from Frescobaldi and Corelli to Liszt and Rachmaninov wrote variations. Bach's set consists of twelve variations in varying tempi. Nos 3, 7, 9 and the final one are particularly brilliant.
- Title: Variations on Folies d'Espagne
- Released 1968 by Argo LP ZRG 577
- Duration: 7'30"
- Recording date: not mentioned in the documentation
- Harpsichord built by R. Goble 1968
- Newmark, John (piano) 'Haydn: Adagio in F major,
CPE Bach: 12 Variations on the Folies d'Espagne, Clementi: Arietta con Varizioni, Sonata in D major'
- Title: Variations on the Folies d'Espagne
- Released 1953 by Hallmark in the Hallmark recital series 10" LP RS 4 (mono) Canadian pressing
- Duration: 9'22"
- Recording date: not mentioned in the documentation
- Clementi piano
- Newmark, John (piano) 'John Newmark Plays The Clementi Piano'
Hugh Davidson wrote for the slipcase:
The twelve Folia variations show a different side of Philip's art, the virtuoso pure and simple. They may have been written for the harpsichord, but were more likely intended to demonstrate all the facets of the new forte-piano
- Title: Variations for Harpsichord in D minor, Wq 118 no 9/H 263 'Folie d'Espagne'
- Released 2006 by Analekta compact disc 27901
- Duration: 9'14"
- Recording date: 1962 and 1964 in P.S.R Studio, Montreal, Canada
- Clementi piano (1810)
- Nicholson, Linda (clavichord) 'Tage alter Musik in Herne 1989'
Linda Nicholson wrote for the cover
Man muss nur die '12 Variationen über "Les Folies d'Espagne"' kennen und die besonderen Qualitäten des Clavichords zu schätzen, das vermutlich im mittleren und späten 18.Jahrhundert im deutschsprachigen Raum des bekannteste häusliche Tasteninstrument war. Carl Philipp Emanuel Bachs begründete Liebe zum Clavichord wird hier besonders dokumentiert; denn in diesen Variationen spielt er die ganze Klankfülle der verschiedenen Register des Instruments aus und nutzt die Möglichkeit zur detaillierten Artikulation.
- Title: 12 Variationen über 'Les Folies d'Espagne' Wq 118,9 (1778)
- Released by WDR and Stadt Herne 3x compact disc D 7378-80
- Duration: 7'23"
- Recording date: December 9, 1989, 11.00 a.m. in front of live audience in Kulturzentrum in Herne, Germany
- Padilla, Eunice (harpsichord)
- Title: 12 Variaciones sobre las Folías de España en Re menor
- Broadcasted by Opus, Instituto Mexicano de la Radio
- Duration: 7'45"
- Recording date: June 25, 2007 in el Estudio 'A' del Instituto Mexicano de la Radio
- Praetorius, Lisedore (harpsichord) 'La Folia'
Duration: 1'02", 989 kB. (128kbs, 44100Hz mono)
The two last variations
Lisedore Praetorius harpsichord- Released c. 1950 by Impromptu LP CS 93402
- Duration: 7'51"
- Recording date not mentioned on th backside of the cover
- see also the page Recommended Folia-recordings
- The Purcell Quartet (harpsichord solo Robert Woolley) 'C.P.E. Bach,
La Folia and other works'
- Released 1988 by Hyperion compact disc CDA66239
- Duration: 7'56"
- Recording date October 29/30, 1986 location unknown
- 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: 12 Variationen über die Folie d'Espagne Wq118/9H263
- Released 1998 by Hyperion compact disc CDA67035
- Duration: 7'56"
- Recording date October 29/30, 1986 location unknown
- Puyana, Rafael (harpsichord) 'Rafael Puyana plays baroque masterpieces
for the harpsichord'
Rafael Puyana's view about this piece:
The remarkable Variations on Les Folies d'Espagne by C.Ph.E. Bach though transitional in style, are included here as they extend the influence of the French School, and other charasteristics of the Baroque style through the 'classical' period into Romaticism.
Les Folies d'Espagne is equally suited to the harpsichord, clavichord and fortepiano. Its composer was a master performer on all three instruments although his approach to each is known to have been distinctly different. On the harpsichord, the performer should, in my opinion, follow the original dynamic nuances by means of refined registration, for instance, two-keyboard- playing on eight-foot stops to achieve the desired forte and piano effects in Variation 2. On the whole, the harpsichordist must colour each variation according to its mood and retain, whenever possible, the legato-touch and plaintive rubato typical of clavichord playing (Variation 6 and 11). Levels of sound can be distributed effectively to secure the pianistic, Beethoven-like contrast essential to Variation contrast essential to Variation 8. The overall interpretation of phrasing, embellishments and rhythmic alterations should be oriented towards Baroque traditions, which are a part of C.Ph.E. Bach's musical image. The 'Thema' was not expected to be performed as written but must be ornamented. It can be brought back 'da capo' at the end of the composition, to complete the triptychlike form which composers usually applied to a set of variations. I have chosen to ornament the 'Thema' and its 'da capo' à la francaise, although both realisations differ in spirit altogether.- Title: Variations in D minor on Les folies d'Espagne
W 118-9
- Released without indication of year by Philips LP MONO
838 420AY
- Title: Variations in D minor on Les folies d'Espagne
W 118-9
- Puyana, Rafael (harpsichord) 'Cembalo Barock: Rafael Puyana'
- Title: Variationen d-moll über 'Les folies d' Espagne'
- Released unknown year by Philips Twen Serie 47.
- Duration: unknown
- Recording Date: unknown
- Puyana, Rafael (harpsichord) 'Baroque masterpieces for the harpsichord'
- Released 1965 by Mercury LP MG 50411, re-released as cd 1999 by Mercury Living Presence 462 959-2
- Duration: 9'26"
- Recording Date: April 1964
- Puyana, Rafael (harpsichord) 'La Pantonine and other Baroque masterpieces for the harpsichord'
- Released by Philips LP SAL 3744
- Duration: 9'26"
- Recording Date: April 1964
- Puyana, Rafael (harpsichord) 'Das Virtuose Cembalo, Rafael Puyana'
- Released 1970 by Philips Universo-serie LP Stereo 6582 005
- Ragossnig, Thomas 'Virtuoso Variations'
Thomas Ragossnig wrote for the slipcase in an interview in 1991:
[...] Does this make Soler's fandago the most unconventional piece of this selection? Thomas Ragossnig: Certainly. However, concerning the liberal treatment of the thematic material, Carl Philipp Emanuel Bach with his folia variations also pursues a unique, yet completely different, path. Again, it is bass variations, though not improvised but experimentally and very densely composed in full. Bach intervenes with the form of the theme crafting respectively individual, contrasting characters therefrom which stand at a distinctive distance from this original form. In his case, the theme undergoes a true metamorphosis in several variations contrary to Mozart's variations on Ah, vous dirai-je Maman, where the theme of the song can be clearly discerned at any time. The selection of themes is in itself characteristic with these composers: C. Ph. E. Bach with the folia resorts to a model known since the 16th century that had gone out of fashion and from which he then developed something of a very contemporary if not future-oriented nature. Mozart, on the other hand, in the same year of 1778 composed a more transparent, less deviated playing form about a song which was popular then.
- Title: Variationen 'Folie d'Espagne' D minor Wq.118,9
- Released 1996 by Bayer-Records compact disc BR 100 225
- Duration: 12'19"
- Recording date: April 1990 in Zinzendorfer-Saal in Basel, Switserland
- Ruf, Hugo edited the music
- Les folies d'espagne; Thema mit Variationen für Pianoforte oder andere Tasteninstrumente (Clavichord, Cembalo) [W. 118]
- Part of the series: Ars musicae et studium; Originalmusik für Haus und Unterricht
- Published 1955 by G. Ricordi, printed by Lorrach, Baden
- Score: 12 p. size 21x30cm
- Sgrizzi, Luciano (forte-piano) 'Les fils de Bach, oeuvres pour le forte-piano'
- Title: Les folies d'Espagne
- Released 196? by Cycnus LP 60 CS 539
- Duration: 7'55"
- Recording date: February 1966 in Lugano on a Neupert fortepiano
- More about the oeuvre and life of this harpsichord player at http://jsebestyen.org/sgrizzi/
- Spigt, Jaap (clavichord) 'Klinkende schoonheid uit vroeger eeuwen, Jaap
Spigt bespeelt instrumenten uit het Haags Gemeentemuseum'
- Released without indication of year by Bovema-EMI, Haarlem Holland 5C063-24317
- Staier, Andreas (harpsichord) 'C.P.E. Bach: Sonatas and Fantasien'
Andreas Staier wrote for the slipcase:
The variations on the theme Folie d'Espagne also bear an experimental character: the composer addressed himself to a wholly antiquared theme whose harmony cannot be meaningfully integrated into the the musical language of the later eighteenth century - it was a mannered, almost absurd undertaking, perhaps the first example of a variations cycle with an ironic distance to the theme.
- 12 Variationes auf die Folie d'Espangne d-moll Wq 118.9 aus 'Sammlung verschiedener Clavierstucke mit Veranderungen...', Hamburg 1777.
- Released 1989 by Harmonia Mundi compact disc RD77025, re released by Deutsche Harmonia Mundi (Sony) 2010 compact disc 88697 576.30 2
- Duration: 8'40"
- Recording date: November 18-20, 1987 in Schulzentrum, Lindlar
- Harpsichord built by Bruce Kennedy (Chateau d'Oex, 1987) after Christian Zell (Hamburg 1728)
- Wenstedt, Axel (organ)
Duration: 6'38", 6.2 Mb. (128KB/s, 44100 Hz)
The variations (minus var. 5 and 12) arranged for organ and performed by Axel Wenstedt
© Axel Wenstedt 2007 Smitsorgel Sint-Oedenrode, used with permission
Recorded with a Sony Minidisc walkman MZ-R700, microphone Sony Stereo ECM-909A
Axel Wenstedt wrote about the performance for organ:Probably there is no recording of this piece for organ and I never heard it during a concert either. Despite these facts, I think the organ has some features which are very suitable for the way Carl Philipp treated the Folia theme in most variations. I left out variation number five while the keys for the left hand are not available on the organ and a work around has some disadvantages in this particular case.
There are three main reasons to play this piece on the organ and not on the harpsichord or clavichord which is common practice.
First of all the organ of the Sint-Martinus Church (built in 1839 with a late Baroque disposition and intonation and restored in 2001) is very appropriate for the repertoire of C.Ph.E Bach based upon the experience of several organ-players the last couple of years. As a harpsichordist I knew the Folies d'Espagne by C.P.E. Bach but the acoustics of this particular church (resonance) is more suitable for the organ than for the harpsichord. Especially the 'Sturm und Drang' effects, the contrasts in dynamics, rhythms, and voicing (registers) fit in nicely.
The second reason has an historical background. In the 19th Century, local organ-players in this region (Brabant) frequently played music originally written for piano and orchestra. There was relatively less literature for organ to be heard. These roots are still often taken into account during concerts. Besides it was around the era of the Baroque not often clear for which instrument pieces were written in the first place.
The third reason is more of a practical kind. The program already had a concert for flute by C.P.E. Bach included and as I am scheduled as solo organ player in between I looked for common grounds.
Some additional information about the performance: to avoid a blur of voices it is essential to know both the organ (and its stops) and the acoustical features of the space where the organ is located. In the church of Sint-Oedenrode there is serious resonance. So the way to play this piece is a harpsichordistic playing style to produce a transparant articulation.
variation IV: the upper voice is played with the right hand on the upper manual 8' (Holpijp8 & Roerfluit4) (the normal pitch) and the lower voice is played with the left hand on the lower manual 4' (Fluit4 + Gemsh. 2). In this manner the two voices which are normally separated by an octave, now got interwoven like a wreath.
Variation VIII reminds me of effects Beethoven used as I once had read about this variation.- Thema en variaties over La Folie d'Espagne WQ 118 (1781)
- Performed during a concert with pieces of J.S. Bach and Bohm.
- Duration: 6'38"
- Date of performance: June 30, 2007 organ of the Sint-Martinuskerk in Sint-Oedenrode (Smitsorgel), The Netherlands
- More about the organ at http://www.sintmartinusparochie.nl/smitsorgel/
The work is written for two B-flat trumpets, horn, trombone and tuba and commissioned by the Stockholm Chamber Brass. The premiere of the work took place at the Lieksa Brass Week in Finland July 25 and 28, 1998 in two sessions (both including the Theme and the Chorale and Fuga) .
Jan Bach wrote about his Foliations:
Foliations (the contraction of Folia and Variations
referring to the origins of the word Folia as empty-headed or madness)
was written in 1995 for the Stockholm Chamber Brass, a brass quintet which
commissioned it to go on a CD album of Renaissance music. I decided to base
my work on the later version of 'La Folia', which nevertheless has enough
ties to the 'earlier' piece that I thought it would fit right in with the
other Renaissance pieces on the album. I wrote the work as a 'sandwich':
the beginning THEME and the concluding CHORALE and FUGA are immovable as
the outside movements of the work, but the remaining eighteen short variations
are to be used as a source from which any number may be played and in any
order. The musicians make their own choice how the work will be performed.
In fact, when I mailed the piece (with the parts for each variation on a
separate piece of paper) each player got the movements in a different alphabetical
order, with Trumpet I receiving the parts with their titles' first letter
alphabetized, Trumpet II getting the second letter alphabetized, and so
on. I have no 'correct' order in which the parts should be performed.
The variations are primarily sectional, ornamental variations, based on
the chord changes of the original along with some chord substitutes. The
titles (working titles, really -- they needn't be listed in the program),
aside from the Theme, Chorale and Fuga, are: American, Arpeggios, Austrian,
Bumptious, Caccia, Cadenzas, Canzona, Germanic (duet), Phlegmatic, Reflectively,
Rococo, Romanie, Russian, Scholarly, Stealthily, Tersely, Trio, and Wistful.
It was intended that, because the work was originally to be recorded as
its premiere, the movements could be continuous; even page turns would be
no problem if the performers played each movement as a single "take", and
then the recording engineer could butt them up against each other. I really
don't know how the performers are going to handle the page turns in a live
performance; they may have to take slight breaks between the variations
because they generally play throughout each variation. La Folia has been
of interest to me since I took violin lessons as a youth and played the
Corelli version; it's got a great harmonic progression.
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| Opening of Foliations for Brass Quintet | reproduced by permission of Meadow Music |
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- Bach, Jan
- Pblished after the premiere (summer 1998) by Meadow Music P.O. Box 403, Wasco IL 60183 815-753-7003
- Score and 5 parts
- Duration: 'open' performance time of 6'00" to 15'00"
- Premiere July 25 and 28, 1998 at the Lieksa Brass Week, Finland
- Stockholm Chamber Brass 'Foliations'
- Urban Agnas: Monette CTrumpet MC6,X· Mouthpiece: Monelte C4; Monelte B flat Trumpet '49Xl· Mouthpiece: Monette B4.
Tora Thorslund: Monette CTrumpet MC6,X· Mouthpiece: STC C-3
Jonas Bylund: Conn B8Cl-2000 Trombone with Redbrass Bell· Mouthpiece: 2Cl
Jens Bj0rn-Larsen: B&S F-Tuba· Mouthpiece: Conn/Helleberg
Markus Maskuniitty: Alexander '03 Horn (Brass) - Mouthpiece: Bruno Tilz
Christian lindberg: Conn 88 Sterling silver bell Cl-2000 Trombone· Mouthpiece: Christian lindberg 4Cl - Released 2009 by BIS compact disc BIS-CD-1438
- Duration: the pieces are chopped up into 4 parts between the other compositions of the disc:
Part 1 Foliations: 7'57" (Theme. Andante 2'19", Austrian. Intensely 0'50", Bumptious. Metronomically precise, con forza 0'48", Arpeggione. Lightly 0'44", Canzona Ultima. Moderato brilliante 1'10", Rococo. Reflective 0'51", Stealthily. Deliberate tempo 1'09")
Part 2 Foliations 3'54" (Tersely. As quickly and c1ranly as possible 0'24", Wistful. Gently moving 0'39", Phlegmatic. Andante 1'46", American. Seventies' teenybopper tempo 1'03")
Part 3 Foliations 6'29"(Canonic. Scholarly 0'56", Cadenza. Heavily, un poco rubato 1'54", La Caccia. As quickly and lightly as possibly 1'01", Germanic. Bomposo 2'00", Romanesque. Very quickly 0'36")
Part 4 Foliations 8'08" (Russian, Lively 1'26", Reflective, Gently 0'57", Chorale, Deliberate and weighty 0'46", Fugue, Allegro vivace 4'58") - Recording date: February 2004 at the Eskilstuna Concert Hall, Sweden
- Urban Agnas: Monette CTrumpet MC6,X· Mouthpiece: Monelte C4; Monelte B flat Trumpet '49Xl· Mouthpiece: Monette B4.
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Duration: 1'53", 06 kB. |
| Intro of Unser trefflicher lieber Kamerherr for violino, viola and continuo |
by Bärenreiter-Verlag Kassel, 1975 |
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Duration: 1'03", 1 Mb. (128kB/s, 44100 Hz) |
In the so-called 'Peasants' cantate, BWV 212, Johann Sebastian Bach paints a picture of the village dances of his time. Each air is repeated with a different dance rhythm, and this tune refers to the Folia where one clearly hears the theme played at the beginning. Unusually for Bach the text, 'our servant is a very pleasant man' has little to do with its musical setting. The short variations follow on from each other in the same way as do the instruments and voice in magnificent harmonic shades.
- Contentus musicus Wien/Harnoncourt, Nikolaus 'Jagtkantate/Bauernkantate'
- Released 1990 by Teldec Classics compact disc 2292-46151-2
- Duration: 1'53"
- Neuman, Werner (herausgabe von)
- Title: Neue Ausgabe Sämtlicher Werke, Serie I: Kantaten, band 39
- Herausgegeben vom Johann-Sebastian-Bach-Institut und vom Bach-Archiv Leipzig, Göttingen
- Published by Bärenreiter-Verlag Kassel, 1975
- Score 2 pages (four lines: violino, viola, soprano and continuo) p. 161 and 162
- Publisher No. BA 5040
- Siepmann, Jeremy (author and narrator) 'Life and Works: Bach, J.S.'
In this biography the Folia-theme is mentioned and as an illustration the aria is to be heard.- Title: Peasant Cantata (excerpts)
- Released by Naxos 4 cd-box compact disc 8.558051-54
- Compact disc 4, track 3
- Duration: 15'42". Fragment Aria 1'50" starting at 7'50"
- Included booklet of 116 pages, ISBN 1-84379-022-X
A very impressionistic and melancholic reflection featuring the viola where the Folía theme is fully exposed and twisted in some inversions. Where the piano sometimes echos the voice of the viola and the theme reappears vaguely just below the surface of the consiousness now and then.
Gary Bachlund wrote about his composition:
The Folïa theme appears in its entirety as well as in truncated pieces, and is also altered into the relative major for additional variety, and my choice of caccia and fughetta were additional contrapuntal ways of extending the theme.
Why did I choose the theme? In large part, because I remain devoted to traditional forms and subjects, and the theme had been mentioned on the website Musical Assumptions by Elaine Fine which led me to yours. In the same way that many composers have favored traditional forms for their work, I too favor them, and this form was new to me in its history – thank you for your site again, therefore – and in its interest to many composers. Looking at it, I was immediately struck at some alternatives in terms of breaking it apart into material for an extended piece. In doing so, it simply became jolly fun to follow along the many possibilities which it suggested. Having used cantus firmus themes in some of my organ work, this became both a cantus firmus of harmonic structures and relationships, and a fertile field for invention.
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Duration: 5'44", 5490 kB (128kB/s, 44100Hz) |
- Bachlund, Gary
- The MP3 is purely an emulation. Gary engraved the score using Sibelius 5.2.5 with Garritan voices
- Released 2010 by Greg Bachlund
- Duration: 5'44"
- Recording date: March 2010 in Berlin, Germany
- More about the composor Gary Bachlund and the sheet music can be found at his homepage http://www.bachlund.org/Follies_Flights_and_Fugues.htm
Michael Ziegler wrote about Folia in the Music Reviews of Sonances, the new
music site, edition January 1997:
A former winner of the Prix de Rome, Bacri writes in a fairly
traditional idiom which strives for direct communication and expression.
At turns influenced by Shostakovich and Frank Martin, Bacri's music is characterized
by a fondness for melody and chromatic harmonies that result from clear
voice-leading. There is nothing really new here, of course, but it makes
for enjoyable pieces.
Folia was originally written for orchestra in 1990 and was premiered on
15 April 1993 in Paris by the Orchestre symphonique français and Laurent
Petitgirard. This nine-minute chaconne is scored for a medium-size orchestra:
2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani,
xylophone, snare drum, triangle, and strings. It is based on a two-measure
pattern taken from the 17th-century folia. Over and under this two-measure
pattern, Bacri writes gently flowing chromatic melodies. The first section
of the piece is marked by constantly increasing activity:, with the quarter-note
melody going successively into eighth notes, triplet eighth notes, sixteenth
notes, and thirty-second notes, to finally culminate in a homophonic presentation
of the basic pattern. The second section, marked Dialogo, is a Scherzo in
9/8 time, based on motives derived from the osinato pattern and from the
melody of the first section, with a slow Trio in 3/4 time. The third and
last section of the piece is marked Epilogo and features slow chromatic
counterpoint, which leads gradualy into a statement of the original folia.
The orchestration remains traditional throughout, with only a few technical
challenges for the strings. The arrangement of Folia for solo viola (or
solo cello) and string orchestra has a solo part that is particularly demanding,
while the orchestra part is not difficult.
© 1996 by Sonances and used with permission.
- Bacri, Nicolas
- Published by Durand, Paris & T. Presser Co, USA 1990
- Score 28 p., 27 cm.
- Duration: c.8'00"
- Contents: Prologo -- Dialogo -- Epilogo
- Publisher No. D and F 14 482
- Bacri, Nicolas wrote the arrangement for viola, violoncello, or violin
and string orchestra Opus 30b
- Title: Folia : chaconne symphonique pour alto ou violoncelle ou violon et orchestre a cordes
- Published by Durand, Paris & T. Presser Co, USA 1992
- Score 19 p., 36 cm.
- Duration: c.9'00"
- Publisher No. D and F 14 482
- George Enescu Philharmonic Orchestra/Prin, Yves with Williencourt, D.
de (cello) Verney, L. (viola) Walter, B. (violin)
'Folia Opus 30b' Prologo (Ciaccona), Dialogo (Scherzo) Epilogo (Tema)
Hélène Thiébault wrote about Folia as introduction in the slipcase:Folia, originally conceived as a kind of 'show-piece' for l'Orchestre Symphonique Français and dedicated to its musical director Laurent Petitgirard, is interpreted here in the version for solo viola and chamber orchestra. The process leading from the first to the second version is allied to the theme of the Variations and Theme, the germ of which was originally found in a duet for violin and viola written shortly before and entitled Chaconne. 'While composing the duet I realised that this theme was closely allied to that of Folies d'Espagne; so I decided to transcribe and develop it for orchestra. In its new form the piece has the structure of Variations and Theme'. The transcription of Folia in the version recorded here was inspired by Bacri's fascination with Britten's 'Lachrymae', a work for viola and string orchestra similarly constructed.
- Released Nov 1, 1995 by Etcetera Records compact disc 1149
- Duration: Prologo 4'41", Dialogo 0'59", Epilogo 2'56"
- Recording date: September 1992 at the Athénée Theater, Bucarest Romania in the presence of the composer
- Lecaudey, Jean-Pierre (organ)
- Duration: 10'17"
- Recording date: Premiere May 19, 1993 in the Auditorio Nacional (organ built by Gerard Grenzig), Madrid Spain
Both tablature and and staff notation are used to present the music in this method. The author advocates advocates the use of the right-hand ring finger, not used in methods prior to this. He mentions that that if the students learn to execute the beginning exercises, they will eventually have the ability to play Les Folies d'Espagne.
Actually Bailleux was the publisher of the sheet music (often referred to as the 'Bailleux-method') and not the composer. Only the initials 'B.C.D' are known from the composer itself. For practical reasons I have classified this piece as the 'composition' of Bailleux.
First edition (1773) published in Paris.
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Duration: 1'13", 04 kB. |
| Theme of Folies d'Espagne in a lay-out derived from the original notation |
reproduced with permission from the Minkoff-edition 1972 p.16 |
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- Bailleux's publication was joined by another instruction book for the
guitar written by Le Moine (including another
Folia!). The facsimile of the second edition by le Moine and the first
edition of Bailleux both published in 1773 were reprinted by Minkoff in
one beautiful volume.
- Title: Méthode de guitarre par musique et tablature
- Published 1972 re-published 1980 by Imbault-Paris/Minkoff
- Re-published by Minkoff
(http://homepages.iprolink.ch/~minkoff/intro/intro.htm)
- Score 4 p. 22 x 30 cm
- Publisher No. ISBN 2-8266-0299-3
| Theme of Les Folies d'Espagnes (1781) | |
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- Baillon, Piere-Jean
- Title: Nouvelle méthode de guitarre selon le sisteme
des meilleurs auteurs, contenant les moyens les plus clairs et les
plus aises pour apprendre a accompagner une voix et parvenir a jouer
tout ce qui est propre a cet instrument (first edition 1781)
Progressive method containing instructions on how to set up the instrument and how to tune it, treating positions, 'passages' (divisions), with many pieces for the guitar solo and with accompaniment. An important aspect of Baillon's method is that in it we find the first reference to the use of single strings on the guitar, although he states that he prefers the sound of double courses. - re-published 1977 by Imbault-Paris/Minkoff, 1 volume 72 pages
- Re-published by Minkoff
(http://homepages.iprolink.ch/~minkoff/intro/intro.htm)
- Score 4 p. Size 22 x 30 cm
- Title: Nouvelle méthode de guitarre selon le sisteme
des meilleurs auteurs, contenant les moyens les plus clairs et les
plus aises pour apprendre a accompagner une voix et parvenir a jouer
tout ce qui est propre a cet instrument (first edition 1781)
Although the music of Daniel Barry is often seen as a bridge between classical music for ensemble and South American ingredients
in an idiom of jazz, in 'La Folia Lando' the association with even more multicultural influences, including Arabic and Balkan
flavors are hard to avoid. Partly directed by the instrumentation for instance the prominent (Balkan) accordion.
Most prominent for me personally is the similar approach of the music as often composed and performed by Rabih Abou Khalil (with somewhat similar instrumentation) with the collective unexpected accents in the phrases. Full control and strenght in the outline setting of the composition with lots of space for the transparant soloists. The result is a restrained and powerful mindsetter.
The Folia theme is introduced four times by the cello and the supporting instruments are dealing with the theme each time in a different way.
Daniel Barry wrote about this composition:
This arrangement was commissioned by Music Works Northwest, Seattle Washington USA for a premiere performance at the Olympic Recital Hall, April 1, 2006. As far as I know this is the only Folia set to an Afro-Peruvian Lando groove.
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Duration: 1'05", 833 kB (96kB/s, 44100Hz) |
Duration: 7'26" direct link to YouTube
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Duration: 5'05" direct link to YouTube
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- Daniel Barry (cornet, melodica, misc. percussion), James DeJoie (bass clarinet, clarinet, flute, bari sax),
Alicia Allen (violin), Ruth Marshall (cello), Steve Rice (accordion), Chris Symer (double bass), Scott Ketron (drums, congas),
Will Dowd (cajon) 'Walk All Ways'
- About the compositions of the compact disc: All compositions and arrangements by Daniel Barry except [...] La Folia Lando composed by A. Coreli (type error not Arcangelo Corelli?)
- Released 2007 by Origin/OA2 compact disc 22039
- Duration: 7'03"
- Recording date: not mentioned in the documentation, location at Triad Studios, Redmond, Washington
- At YouTube you can find a live performance of La Folia Lando part 1 and 2 http://www.youtube.com/danielbarrymusic
- More about the composor and performer Daniel Barry can be found at his homepage http://www.barrymusic.com/
Carmen B. Schmersahl wrote about this tune:
I assume it was written for harpsichord (I play it on both clavichord and harpsichord and think it works better on the latter). The piece consists the statement of the theme and two variations, essentially the ground bass and treble almost entirely in dotted eighth and sixteenth notes. Very 'dancy'.
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| Opening of La Folie D'Espagne | Baustetter |
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- Halford, Margery edited the music for both harpsichord and piano
- The harpsichord manual: an introduction to the technic, ornamentation and performance practices (1980)
- Introduction to theme and variations for the piano (1985)
- Published by Alfred Publishing 1980 and 1985
- Score 3 pages both, 31 cm
- Publisher No. unknown
- Baxter, Becky (harp) 'O Lux Beata, Renaissance Harp Music, Becky Baxter,
Harp'
Watch out for this item because there is all the reason to temper the high expectations. The harp only takes the lead in one variation, the rest is played by the violin in the well-known baroque-style a la Farinelli. Renaissance Harp Music? I doubt it.
In the booklet Becky Baxter wrote about Folia:The Folia track presents an accompanying instrumentation that became quite popular in Spain: harp and guitar. The various rhythmic patterns and accompaniment patterns used by the harp, guitar, and vihuela on this recording are entirely improvised. We chose to experiment on this recording by presenting the diferencias organized or grouped in pairs instead of a nonstop delivery of the melodic material. Only the melody is given in the manuscript
.- Title: Folia, Anon. from E Bc M. 1452
What does E Bc M. 1452 mean? M. could be the abbreviation of Manuscript but the rest? - Released 2000 by Dorian compact disc DOR-93193
- Duration: 9'05"
- Recorded January 25-29, 1998 at Heights Sound Studio in Houston, Texas
- Paul Shipper, 5-course Baroque violin (copied after Guarnerius del Gesu, 734 'Rode'by David Rubio 1997), Becky Baxter, large Iberian cross-strung harp (made by Tim Hobrough), Paul Shipper, 5-course guitar (after Voboam by Lawrence K. Brown in Ashville, North Carolina)
- Title: Folia, Anon. from E Bc M. 1452
Published in two manuscripts for lyre or guitar and violin or flute. Abe Nagytothy-Toth edited and revised the original version for two instruments and mentioned that the guitar or lyre parts in both versions are identical. The titlepage of one of the publication, the other publication can be retrievd from the Bayerischen Staatsbibliothek
- Bédard, Jean-Baptiste.
- Title: " LA GAVOTTE DE VESTRIS, Variée pour Lyre ou Guitare. Suivie de Seize Nouvelles Variations DES FOLIES D'ESPAGNE, avec Accompagnement de Flute ou Violon (ad libitum) DÉDIÉE à M.lle Prudence Laforge. PAR J. B. BÉDARD, Professeur; OeUVRE 39.me"
- Published in Paris : Jouve, [18--?]
- Score: 9 pages
- Size: 33 cm
- OeUVRE 39.me" Bayerischen Staatsbibliothek for the complete publication
- Mourat, Jean-Baptiste edited the music for his 'La Guitare Classique',
Vol. C
James Phan asked Jean-Baptiste Mourat in May 2001 about the context of this piece composed by Bédard and he was so kind to give a translation into English: Duration: 6'52", 30 kB.
Theme and all variations as sequenced by Patrick Navarro, used with permissionConcerning the Folies d'Espagne by J-B Bedard, I found it at the Bibliothèque Nationale (note: the French national archives for books and manuscripts, it is also the depository for anything that was/is printed, even nowadays, you can imagine the volume !) 25 years ago and I still have a copy. Bedard was a guitar teacher who lived between the middle of the XVIIIth century till the beginning of the XIXth. He wrote very few pieces of interest, as was often the case for the guitar at that time. If it wasn't for my arrangement of his 'Variations sur la Foliá', this piece would have seemed 'rather plain' to my colleagues. Moreover, the tremolo (note: the 10th) variation is mine: this style appeared only starting from the middle of the XIXth, if my sources are correct. I wanted that piece to be technically complete.
Oddly enough I will do it again with the volume that is due to come out in September 2001. This time it will be a Folia from the XVIIth century that had been written for the lute.- Published 1979 by Editions M. Combre, 14 Boulevard Poissonnière, Paris 9e, France ref C 4668
- Score: 7 p.
- Size: 22,5 x 30 cm
- Nagytothy-Toth, Abe revised & edited the music for
guitar and violin or flute
12 pages in pdf, 321 kB
© Abe Nagytothy-Toth 2009, used with permission
Abe Nagytothy-Toth wrote in an e-mail the third of September 2009: Duration: 8'08", 36 kB.
Theme and all variations as sequenced by Abe Nagytothy-Toth
intended as a guide without imitating the original instruments
© Abe Nagytothy-Toth 2009, used with permissionAttached I am sending copies of the originals of this Folias Op.39/2 by Jean-Baptiste Bédard. The Lyre ou Guitare parts are identical in both versions. Actually it comes from the same printing plate nº 27. The duo version is from D:Mbs München, and the solo version from F:Pn Paris.
On your documentation you have already the Bédard Folias stating that it is from F:Pn also, but as I realize, in the tema the interpreter uses a different rhythmical pattern, and so on (note from the redaction: the music with Jean-Baptiste Mourat as the editor).
Just before I sent you a score of this Folias in PDF of the original duo by Bédard, and also the same as a MIDI file. This MIDI file is just a guide, the sound is electronic, and not imitating the original instruments.- Published 2009 title: 'Les Folies d'Espagne Op.39/2 Guitar, Flute (Violin ) ad lib.'
- Score: 12 pages and one part
- Size: 21x 29 cm
I'm familiar with this work since I was a small boy, because my parents loved Beethoven's music. In July 1997, just after starting this homepage I got an e-mail from Mario Martinoli, who read about my interest for the theme of La Folia in the Early Music-newsgroup. He pointed out that the progression of the first 8 bars of the theme is somewhat hidden halfway in the Andante. With mixed feelings of disbelief and curiosity I listened again and .... yes! How could I ever have missed it? So not a genuine variation upon La Folia, but a rather interesting sidestep Beethoven made by using the standard chord progression of the first 8 bars in three-eight time. Coincidence?
Although some recent sources mention that the fragment of the Folia theme in Beethoven's symphony was detected only in the 90's of the last century, Reed J. Hoyt analyzed some Folia-aspects in the oeuvre of Beethoven already in 1982 in his 'Letter to the Editor', in the journal 'College Music Symposium 21', where he draws attention to the existence of complex archetypal patterns and their relationship.
As indicated these two passages (editor: in the previous part a fragment of Mozart's Requiem and Bruckner's Symphony No. 4 were mentioned) are based on the Folia pattern in an analogous way, that is the melodic pattern established by the first few tones extends into a sequence. To my knowledge neither link has been mentioned in older theoretical treatises. So we wonder if composers were aware of possible derivations. Certainly Beethoven's use of the original Folia pattern (without labeling it as such) is curious; see the second movement, measures 167-176 of the Symphony No. 5 in C Minor, the second movement 1-8, of the Sonata No 3, in A Major for Cello and Piano, Opus 69 and slightly altered the second theme of the first movement of the Concerto No. 5 in E-flat for Piano and Orchestra, Opus 73 (measures 38-45). Moreover, Beethoven used the Folia sequence in such works as the Symphony No. 4 in B-flat (first movement, measures 89-92) and the Sonata in E Major Opus 109 (first movement, measures 27-32). But it is difficult to assign an extramusical or affective meaning to these passages with any degree of consistency.
To understand the context better Hoyt gives in 2002 for this website a more detailed description of the Beethoven fragments in relation to the Folia-theme:As noted before, I would say that the example from the Fifth
Symphony is the most pure. The example from the scherzo of the Cello Sonata
repeats the initial tonic chord and the cadence at the end of the phrase.
In A minor I would consider the Folia bass to be A-E-A-G-C-G-A-E (or E-A).
The cello sonata example is A-A-E-A-G-A-G-A-E-A-E-A. (with the first E repeated
twice, one E per beat in the third measure). Perhaps it would be more clear
to diagram this using vertical lines to represent barlines:
A | A | E E E| A | G | A G| A E A | E A |
The 'Emperor' Concerto example consists of many repetitions of the fourth
leaps, starting with the anacrusis to measure 38 (key of E-flat minor):
Bb | Eb Bb Eb Bb | Eb Bb Eb Bb | Eb Bb Eb Db | Db Gb Db Db| Gb Db Gb Eb|F
Eb F Bb | Eb Bb Eb Bb | Bb....
which elaborates Eb Bb Eb Db Gb Db Eb Bb'.
In his 1997 publication 'The chromatic fourth during four centuries of music' Peter Williams wrote:
The variations of the slow movement of the Fifth Symphony too include a strikingly archaic moment: in the tonic minor at bars 166ff can be discerned a complete statement of 'La Folia'.
In the slipcase of the Hyperion compact disc CDA67035 released in 1998 and dedicated to 6 sets of variations on the folia-theme, there is a rather curious confirmation of this Beethoven-item:
It (la Folia-theme) was used by Beethoven too in his Fifth Symphony where it is quoted in the harmony towards the end of the slow movement - a fact which apparently escaped musicological detection until 1994 when it was recognized by an Open University student, Lucy Hayward-Warburton (to the astonishment of her tutor)'.
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Duration: 0'32", 04 kB. |
| Excerpt of Folia-theme by Beethoven for only flutes, viole and celli |
by Leipzig Verlag von Breitkopf & Härtel |
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- Ludwig van Beethoven's Werke, Vollständige kritisch dürchgesehene
überall berechtigte Ausgabe, Serie 1, Symphonien für grosses
Orchester
- Leipzig Verlag von Breitkopf & Härtel
- Symphonie No. 5 in C moll, Op. 67, Andante con moto: bars 166 - 175
This piece includes the Aria from Johann Sebastian Bach as one variation and some variations similar to the ones by Corelli
- Behrend, Siegfried edited the music
- Instruments: mandolin I and II, mandola, guitar and bass
- Published by Hans Ragotzky, Der Volksmusikverlag, R 441, Berlin
- Duration: approx. 5 minutes
- 178 bars
based upon an idea of Jordi Savall (including selection of texts and music).
The idea of Cervantes novel Don Quixote (Quichotte) has a huge impact on social and cultural life till this very day. There are ballets (Brian Large 1984, Kirov 1988, Nureyev 2002), movies (Grigori Kozintsef 1957, Orson Welles 1992, Peter Yates 2000) and numerous theatre plays dedicated to Don Quixote. It has not slipped the attention of composers either. Perhaps most famous is the opera by Jules Massinet (1842-1912) dated back to 1910, but there are numerous other references in music, especially in comic opera.
'Folies d'Espagne' as one of the many synonyms of the Folia-theme, can be translated literally into 'Spanish madness' and although this is often used in a negative sense, it opens up the association with an optimistic character as the Spanish Don Quixote, living in his own world fighting windmills. For instance Francesco Bartelommeo Conti quoted the Folia-theme in his comic opera Don Chisciotte (1719) and a harpsichord LP by Luciano Sgrizzi with the title 'Musique espagnole choisie par Cervantès' contains a Folia as collected by Martín Y Coll. Savall exploits this opportunity in his Don Quixote-project too. In the recitative '"Llego la noche, y ya en casa hubo sarao de damas" he gives Behringer room to improvise on the Folia-theme in the background. For Savall the Folia-theme is an old friend because recently he recorded 'Altre Follie (2005)' and in 1998 he dedicated another project to this theme 'La Folia, 1490-1701'
- La Capella Reial de Catalunya, Hespèrion XXI conducted by Jordi Savall:
Jesus Fuente (vocals), Michel Behringer (improvisation Folias on the harpsichord)
'Miguel de Cervantes Don Quijote de la Mancha, Romances y Músicas'
- Title: Recitado: 'Llego la noche, y ya en casa hubo sarao de damas' Jesus Fuente, Michel Behringer (improvisación clavicémbalo: Folias)
- Released September 2005 by Alia Vox double compact disc-set AVSA 9843 A+B
- Duration: 1'22"
- Recording date: March-May 2005 in Colegiata del Castillo de Cardona (Cataluña)
I do not know in which way the Folia tune served as the vehicle for this composition because i actually neither have heard the tune nor have seen the sheet music of it, so i cannot verify anything.
Richard Bellak wrote about this tune:
The sixth prelude is based on the 'later' Folia-theme, though altered in rhythm and meter. As for the choice of la Folia, i believed it would serve very well as the basis for a jazz prelude and it did. Similarly, I employed a theme based on the letters B.A.C.H. for the 12th fugue. I worked on the pieces in this set over a number of years, so the publication and recording date of 1992 means they were composed prior to that date, but I don't have a composition date for each individual prelude and fugue in the set.
- Bellak, Richard 'Fugal dreams, twelve jazz preludes and fugues for piano'
- Published 1992 by RCB Sound Publications P.O. box 1082, Tallahassee, Florida 32302
- Score 3p (as part of Vol 1. which contains preludes and fugues 1-6), 27,5 cm x 20 cm
- Publisher No. SC-001a
- Bellak, Richard 'Fugal dreams, twelve jazz preludes and fugues for piano'
- Released 1992 by RCB Sound Publications compact disc CD-001
- Duration: folia prelude 1'35", in total 3'27"
- Recording date: 1992 at Mainstreet Music Studios, Tallahassee, Florida USA
- Both sheet music and cd can be ordered from http://www.vashti.net/Bellak
First edition (1720) in the Civico Museo Bibliografico Musicale di Bologna.
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Duration: 6'55", 45 kB. |
| Theme of 'Follia', part of the Sonata in d minor | arrangement David Lasocki |
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- Ensemble Musica Antiqua: Mendoze, Christian (conductor) 'Bellinzani-Scarlatti-Purcell-Telemann'
Adélaïde de Place wrote for the slipcase:
The famous theme of La Folia (originally a type of wild Portuguese dance) was used by many composers of the baroque era. It is found as the Adagio movement of the third of Bellinzani's twelve Sonate a flauto solo con cembalo o violoncello, Opus 3, published in Venice in 1720. Preceded by a joyful intermezzo for solo harpsichord, designed 'per respiro de flauto' (i.e. to enable the flautist to get his breath), the theme is exploited in seventeen variations, during which it undergoes all sorts of rhythmic and melodic transformations.
- Released 1996 by Pierre Verany compact disc PV730074
- Duration: 8'17"
- Recording date: 1994/1995 at Studio Pierre Verany, France
- I Fiori Musicali: Maria Giovanna Fiorentino (recorder and art director),
Paolo Tognon (bassoon), Pietro Bosna (cello), Pietro Prosser (archlute),
Roberto Loreggian (harpsichord) 'Paolo Benedetto Bellinzani, 10 sonatas
for flute and continuo, Op. 3'
- Released September 2002 by Tactus compact disc TC.682702
- Duration: 8'30"
- Recording date: unknown
- Lasocki, David editor
David Lasocki wrote in the introduction:The twelfth, the present piece, has an unusual form. After two movements of what seems to be a sonata, there follows a movement for solo harpsichord headed, literally 'harpsichord solo give the recorder a rest', and finally comes a long set of variations for recorder and basso continuo on La Follia. The desire to end the collection with these variations is presumably a nod in the direction of the composer's hero, Corelli. although the unprecedented (?) tacking on of three such other movements owes nothing to the master
- Published by Nova © 1979, London
- Score 20 p. and 2 parts, 30 cm
- Figured bass realized for harpsichord by John Madden; includes part for violoncello, viola da gamba or bassoon.
- Musica Antiqua Toulon: Mendoze, Christian (recorder & conductor)
'Bellinzani, sonates pour flute a bec et basse continue'
Adélaïde de Place wrote as introduction to 'La Follia' in the
slipcase:
The adagio of Sonata no. 12 in D minor takes up the famous theme 'La Follia', which was used by numerous composers in the 17th and 18th centuries (including Frescobaldi, Corelli, François Couperin, Carl Philipp Emanuel Bach, to name but a few). It is preceded by a joyful intermezzo for solo harpsichord, written specially by Bellinzani per respiro del flauto, i.e. to allow the flautist to get his breath back ready for the following variations. Already known in the 16th century, the melody from 'La Follia' which was originally a wild Portuguese dance, came to be used in instrumental music as the subject of variations, close to the chaconne or the passacaglia, on a basso ostinato.
Bellinzani exploits this theme in seventeen variations, which severely test the soloist's technique: theme and variation on the bass (var.1), series of semiquavers on the recorder (var.2), perpetual motion (var.4), imitation in dialogue between the soloist and the bass (var.5), theme to the rhythm of a gigue (var.6 and 7), repeated bounding notes (var.8), an expressive syncopated largo (var.9), series of swift arpeggios passing from the recorder to the bass or progressing in contrary motion (var.10 to 14), use of syncopation (var.15). After a fast gigue (var.16), Bellinzani brings his series of sonatas to an end with a final variation, providing a truly pyrotechnic display of virtuosity.- Released 1994 by Pierre Verany compact disc PV794112
- Duration: Largo 2'14", Allegro 2'07", Follia: adagio and variations 8'17"
- Recording date: April 22/24, 1994, location of recording not indicated.
- Petrenz, Siegfried edited the basso continuo
- Published by Martin Heidecker © 1991, Wien as part of series: Universal recorder edition
- Score 20 p. and 2 parts, 31 cm
- Publisher No. UE 18744 Universal Edition
- ISMN M-008-00793-4
Balázs Bencze (in daily life a literature teacher, lute- and guitarplayer
and leader of 'Tabulature - early music ensemble') wrote as an introduction
to his composition:
My composition is a salutation to the wig-headed ancestors,
by a modern musician, anno Domini 2002. That is why I have chosen the format
midi. To listen to the midi the Soundblaster (SB) Live! is recommended -
the piece is optimized and balanced on it. (On this card choose the 'Concert
Hall'-environment setting for the really authentic feeling). The software
was a 'Midisoft Session', without midi-keyboard, only with manual scoring
from bar-to-bar. The instruments are: a violin, a flute and - of course
- the lute (or guitar, in the original sound bank).
'The Folia' starts of course with the main-theme, and goes forward by a
builded theme-sequence (first a third-scale, and after a normal variation),
from the simple to the virtuous one. As lutenist, I fit a soloistic lute
variation-part into it, with an inverse section, without lute, which two
parts appear also together at the end. At the top of its musical expressions
I placed a three-part fugato - not a 'real' fugue, perhaps a more serious
canon with the diminued scores of the main theme - at the 'exposition' it
ends with a 'coda' - and it finishes with a choral-style, and a 'pseudo
poliphonic', rather virtuous 'running', before the last some bars, including
a melodic coda-variation.
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Duration: 5'58", 28 kB. |
- Bencze, Balázs
- Recorded with the Soundblaster Live soundcard with Midisoft Session for sequencing
- Not yet published
- Duration: 5'58"
- Recording date: 2002 in Budapest
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Duration: 6'07", 14 kB. |
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6 pages in pdf, 67 kB |
The idea of composing some variations of the Folía came from listening for the first time to the famous variations of J.B.Lully. The theme was simple and catcthing too so I searched at the internet and found this site (www.folias.nl). I began listening to some samples and other variations by various composers that definitely inspired my work. Every variation I made is based on a peculiar element (time changes, chromatism..), a sort of etude but there isn't a guideline: I simply wrote the variations as they came in my mind.
- Beretta, Daniele
- Title: "Tarda" Follia e variazioni
- Published by Daniele Beretta in 2011
- 6 pages 21 x 29 cm
- Duration 6'07"
- Recording date: March 2011. Italy as a midi file
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Duration: 1'38", 6 kB. |
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2 pages in pdf, 67 kB |
The origin of this variations (as well as the theme) is curious, because they are inspired by the piece "Partita Sopra folia" by G.Frescobaldi, and I also believe they can be used as an introduction. My real intention was to play the song (I didn't have the score), but in the track I listened to the harpsichord, it wasn't tuned using equal temperament so I was misled. I failed to reproduce the song nevertheless I created a new piece.
- Beretta, Daniele
- Title: Variazioni sul tema della "Nuova Follia"
- Published by Daniele Beretta in 2011
- 2 pages 21 x 29 cm
- Duration 1'38"
- Recording date: March 2011, Italy as a midi file
- Amoric, Michel edited the sheet music
Hector Berlioz studied guitar with a man named Dorant from 1819-1821 in the town La Côte Saint André (Amoric, 1985). A manuscript containing 36 pieces of guitar music by Berlioz was found there and includes 'La Folia' the theme and 12 variations. This music has been recently published (Amoric, Michel, ed. 1985. Hector Berlioz 36 Pièces Originales pour Guitare. Editions Musicales Transatlantiques, Paris). The Folia theme is stated very simply. The twelve variations to follow are pretty much divorced from melody and are in essence a series of simple arpeggio studies (ranging from 8th note triplets to 32nd notes) that appear to me to have been devised by Berlioz simply as exercises for his right hand.- Published 1985 by Amoric Editions Musicales Transatlantiques
- Score 6 p. size 22,5 x 30,5 cm
The Folia is not only a vehicle for composers to show their abilities, a willing object for filmscores or a melody to inspire writers (de la Fontaine), but in this case also a tool to share a religious vision.
Taizé is an Ecumenical, international community founded in 1940, in Taizé, in the middle of France.
The tune was used in several religious tunes by Berthier as can be found at the page http://qmmc.free.fr (with acoustical examples in mp3-format).
Berthiers most famous tune is Laudate Dominum but the Folia progression and melody is also used in his "Qui mange ma chair et boit mon sang" (i.e. He that eateth my flesh, and drinketh my blood, dwelleth in me, and I in him).
Presses de Taizé wrote in May 2004 about this tune:
The song "Laudate Dominum" sets words from Psalm
117 to the Folia theme; it was composed in about 1980 by Jacques Berthier
(1923-1994) for the Taizé community, and it has become one of the
best-known of the songs of Taizé. The song is published by the Ateliers
and Presses de Taizé in numerous songbooks, which include solo verses
in different languages and instrumental accompaniments.
It appears in the following recordings, all made at Taizé in France,
in versions that include solo verses in different languages. In each case,
the performers are young people visiting Taizé to take part in the
intercontinental meetings at Taizé: T 554 Jubilate (1991), T 559
Liederen uit Taizé (1997), T 560 Chants de la prière à
Taizé (1998), T 561 Canti della preghiera a Taizé (1998),
T 562 Joy on earth (1999), T 563 Auf dich Vertrau'ich (2000)
- Young people visiting Taizé
- The sheet music and several voices in midi of the music at http://www.taize.fr/music/laudom.htm
- Released 1991-2000 in several languages, distributed in Europe by Naïve, France, and their partners. Details are on the Taizé website on the pages according to each language.
- Recording location: Taizé, France
- Solisti dell'Orchestra da Camera del Cantiere
- Charged by Hans Werner Henze for the 3rd Cantiere Internationale d'Arte.
- Premiere August 3 1978 in Teatro Poliziano in Montepulciano (Italia)
The music is based upon the Corelli-variations for wind instruments. However the music serves the animation completely in movement and timing. Moods are changing in almost every variation from hope to dispair. An obsession in the literal meaning of the word 'Follia' with lots of humor for instance when the monk gets a bucket on his head the sound of a churchbell rings. A piece of high multimedia art with limited sources.
Animation 'The monk and the fish'
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- Serge Besset, Nora Cismondi, Maeva Bouachring, Frank Leeuwenberg, Henri Paul Beaujard
- Title: d'Apres 'La Follia de Corelli'
- Released 1994 by Folimage, France for the moving picture 'the Monk and the Fish' by Michael Dudok de Wit
- Duration: 6'22"
- Recording date: 1994 Valence, France
Manuscript the Bibliotheque Nationale in Paris. (Paris BN) Original possesion dated back to 1690 of Maguerite Monin, a student of Béthune.
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Duration: 0'31", 02 kB. |
- Quadt, Adalbert edited the music for guitar 'Gitarrenmusik des 16.-18.
Jahrhunderts, nach Tabulaturen, vol. 2' with regard to practicability
on the guitar
- Published 1982 by unknown, Kassel, Germany
First edition (c.1807) in the Fondo Noseda at the Conservatory of Milan.
| Theme of Variations pour deux guitar | Used with permission from 'Just Guitar' |
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- Bazzotti, Marco edited the music
- Published by Just Guitar 1997
- Available from M. Bazzotti webside 'Just (classical)
Guitar' http://www.planet.it/jcg/reader/ndx2.htm
At this page of Just Guitar you can also view the sheetmusic: theme and variations 1 till 6 minus the coda.
Sometimes it is said that for modern Folias it would be only an 'exercise' when the theme can be heard throughout the
music. But that does not count for this extraordinary Folia-variations. The contrasts in moods and influences is
incredible. There are frightening eastern (Russian or Hungarian) invasions next to cosy string ensemble moods to give a humorous
twist to the piece which is overall dark and sinister.
And as Folia variations are usually considered to be a loose chain of
variations not interconnected with each other, we can hear the difference in this composition.
The tension increases towards the end and relaxation finds its way in the coda which can be considered as
mourning after the musical style figures filled with agitated emotions.
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Duration: 16'44", 15.5 Mb. (128kB/s, 44100Hz) |
- String quartet: Michael Bezverkhni (1st violin), Jurgen Devinck (2nd violin), Renato Kamhi (viola) Aan Van Hecke (cello)
- Title: Fantasia on a theme by A. Corelli 'La Folia' for string quartet
- Not officially recorded yet
- Performed March 21, 2007 in De Verenigde Cultuurfabrieken, Gent, Belgium
- Duration: 16'44"
- Bilstin, Yuri (Joury)
Joseba Berrocal wrote about the music:This Follia for cello is not very known by the instrumentalists. You can access to it at IMSLP -submitted by the user "Generoso" the 5 IV 2010- or on the originally scanned source, the Music Library at the University of South Carolina. As a secondary fact, this work is one of the most difficult study-pieces ever written for the instrument up to its date of composition. Unfortunately, the quality of the scanner is not very good.
- The complete score can be found at http://sheetmusic.library.sc.edu/MusicBook.asp?mid=402
- Published circa 1910 published by Eugène Ressaire, Paris, France
- Duration: unknown
- Composed in Pétrograd, Russia
The manuscript is part of the collection Menuetter och Polska Dantzar written down by the oboeist Blidström. He had a massive output of 300 pieces, written down during captivity in Tobolsk 1715-1716.
- Ensemble Laude Novella (Ute Goedecke: soprano, recorder, barock violin, gothic harp, Per Mattsson: barock violin,
lira and vocals, Elena Kondratova: soprano, Alla Vorontsova: alt, recorder, percussion Alexander Pariman: tenor
Vitaly Polonsky: bass, Sergey Tenitilov: bass, Ekaterina Kouzminykh: viola da gamba, Anna Nedospassova: harpsichord
percussion, Arkadi Bourkhanov: archlute, barock guitar, viola da gamba, recorder, percussion
'Ekon fran Poltava (Musik i krig och fred)'
- Title: Foli D.Espagne (from Gustaf Blidström's notbok)
- Released 2003 by compact disc ELN-0304
- Duration: 4'56"
- Recording date: May 2003 in Studio 'PoliPhony Records', Novosibirsk
- Macklin, Kersti (nyckelharpa) and the Midgardensemblen (recorder, baroque
violin, viola and cello, bass guitar) 'L'agreable'
Paul Geffen wrote about the compact disc L'agreable:
All the music on this recording is from the Baroque period. Some of it is by more-or-less well-known composers, the rest is from collections of unattributed music recorded on paper during the same period. It is not surprising that "La Folia" - the greatest hit of the eighteenth century - makes more than one appearance. You are probably wondering about the nyckelharpa. This is a Swedish instrument similar to a viola but played with keys along the broad neck. In addition to three or four bowed strings, the instrument has up to thirteen metal sympathetic strings, like a sitar. It is played on the lap. The nyckelharpa has a sharp, tangy, insistent sound which blends well with the baroque instruments. There is also a certain amount of clicking from the keyboard, especially in the faster passages, which in no way detracts from the charm of the instrument.
Macklin and the backup band keep lively time and exhibit a good understanding of Baroque ornamentation. This may be a unique opportunity to hear music of the Baroque court played on this peasant instrument, as there is apparently no evidence that the nyckelharpa was used in this setting.
The Swedish folk music in this recording includes a set of variations on Foli d'Espagne, taken from the collection made by Gustav Blidström in 1715. This collection documents the music current among the Swedish peasantry at the time. There is no great difference between this folk music and its contemporary through-composed music, as the Allegro of Mascitti's Sonata begins with the same melodic line as La Folia.- Source for this recording: Published by Samuel Landtmanson in Svenska landsmal in 1912
- Released 1996 by Tongang compact disc AWCD-10, distribution by CDA, Box 4225, 102 65 Stockholm
- Duration: 5'27"
- Recording date: April/June, 1996 in Falun Sweden
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Duration: 4'19", 10 kB. |
The Folia appears as a trio to the Minuet (second movement) and is very extensive, alluding to Corelli but with highly elaborate pre-Romantic textures. Since he lived in Spain and had a dance background (his brother was a famous dancer-choreographer), this is easily the most effective late 18th century folia setting, and in a sense the last of the main line, since later treatments are usually 'historical' in style or used as local color. Unfortunately, neither the music itself or recordings are easy to find. The Quintetto Boccherini recorded it in the 50's or 60's, but it has not made it to CD. There is no modern edition of the music, but a facsimile is available from the King's Music in the UK.
- Azpiazu, José de (editor of the transcription for guitar)
- Title: Minueto-Bolero de 'La Folía de España', no. 35, libro II
- Published by Union Musical Española Madrid, 1966
- Score 5 pages with finger settings 29cm x 21 cm
- Publisher No. 21034
- Duration: c. 4'10"
- Sanvoisin, Michel edited the music
- Published by G. Billaudot © 1984
- Score 2 parts, 31 cm
- Publisher No. G.3756(1) B
- Duration: c. 16'00"
- Title on cover: 'Supein Bukyoku'
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Duration: 9'26", 117 kB. |
- Jose Bravo-Tejeda
Jose wrote about his composition in an e-mail April 26, 2004:
My name is Jose Bravo, a violinist by nature, a composer by necessity. I heard of Vivaldi's version of La Folia (Opus 1, No 12) and just fell in love with it. Ever since, the theme has enchanted me with it's simplistic, yet incredibly rigourous variations. Several years, I began on my Folia and for a hiatus of about 2 years, I never completed it. Certain inspiration pushed me to reinvigorate my desire to finish this piece and just finished writing it recently. As you can suspect, Vivaldi's version of La Folia has influenced me greatly when writing this piece. I wish (if possible) for this piece to be added to the "La Folia" site for the benefit of others.
- Equipment Used: Noteworthy Composer
- Duration: 9'26"
- Not published yet
Theme and 10 variations as part of a learning book for students.
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4 pages in pdf, 743 kB |
- Bremner, Robert
- Title: 'The Harpsichord or Spinnet Miscellany', being a Gradation of Proper Lessons from the Beginner to the tollerable Performer. Chiefly intended to save Masters the trouble of writing for their Pupils. For which are prefixed some Rules for Time.
- Published by Robert Bremner, Londen 'printed and sold at his music shop at the Harp and Hautboy opposite Sommerset house, in the Strand where may behad Pasquali's 'Art of fingering the Harpsichord'
- scanned from facsimile reprint of copy belonging to Colonial Williamsburg, published Williamsburg, Va: Colonial Williamsburg Foundation, 'copyright' 1972, second printing 1975. Modern preliminaries and preface by J.S. Darling
- Size 29 x 21 cm
- Score 26 pages in total, Joy to great Ceasar 4 pages
Definitely the remix of the Folía by Gaspar Sanz and Bryan Johanson for three guitars
Elizabeth Brown wrote about her Folia y Milonga:
Composed for the 2011 PLU Guitar Festival Orchestra
- Elizabeth CD Brown, Greg Burgess and Gary Burgess
- Title: Folia y Milonga
- Composed for the PLU Guitar Festival, uploaded to YouTube 8 February 2011
- Duration: 5'42"
- Link to YouTube: http://youtu.be/mq17fdkBKBg
Peter Bruun wrote about his Refolia:
Initially it may seem hard to understand what it is about that tiny tune, La Folia, that has caught the attention of so many musicians through the history of music. But perhaps it is just the fact, that it is merely a template. It is like a mould that you can fill with almost anything. I made the simple cadenza-like chord structure in La Folia even more simple in my variations. Instead the variations unfold in rhytmical, metric and melodic ornamentations.
- Borbye, Anders 'Refolia, contemporary works for guitar'
Duration: 1'00", 941 kB. (128kB/s, 44100Hz)
Fragment of Refolia, performance by Anders Borbye
© 2008 Anders Borbye, used with permission- Title: Refolia
- Released October 2008 by Gateway ordernumber AB001
- Duration: 6'15"
- Recording date: August-September 2008 in the Frederikskirken, Aarhus, Denmark
- World première October 13, 2008 in Aarhus Denmark during the Guitar Festival (http://www.aarhusguitarfestival.dk/)
- See also the page Recommended recordings
- More about Anders Borbye at http://www.andersborbye.dk
Bartlomiej Budzynski wrote about his composition in August 2002:
The first public performance by polish guitarist Marek Walawender
had place in Warszawa (Warsaw) in December 1997. We've tried to record it
in Autmn 1998, but the recording has never been published or used in the
other way.
Why I used the 'la Folia'-theme in a composition is not that difficult to
understand. I often use some musical themes from the past in my compositions.
I try to combine the 'classical' ideas with the modern musical language.
Look at the list of my compositions
http://www.budzynski.waw.pl (a Polish and English version) - you will
find there also such pieces as 'Passacaglia', 'Sonata', 'Concerto', 'Partita
concertante' etc.
- Budzynski, Bartlomiej
- Published 1998 by Edition Modran
- Publisher No. Edition Modran EM 016
- Score 12 pages, size 22,5 x 30,5 cm
- Duration: c. 7'50"
Busoni arranged the Spanish Rapsody by Franz Liszt as a concert piece for piano and orchestra.
- Bachauer, Gina (piano) & New London Orchestra conductor Alec Sherman 'The first HMV recordings 1949-1951'
In the slipcase Bryan Crimp has written (2004):Three sessions in May 1951 found Bachauer, Sherman and the orchestra he founded in 1941 assembled for the recording of two contrasting works, both pivotal to Gina Bachauer’s repertoire- Mozart’s ‘Coronation’ Concerto and Busoni’s transcription of Liszt’s Rapsodie espagnole. (If the New London Orchestra was predominantly a chamber ensemble, augmented it cut more than persuasive dash in Busoni’s multicoulored orchetstration of Liszt).
- Title: Rapsodie Espagnol
- Released 2005 by Appian Publications & Recordings compact disc mono recording APR 5643 transferred from shellac discs
- Duration: 13'25" (both the Folies d'Espagne and Jota aragonesa)
- Recording date: May 29 and 30, 1951 in Studio 1, Abbey Road - Steinway 141
- Blumental, Felicja (piano) & Prague Symphony Orchestra, Vienna Wind
Ensemble, conductor Helmut Froschauer 'Dinu Lipati, concerti in classical
style, Rumanian dances, Liszt-Busoni, rhapsodie Espagnole'
- Released by Dureco 1994 compact disc Ars Classicum 1159312
- Duration: 16'09" (both the Folies d'Espagne and Jota aragonesa)
- Recording date: not mentioned (Felicja died in 1991)
- Blumental, Felicja (piano) & Prague Symphony Orchestra
conductor Helmut Froschauer 'Grieg: Piano Concerto in A minor, Faura: Fantasie, Liszt/Busoni: Rhapsodie espagnole'
- Title: Rhapsodie espagnole, S254/R90, Folies d'Espagne et jota aragonesa
- Released by Brana Records compact disc BR0015
- Duration: I. Folies d'Espagne 5'55", II. Juta aragonesa 2'37", III. (Un poco meno allegro) 7'39"
- Recording date: not mentioned (Felicja died in 1991)
- Busoni, Ferruccio. This arrangement for two pianos
- Published by G. Schirmer © 1894, in series Schirmer's library of musical classics 1252
- 2 Scores 51 p. each, 31 cm
- Publisher No. 1252
- Marsh, Ozan (piano) & London Philharmonic Orchestra/Paul Freeman
This version was first performed in 1904 with Bela Bartok as soloist, and later recorded on 78's by Egon Petri with another Busoni student, Dmitri Mitropoulos, conducting- Released 1988 by Turnabout compact disc PVT 7191
- Duration: 15'37" (both the Folies d'Espagne and Jota aragonesa)
- Recording date: 5 - 6 August 1985 at All Saints Church, Tooting, London
- Nicolosi, Francesco (piano) & Iceland Symphony Orchestra/Ricco Saccani
- Broadcasted from a live concert by NPS Netherlands in the program Euro Notturno
- Broadcasted September 10, 2001
- Duration: 15'18" (both the Folies d'Espagne and Jota aragonesa)
- Recording date: November 30, 2000 in Reykjavik, Iceland
- Petri, Egon (piano) & The Minneapolis Symphony Orchestra/Dimitri Mitropoulos
- Title: Folies d'Espagne and Jota Aragonesa
- Released c 1940's by Columbia Master Works 78RPM 2 disks X-163
- Duration: unknown
- Recording date: unknown
'Chaconne' as part of 'Dancing' (édition Henry Lemoine), a suite in four parts (1 Rag-tango, 2 Chaconne, 3 Fly Dance in the night, 4 Chicken rock)
The chaconne follows rather accurately the Folia chord progression throughout the piece. The repetitive character reminds me of the Folia by Ian Krouse. A piece that instantly pops up in my mind listening to Chaconne is "Continuum" by Gyorgy Ligeti a classical in the contemporary repertoire for harpsichord, another instrument with plucked strings. Although plucked strings cannot create a continuous motion of legato, the very fast repetition of tones, resulting in three wavelike movements, suggests that such an impression can be created in Chaconne.
- Trio Polycordes: Isabelle Daups (harp), Jean-Marc Zvellenreuther (guitar),
Florentino Calvo (mandolin) 'Volume 2'
Trio Polycordes wrote for the slipcase (in a translation by E. Doucet): Duration: 3'13", 2938 kB. (128kB/s, 22050 Hz)
Chaconne, the entire piece as part of 'Dancing'
© 2002 Régis Campo/La Follia Madrigal, used with permission
Carrying out an adventure, sowing long-lasting seeds is what the Trio Polycordes intends to do with this second record, focusing on the creative processes at a given time in a sort of inventory of today's musical praxis. The first recording recounted the genesis of an ensemble and a repertoire. Now time has come to develop both a story and an identity, to lay solid foundations. This second record aims at clearing a musical "terra incognita", giving each instrument the opportunity to reveal itself, making sure this shared land will be flourishing. Régis Campo's filiation can be traced back to the Baroque age . He pays a tribute to this musical tradition and at the same time perpetuates and renews it. Dancing is closely related to the "Suites de danse" made famous by composers such as Couperin or Rameau but Campo adds his own touch of night club atmosphere. The work is built round a glorious and luxuriant Chaconne. The theme of La Follia, clearly brought out at the outset, is gradually blurred by rich arabesques but can still be heard distant and faint as in a dream. Main panel of a contemporary altar-piece, this brilliant part is enhanced by the extremely minimalist movements that surround it. The first of them - Rag-Tango - is a double humorous reference. Regis Campo follows both Rag Time's spasmodic rhythm and the glissandos of the double-bass typical of a tango band. This unlikely mixing results in a strange ballet of sounds, a poetical evocation in which the dancers' steps on the stage may be heard through muffled notes. The last two movements belong to the tradition of animal paintings or that of the bestiary. Fly Dance in the Dark pursues the trill of the Chaconne and turns it into a key element in that behavioural study of flies' life. The buzzing insects induce a progressive fall into drowsiness in the listener. It's a lazy summer day's rest. But hey! What sheer pandemonium at the beginning of the fourth movement! Clucking, squawking, cackling, flapping of wings wake us up in an infuriated henhouse. Chicken Rock is a true, boisterous, gallinaceous Woodstock.
- Title: Dancing, (éditiopn Henry Lemoine)parts: 1 Rag-tango 2 Chaconne, 3 Fly Dance in the night, 4 Chicken rock. Chaconne is derived from the later Folia theme
- Released 2002 by La Follia Madrigal compact disc LFM11101, barcode 3 760023 510081 French distributor : EPI
- Duration: 3'13"
- Recording date: November 2001 at La Cave Dîmière, Argenteuil, France
- Revel, Jean-Christophe 'La Musique aujourd'hui: Régis Campo'
Régis Campo wrote in March 1999 for the slipcase: Duration: 2'50", 2604 kB. (128kB/s, 44100 Hz)
Sonate la Follia, the entire piece
© 1999 Régis Campo/Jean-Christophe Revel, used with permissionThe Livre de Sonatas ('Book of Sonatas') for organ groups several commissions from the Spanish Ensems 97 festival, the city of Auch and Radio France. Composcd between 1997 and 1999, this is the fruit of a wonderful. lasting oollaboration with the young Frcnch organist Jean-Christophe Reve1. Each sonata is conceived in a single movement developing a single idea, in the manner of Domenico Scarlatti's sonatas or, better yet, Rameau's harpsichord pieces. L'extravagant is a sort of mechanical fantasy mingled with obsession ansd false naïvete. Le Don and La Nuit are the two most nocturnal sonatas of the cycle, the second, of course, being dedicated to the great master Vivaldi, whereas La Follia makes use of the famous 15th century dance. [...]
.- Title: Sonate la Follia (1998) from Livre de Sonates for organ
- Released October 1999 by Mandala compact disc MAN 4948 (distribution Harmonia Mundi)
- Duration: 2'50"
- Recording date: January 1999 in church of Saint Ferdinand des Ternes, Paris, France
- Publisher : editions Henry Lemoine, Paris, France
- Rouet, Pascale 'Autour de l'Espagne'
Régis Campo wrote for the slipcase:
The sonata 'La Follia' is taken from my 'Livre de Sonates' composed betwen 1997 and 1999 for the benefit of the young organist Jean-Christophe Revel. This 'Livre' gathers together several orders from Radio France, the Spanish festival Ensems at Valencia, and the Association of the Friends of the Organs at the cathedral of Auch.
Each Sonata, built in a single movement and developed around one theme only, is a reminder of Scarlatti's Sonatas or Rameau's Pieces for the harpsichord. Sonata no. 4 'La Follia' brings back the famous 15th century dance in a somewhat ironical and outmoded way. Pascal Rouet gives us a dynamic and personal version, highly consistent with the forceful spirit of my music.- Title: Sonate no. 4 'La Follia' (Edition Lemoine) for organ
- Released 2003 by Pavane Records compact disc ADW 7468
- Duration: 2'29"
- Recording date: July 2-4, 2001 in l'Abbatiale B-D de Mouzon, France
- Borbye, Anders 'Refolia, contemporary works for guitar'
Régis Campo wrote for the slipcase:
This version for guitar was written with the help of the French guitarist Jean-Marc Zwellenreuter. I was looking for a very playful sound, Baroque in character and with humour and wit. This version is very different from the original version for organ with respect to texture and dynamics. I like the idea of the bottleneck in this piece; it is a good example of my ludic musical style.
- Title: Sonate la Follia (1998)
- Released October 2008 by Gateway compact disc AB001
- Duration: 3'28"
- Recording date: August-September 2008 in the Frederikskirken, Aarhus
- See the page Recommended Folia recordings
- More about Anders Borbye at http://www.andersborbye.dk
- Zvellenreuther, Jean-Marc 'Folias'
Jean-Marc Zvellenreither (translation into english by Atez Eloiv) wrote
for the slipcase:
Régis Campo made a new Folia-version, in the spirit of composers of the 17th century, who didn't hesitate to transcribe their works for different instrumental formations. After the presentation of the theme in a rather baroque style, the composer uses different modes in the aim of disarticulating the phrase and introducing different kinds of interferences. The long development in harmonics was suggested by Régis Campo by a cadence in a concerto for guitar by Villa-Lobos.
- Released 1999 by La Follia Madrigal compact disc LFM099900
- Duration: 2'56"
- Recording date: September 1999 at La Cave Dîmière, Argenteuil France
Little is known about this group who performs popular songs in Italy near the border of Austria. I tried to contact them in English but I guess their English is even worse than my Italian. The Folia-performance consists of 3 times the Folia theme (16 bars) and ending with another 8 bars of the ending of the Folia with some modulation. The instrumentation and way of humming the notes is in a very folky way (a setting of a party with a campfire would be an excellent ambiance I suppose). Although the vocal parts are dominant no words are articulated, pure mouth music accompanied by mandoline, accordeon, some winds and drums in the background.
- Canzoniere del Progno 'Tornarà el tramvai'
Patrick Cardy wrote about this composition:
La Folia is a set of variations for chamber orchestra, commissioned by l'Ensemble du Jeu Présent, with the assistance of the Canada Council. La Folia was one of the most popular bass progressions used for sets of variations, songs and dances in the late Renaissance and Baroque eras. Its origins are obscure, although it probably originated in Spain or Portugal some time in the early 16th century, from whence it spread to Italy, France and England. It goes under many names in many countries - la folia , la follia , les folies d'Espagne and Farinel's Ground , among others. And it is often, though not always (and not in this piece), associated with a standard discant melody. Some of the more famous treatments of la folia include a set of keyboard diferencias by Antonio de Cabezön (1510-66), a set of variations for violin by Michel Farinel (1685), the masterly set of 24 variations in d, Op. 5, No. 12, for violin and continuo, by Archangelo Corelli (1700), and the Sonata in d, Op. 1, No. 12, for two violins and continuo, by Antonio Vivaldi (1705). In La Folia a variant of the original bass progression is woven, usually very audibly and clearly, but in many different voices and textures, into the fabric of each variation.
The oeuvre of Patrick Cardy can be found at http://www.carleton.ca/~pcardy/- Cardy, Patrick
- Score of La Folia for string orchestra (for sale or on free library loan) and parts (rental only) are available from: The Canadian Music Centre, 20 St. Joseph Street, Toronto, Ontario, M4Y 1J9, tel.: 416-961-6601, fax: 416-961-7198, e-mail info@musiccentre.ca, webside: www.musiccentre.ca or www.centremusique.ca
- The score is 101 pages (plus title page and instrumentation/performance note page); full size, it is 11"x17", but the Canadian Music Centre can also reproduce it in smaller sizes.
- 14 parts (flute/piccolo,oboe, clarinet in Bb, bassoon, horn in F, trumpet in Bb, trombone, percussion (one player: triangle, high sizzle cymbal, medium cymbal, low cymbal, crotales, glockenspiel, vibraphone, tam-tam, bass drum), piano/celesta, violin I, violin II, viola, violoncello, contrabass), reproduced in booklets on standard 9-1/2"x12" sheets.
- l'Ensemble du Jeu Présent/Bellomia, Paolo conductor
- Premiere November 2, 1997 (place unknown), recorded for broadcast on Musique Actuelle (TBA) May 15, 1998
- Duration: 16'00"
- Recording date: May 15, 1998 in the National Gallery of Canada, Ottawa
- Grupo Koan, conducted by José Ramón Encinar, violin solo
Luis Navidad
- Released by unknown
- Duration: 9'10"
- Recording date: March 4, 1980 in the Casa de la Radio de Radio Nacional de España, Prado del Rey
- Orchestra da Camera del Cantiere, conducted by José Ramón
Encinar
- World premiere
- Recording date: August 9, 1978 in Montepulciano, Italy
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Duration: 3'54", 11 kB. |
- François Castet 'Collection Renaissance , Musique Française pour guitare Vol VI'
- Published 1968 by Georges Delrieu & Cie., Nice
- Order number G.D. 1415
- 4 pages in modern sheet music, created after the original tablature
- Collection Dr. D.F. Scheurleer (inv. 7388 Royal Library, Den Hague, Netherlands)
- Title: IIIeme recueil, de menuets, allemandes et contredances : avec vingt et une variations, des folies d'Espagne, touttes en pincés differents, et d'un genre nouveau, entremelés d'ariettes, avec leurs accompagnements : pour le cythre, ou guitthare allemande, qui peuvent neantmoins s'executer sur la mandore et sur la guitthare espagnole / par Mr Carpentier Chan. de St. L. du Louvre amateur
- Published by Le Marchand, Paris, France
- Size 26 pages, 33 cm
- Le Concert Impromptu (oboe, clarinet, bugle, bassoon and flute) 'Nouvelles
folies d'Espagne'
- Released February 2002 by Aime La Belle Records compact disc without order number
- Duration: c. 20'
- Recording date: February 2002 in Temple St Marcel, Paris, France
Michael L. Carroll wrote about his Variations on Folias for String Quartet:
I just composed a new variant of the Folias. These are "loose" variations in that I allowed myself to modulate to other keys and to insert a parallel major version of the Folias chord progression. The piece starts in D minor and is written in 17th century style counterpoint and gradually evolves into a more modern treatment with modulations to a variety of keys and ending in D major. Although my variations are based on the Folias chord progression, nowhere in the piece do I actually quote the Folias melody The playing time at 100 bpm should be about 6 minutes. I was inspired to write this after seeing the Folias-website. The PDF score and an mp3 file are attached.
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All Variations on Folias created with Finale (GPO) by Michael L. Carroll |
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Variations on Folias in pdf-format, size 60 Kb |
- Carroll, Michael L.
- Published 2009 by Michael L. Carroll
- Soundfile generated from within Finale using the Garritan Personal Orchestra (GPO). Although the samples sounds of the GPO are vastly superior to the ordinary, monotonous synthesized MIDI sounds, there is nonetheless a computer-generated feel to these. They sound much, much better, of course, with real human performers. This file is only intended to give you an idea.
- Duration 5'58"
- Score 12 pages for 4 instruments (violin 1, violin 2, viola and cello)
- More about the oeuvre of Michael L. Carroll you can fin at http://www.musicarroll.com/
- original manuscript in Biblioteca Musicale Greggiati Ostiglia
- Sebastiani, Adriano 'The Complete Edited Songs for Voice and Guitar'
- Title: Les Folies d'Espagne variées Op. 75 in D minor (for solo guitar)
- Released January 1, 1996 by Dynamic compact disc 124
- Duration: 7'31"
- Recording date: 12-12 September 1994, Florence
- Soloist: Adriano Sebastiani
Salvador Castro de Gistau, originally from Madrid became editor of the "foreign music" magazine 'Journal de Musique Etrangére pour la Guitare ou Lyre' in this Paris
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Duration: 0'39", 02 kB. |
| Opening of Variations de Las Folias d'Espagne | Published in 'Guitarre & Laute', 1995 |
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- Grohen, Markus (republished the score)
- Published by the German Magazine 'Guitarre & Laute', Jahrgang XVII, heft 6, 1995
- Score 14 p., 29 cm
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Duration: 1'27", 1.4 Mb. (128kB/s, 44100 Hz) |
- La Cetra d'Orfeo: Didier Laloy (diatonic accordion), Michel Keustermans (recorder and director), Hervé Douchy (violoncelle), Jacques Willemijns (harpsichord), Jurgen De Bruyn (theorbo and baroque guitar),
Stephan Pougin (percussion), Laura Pok (recorder), Ingrid Bourgeois (violon).
Michel Keustermans wrote for the slipcase (translation by Rachel Stacchini-Betton-Foster):
Finally, it was difficult to resist this last temptation: our Walloon Folklore has an abundance of tunes going back to the beginning of time, and 'Poule Noire' (Black Hen) is nothing if not an authentic Folia which has come down the ages through popular dancing.
- Title: Poule Noire (black hen), unfortunately no sources mentioned for this tune
- Released 2007 by EOLE compact disc EAD002
- Duration: 3'25"
- Recording date: May 2006 at Chapelle du Bois
- See also the page Recommended Folia-recordings
- Chatham Baroque (Julie Andrijeski baroque violin, Patricia Halverson viola da gamba, Scott Pauley theorbo and baroque guitar)
with guest artists Daniel Mallon percussion and Becky Baxter harp
- Title: Folias
- Broadcasted by unknown radiostation
- Duration: 10'34"
- Recorded live March 11, 2005 in St. Paul's United Methodist Church, Houston, United States as part of the Houston Early Music Series
- See for the program: http://www.houstonearlymusic.org/hemarchive/archive/2004/chatham.htm
Set of twelve variations on the Folia theme for brass quintet (Trumpet in C1, Trumpet in C2, Horn in F, Trombone, Tuba)
A very nice and transparent composition for brass quintet. Somewhat in the idiom of the Folia variations by Jan Bach, which I consider as one of most interesting and enjoyable efforts to translate the Folia theme to modern times. The nice thing of a brass quintet is that the voices are so clear that the listener can distinguish the action and interaction bewteen the voices. Further on the Folia theme has a somewhat fragile setting with that modest melody line but the brass instruments transform the music into a very powerful statement especially with those firm trumpets. Those intriguing features strike me again when listening to the music of Jean Chatillon with his Fantaisie sur La Folia
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Duration: 7'58", 7.56Mb. (128kB/s, 44100 Hz) |
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Fantaisie sur La Folia, 22 pages in pdf-format, size 255 Kb |
It was after listening to the fine compositions of my two friends of the Delian Society (editor: Thomas Matyas and David W. Solomons) that I became intoxicated by this tema.
- Chatillon, Jean written in Finale2005
- Title: Fantaisie sur La Folia
- Duration: 7'58"
- Published by Editions de l'Ecureuil Noir, Becancour, Canada
- 22 pages, size 21 x 29 cm (and 5 parts)
- More about the composer and his compositions at: http://www.jeanchatillon.com/
Paris n.d.
In the opening of the ouverture the folia-theme is several times ingeniously quoted, even in a somewhat fugative style.
- Academy of St. Martin in the Field/Mariner, Sir Neville 'Cherubini:
Ouvertures'
Basil Deane wrote in 1992 for the slipcase:Sometimes there is a historical reference - the use of the traditional theme 'La folia'in L'Hotellerie portugaise
.- Released 1992 by EMI CLASSICS compact disc CDC 7544382
- Duration: 9'43"
- Recorded 1991 in Studio Abey Road London, England
- City of Birmingham Orchestra/Foster, Lawrence 'Luigi Cherubini Ouvertures'
From the slipcase:
L'Hôtellerie portugaise, one of three one-act opéras comiques written in 1798 and 1799, is based on the familiar plot of the lovers who have to outwit the old guardian bent on marrying his pretty young ward himself. Set in an inn on the border between Spain and Portugal, the story this time moved Cherubini to make a discreet application of local colour, in the form of allusions to the popular Portuguese tune La Folia, in the slow introduction to the ouverture. The main Allegro section is a skilfully achieved accumulation of eager expectation which reaches its climax just before the end.
- Released 1996 by Claves Records, Switzerland compact disc CD 50-9513
- Duration: 11'58"
- Recording date: 5-6 February and 20 June 1995 in Birmingham, Town Hall
Nowadays this opera has sunk into almost complete oblivion and this may be the main reason that the quite substantial Folia in the Ballet in act 1
is never mentioned in the Folia literature, although the opera itself was the subject of a recent
dissertation. Fortunately a live recording of this opera from 1956 exists, although of an absolute poor quality.
In fact the Folia-theme in Les Abencérages is more prominently stated and worked out in variations throughout the above mentioned
Ballet than in the Ouverture from L'Hôtellerie portugaise. But fate decreed that it was the Ouverture that established Cherubini's fame
in the Folia literature; for instance in the New Grove Dictionary of music and musicians.Paul Korenhof wrote for the slipcase
The premiere of Les Abencérages took place at the Paris Opéra on 6 April 1813 in the presence of Napoleon and his wife and it proved one of the greatest successes of Cherubini's career.
- Orchestra di Theatro Comunale di Firenze conducted by Carlo Maria Giulini 'Gli Abencerragi'
- Released 2002 by Gala compact disc GL 100577 2cd-set
- Duration: 8'50"
- Recorded May 9, 1956 in Maggio Musicale Fiorentino, Florence, Italy
- Orchestra sinfonica di Milano conducted by Peter Maag 'Les Abencérages'
Gian Andrea Lodovici wrote for the slipcase:
The fact that this was one of Cherubini's most successful operas is confirmed not only by the enthusiastic comments of the many personalities present at the first performance, including Napoleon and Marie. Louise, but paradoxically also by the request made by the composer himself after about twenty performances that the dramaturgical part of the opera be cut and reduced into two acts in order to create more space for ballets. A practice reserved in France only for those operas that sought to becomepart of the "repertoire" [...]
To hear again the French version of 'Les Abencerages, however, we had to wait for the radio production of 15th January 1975 which Peter Maag and Radio Italiana chose to perform. This is a production that returned to the original three-act version of the opera, with limited use of ballets, and is proposed without significant cuts compared to the radio performance tradition of the time.- Title: Danses (cd 1: track 13)
- Released 1975 by MRF Records MRF/C-07 (C-071 - C-072) 2 lp-set and remastered 24bit/96kH by Archives January 2006 for a 2-set compact disc 43066-2
- Duration: 3'06"
- Recording date: January 15, 1975 in Milan, Italy
Bernard de Chiacourt seems to be living in the sourtern part of the Dutch Republic.
- Inventory NMI92.0 Royal Library, Den Hague, The Netherlands
- Title: Folies d'Espagne, variés pour la flûte avec accompagnement de violon et basse
- Published 1816 by Plattner (based upon the names Eitner and Mazure), Rotterdam, The Netherlands
- 2 parts, 33 cm
Classical crossover group CJA (pronounced see-jay) consists of Joanne Jolee (vocals and keyboard and her three daughters, Christine (violin), Leiticia (vocals and violin) and Krystle (vocals and cello). CJA's musical style is an alchemic blend of European pop, fused with the likes of J.S. Bach and Scarlatti, Celtic folk songs, traditional Irish fiddling and spiritual and poetic influences, as well as disco, opera and techno-industrial elements.
- CJA (drums: Bill Jaffa, piano and vocals: Joanne Jolee, violin: Christine Adkins, violin and vocals: Leiticia Pestova, cello and vocals: Krystle Delgado) 'Things Have Changed'
- Title: Kissings: lyric - 'Love's Philosophy' by Percy Bysshe Shelley (1792-1822), music - La Folia, 16th Century
- Released 2006 by Pinnacle American Records compact disc LCC 837101274555
- Duration: 4'52"
- Recording date: unknown
- Cardoso, Jorge (guitar) 'Tanidos, Musica Barroca Española'
The complete theme and variations as played by the maestro Jorge Cardoso
Duration: 13'23", 15.6 MB. (160kbs, 44100Hz)
© Jorge Cardoso 1988, used with permission- Title: Folies d'Espagne
- Released 1988 by TecnoSaga vinyl MSD 4004 and re-released 1992 by Several records 2-cdset
- Duration: 13'23"
- Recording date: 1988 at Several records, Madrid, Spain
- Prix du Ministère de la culture Spain in 1991
- More about this piece in the French language at http://www.vlamarlere.com/article-20067786.html
- More about this maestro on the guitar at http://guitarreando.iespana.es/cardoso.htm
- Cicero, Rosario (baroque guitar) 'Danzas de Rasgueado y Punteado'
Rosario Cicero (translated by Andrea Manchée) wrote for the slipcase:
It's in the Folies d'Espagne by Le Cocq that we find a compendium of the language of the baroque guitar, in an aesthetic and idiomatic synthesis of the subdued and rarefied folk influences, the peculiarities of a more elaborate performing technique and the profound expressive idiom of musical culture in the baroque era.
- Released 1999 by Nìccolò Guitart collection, Italy compact disc NIC 1009
- Duration: 8'26"
- Recording date: February 1999 at Jambling Studios - Nola (Na), Italy
- Recueil des pieces de guitarre, p. 74-81 (facsimile publication)
- Published by: Thesaurus musicus. Brussells: Edition Culture et Civilisation
- Year: 1979
- Takeuchi, Taro (5 course guitar) 'Folias!, virtuoso guitar music of
C17th on period instruments'
Monica Hall wrote for the slipcase:
We are indebted to the Flemish clergyman and amateur guitarist, Jean-Baptiste de Castillion (1680-1753), whose activities as a music copyist have preserved the guitar music of François Le Cocq (fl.1685-1729), Nicolas Derosier (c.1645-1702) and many pieces by Corbetta not found in the surviving printed books. In the preface to the manuscript which he copied in 1730 (B:Bc.Ms.S.5615) Castillion says that in 1729 Le Cocq gave him copies of his music, which he re-copied for his own use, adding pieces by several other composers of the previous century. He says that Le Cocq taught the guitar to the wife of the Elector of Bavaria and refers to him playing to the sister of the Archduke Charles of Austria, later emperor Charles VI. This was probably Maria Antonia, a half-sister of Charles, who married the Elector Maximillian II Emanuel in 1685 and died in 1692. In 1729 Le Cocq is described as a retired musician of the Chapel Royal in Brussels. His variations on Folies d'Espagne is a technical tour de force featuring the 'harpegemens', elaborately arpeggiated chords, which were a jealously guarded secret of Le Cocq's. Castillion says that he rarely indicated them in his music so as to conceal how he played them and to preserve them to himself alone.
- Title: Folies d'Espagne
- Released 2002 by Deux-Elles Limited, Reading, UK compact disc DXL 1030
- 5 course guitar by Martyn Hodgson , Leeds 1982 after René Voboam, Paris, 1641. he original is in the Hill Collection, Ashmolean Museum, Oxford
- Duration: 10'01"
- Recording date: April 16 and 17 at St Martin's Church, East Woodhay, England
This piece for one voice is listed as 'Follia' in the Tavola dell'arie at the end of the volume.
- Ensemble for the Seicento 'Forbidden dance, dance and diminutions of
the Italian Baroque'
- Title: Lauda Spirituale/Folias di Spagna (improvisations)
- Released 2001 by Musicians Showcase Recordings compact disc MS 1073
- Duration: 7'40"
- Recording date: January 2000 at St. Paul's Episcopal Church Brooklyn New York and January 1998 at Calvary Church, Parish of Calvary/St. George's, New York City
Oddly enough, the almost identical duet with a partly different text was used more than 70 years later as part of the opera 'La Pastorella Nobile', a production of Pietro Alessandro Guglielmi (1728-1804). The music of the duet was attributed on the title page of the Artaria print to 'Sig(nor). Conti' which might easily lead to Giacomo Conti, the violinist and composer who led the orchestra of the Burgtheater from 1793 but the music is almost identical to the earlier version of Francesco Conti. It is an indication how famous Francesco Conti was in the 18th century (there seems to be only one Sig. Conti, and the musical quality of the duet is indeed extremely high).
John A. Rice wrote in March 2006 about the differences between the duet in 'Don Chisciotte in Sierra Morena' and 'la Pastorella Nobile':
I've just looked at a manuscript full score of 'Don Chisciotte in Sierra Morena' in the Austrian National Library, Signatur Mus. Hs. 17207, published in facsimile by Garland, New York, 1982. The duet on La folia is at the end of act 2; it is entitled "Va pure in buon' ora". It is the same duet as the one inserted much later in Guglielmi's opera, with the following differences:
- In 'Va pure in malora' part of the text is different (but much of the text, including the long string of insults, is the same)
- The duet in 'Don Chisciotte' is in da capo form (A-B-A): the first part of the duet (up to the words 'mai non vi fu') is repeated after the second part (ending with the words 'per me sei tu'). So the duet ends in the same key (D minor) in which it began. In the later version the second A section is omitted, so the duet ends in a key (G minor) different from the key in which it began.
- 'Va pure in malora' ends with a short instrumental passage in G minor that is not in 'Va pure in buon' ora.'
- 'Va pure in buon' ora' begins with a short instrumental passage in D minor that is not in 'Va pure in malora.'
- I Piccoli Holandesi directed by Marc Pantus (with vocals by Anne Grimm, Renate Arends, Ricardo Prada, Marc Pantus)
with some new contemporary songs
Duration: 3'18", 4886 kB. (128kB/s, 44100 Hz)
Renate Arends (soprano), Marc Pantus (bass) and the Northern Consort conducted by Adrian Rodriguez van der Spoel
© 2005 Marc Pantus, recorded by De Concertzender, used with permission- Performance: May 15, 2005 in Muziekgebouw aan 't IJ, The Netherlands
- Duration: 9'09"
- Recorded by De Concertzender, production www.harmonysound.nl
Duration: 0'59", 958 kB. (128kB/s, 22050 Hz)
Anne Grimm, Marc Pantus and the Utrechts Barok Consort conducted by Jos van Veldhoven
© 2005 Marc Pantus, used with permission- Premiere April 27, 2005 in Kampen, The Netherlands
- Duration: unknown
- Recorded by De Concertzender, broadcasted by Dutch Radio 4, Viertakt April 25, 2005
- Akademie für Alte Musik Berlin and Nederlandse Operastichting directed by René Jacobs 'Don Quichotte in Sierra Morena, tragicommedia in five acts, Vienna 1719'
.
- Casting duet: Judith van Wanroij (Maritorne) and Marcos Fink (Sancio Pansa).
- Duet at the end of the second act.
- Recording date: June 26, 2010 during the Holland Festival 2010 in the Stadsschouwburg, Amsterdam, The Netherlands
- Broadcasted by NPS radio 4 June 26, 2010 (live broadcasting of performance)
- Akademie für Alte Musik Berlin and Tiroler Landestheater directed by René Jacobs 'Don Quichotte in Sierra Morena, tragicommedia in five acts, Vienna 1719'
In the program was written:
Duration: 0'38", 652 kB. (128kB/s, 22050 Hz)
Last phrase of Conti's duet concluding Act 1
Performance Aug. 13, 2005 Innsbruck by Alte Musik Berlin directed by Rene Jacobs
Francesco Conti (1681-1732), now almost forgotten, was a very famous and highly respected composer in his time. The largest part of his life he worked at the imperial court in Vienna. In 1708 he was apointed first theorbo player, in 1713 he became also court composer. After these appointments he became one of the highest paid musicians in Vienna, who was able to perform his own works with the best singers, since he could pay them well. After falling ill in 1726 he returned to Italy, but in 1732 he returned to Vienna to introduce some new works. It is an indication of his reputation that his successor as court composer, Antonio Caldara, had to step aside to make place for Conti. Shortly thereafter Conti died.
The focus of the the 29th Innsbruck Festival of Early Music was the era of the Viennese Court Opera. Directed by René Jacobs, the opera "Don Chisciotte in Sierra Morena" was performed five times at the Tiroler Landestheater. National and international audiences and critics alike were enthusiastic about the young vocal ensemble which was accompanied by the Akademie für Alte Musik Berlin.
This work performed was composed for the Carnival season in 1719. It was extremely successful: it was even translated into German, and was performed 25 times outside Vienna, mainly in Hamburg. Don Chisciotte in Sierra Morena is a tragicommedia, which combines elements of the opera seria and the intermezzo (a form of comedy which was performed in between the acts of the opera seria as a form of compensation for the disappearance of all comic elements from the opera seria). It not only combines these elements, but also ridicules some elements of the opera seria. The way Conti portrays Don Quixote and Sancho Pansa in particular is brilliant. Don Quixote, a puffed so-called knight, who believes that he is a hero, and doesn't want to see the truth, even if it is right under his nose.
In Conti's time, Don Chisciotte lasted about 5 hours.
In Conti's time, Don Chisciotte lasted about 5 hours. Thusly, cuts were made in this performance which consumes just over 3 hours.- Casting duet: Fulvio Bettini (Sancio Pansa) and Gaêle Le Roi (Maritorne).
- Duration: Act 1: 8'40" instrumental and duets (55'53"), Act 2: 0'43" one instrumental variation (60'05") , Act 3: 1'52" three instrumental variations for concluding the act (42'20")
- Recording date: August 13, 2005 during the 29th Innsbruck Festival of Early Music 2005 Tiroler Landestheater, Innsbruck (the performance was also August 16, 22, 24, 26 at the festival)
- Broadcasted by unknown radio-station and posted in the newsgroup alt.binaries.sound.mp3.classical March 2006
- Elbipolis Barockorchester Hamburg 'Don Quichotte in Hamburg'
Jörg Jacobi wrote for the slipcase:
[...] Such conversations bore Don Quixote and especially Sancho Panza. They leaf through the music of Conti's opera, which he had brought with him. "Look, my dear Sancho, just look at this! Indeed, how marvelously our story is told," exclaims Don Quichote, " how wonderfully fresh the music - I like it! And it also has real Spanish character, even a follia!" Grumbling to himself he recalls the evening's opera performance of this miserable piece of work by Mattheson: "Granted, the music is nice, but the story is not at all the right thing for a Spaniard. here, on the other hand: A follia! A chaconne! A Ballo de Pagarellieri, a ballet of the squires, like Mr. Conti has composed it - this is something that is knightly and would certainly also please my Dulcinea!"
- Released 2005 by Raumklang compact disc RK 2502
- Duration: 2'20"
- Recording date: May 8-12, 2005 in 14943 Schönefeld/Marzahna
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Duration: 3'37", 20 kB. |
| Opening of Conti's Folia | Artaria publication for the opera La pastorella nobile |
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John A. Rice wrote about this piece:This is a printed keyboard vocal score of a duet composed by Conti used for the first Viennese production of Guglielmi's comic opera La pastorella nobile. The singers were Adriana Ferrarese (the first Fiordiligi in Mozart's "Cosi fan tutte") and Francesco Benucci (the first Figaro and Don Alfonso). The entire duet is based on La Folia; the text is probably by Lorenzo da Ponte. The first Viennese production of "La pastorella nobile" is discussed in my dissertation "Emperor and impresario: Leopold II and the transformation of Viennese musical theater, 1790-1792"
In the dissertation John A. Rice writes (p. 125):[...] Also added to the Viennese version in place of the recitative in the original was the duet for D. Florida and D. Polibio, "Va pur in malora," attributed in the Artaria print to one "Sig. Conti." (It is not clear that this duet was in fact sung as part of Guglielmi's opera. The text appears in the 1790 libretto, but a note at the end of the libretto informs us that the duet was omitted in performance; yet Artaria issued a keyboard reduction of the duet and described it as "eseguito dall Sigra. Feraresi ed il Sigr. Benucci nell'Opera la Pastorella Nobile.")
- Ms. score in A Wn, K.T. 338 (A-Wn is the RISM siglum for Austria, Wien,
Nationalbibliothek, Musiksammlung. RISM stands for Receuil International
de Sources Musicales; there is a list of RISM sigla at the beginning of
every volume of the New Grove Dictionary of Music.
K.T. 388 is the call number (signature) of the manuscript; K.T. stands for Karntnertortheater, where the manuscript was kept before being transferred to the Nationalbibliothek).
- Published by Artaria in Vienna during the second half of 1790 (Racolti d'Arie No. 77)
- Duration: ca. 4'00"
- size 29 x 21 cm, 14 pages
Opus V (Sonate a Violino e Violone o cimbalo) was first published in Rome on the 1st. January 1700, closely followed by publication in Bologna, Amsterdam (Estienne Roger) and London (John Walsh).
This work has remained a favorite among violinists because of the variety of technical challenges the variations offer to the player. They were extremely popular when they first appeared, and firmly established the composer's international reputation appearing in over a dozen different editions during Corelli's lifetime. Less than a hundred year after the first publishing, there had been at least 40 printings and more than 20 revised editions. Delphine Alard and Ferdinand David published performing editions in 1863 and 1867 respectively, but the arrangement by the Belgium violinist Hubert Léonard in 1877 firmly established the work as a mainstay in the repertoire of violinists. The arrangement for recorder was published in 1702 by Walsh & Hare of London as part of 'Six solos for a flute and bass'.
Geminiani who was a pupil of Corelli published a concerto grosso based upon Corelli's Op. 5 no. 12 and Veracini made his own arrangement for violin and basso continuo. Both composers introduced the Italian style in England. Vivaldi's Folia Op 1 no. 12 is another tribute to Corelli and the name Rachmaninoff gave to the title of his Folia ('on a theme of Corelli') leaves no doubt about his source for inspiration.
Marc Pincherle wrote about the Corelli-variations:
An effort to minimize inevitable monotony is discernible
in the set of 23 variations, particularly by giving to the accompaniment
as active a role as possible. Several times in the 3rd variation and in
the 16th the same designs are exchanged between melody and bass. Sometimes
this reciprocity operates between groups of two variations; for example,
between the 4th and 5th, 6th and 7th, 20th and 21st. Still more
revealing is the manner in which the ostinato of the bass is now and then
halted. The harmonic framework of the 14th is new, likewise that of the
19th, which is in imitation with supple modulations and that of the 20th,
which cadences in F while the 21st variation traverses the reversed key
sequence. Finally, an elongation by four measures at the close of the last
phase attests, by itself, to Corelli's desire to evade customary routine
and to invest a somewhat naive architecture with a degree of nobility.
But there is no doubt, as is evident from a cursory reading of the follia
that in Corelli's eyes its interest was of a violinistic order before all
else. Everything he knew about the matter of instrumental technique, which
he had scattered throughout Opus V, and the device of variation, enabled
him to concentrate, to classify, and to demonstrate with precision in a
veritable corpus of doctrine. By technique, that of bowing should be understood;
for as regards to the left hand, Corelli's role, (.....),
far from being constructive, was limited to 'pruning'.
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Duration: 5'16", 40 kB. |
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Duration: 7'03", 47 kB. |
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Duration: 8'56", 59 kB. |
| Theme of Violin Sonata in d minor La Follia | arr. for violin and b.c. |
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- Accademia Bizantina directed by Ottavio Dantone 'Arcangelo Corelli, violin sonatas Opus 5'
- Title: Sonata No. 12 In Re Minore, 'Follia'
- Released November 2006 by Label: Blue Libe / The Orchard compact disc
- Duration: 11'02"
- Recording date: unknown
- Accademia Bizantina directed by Ottavio Dantone 'Arcangelo Corelli, sonate per violino e basso continuo Op. V'
- Title: Sonata No. 12 In Re Minore, 'Follia'
- Released 2003 by Amadeus compact disc 169-2 (2 cd-set)
- Duration: 11'05"
- Recording date: unknown
- Accardo, Salvatore (violin) Beltrami, Antonio (piano) 'Corelli, Porpora, Tartini, Vivaldi sonatas'
- Title: Sonata Op. 5 N. 12 in Re minore 'La Follia'
- Released by RCA original early 60's Italian pressing (promo white label) LP ML-80
- Duration: unknown
- Recording date: unknown
- Alard, Delphin and Meyer edited the music for viola and bassso continuo
- Title: Sonate d-Moll, op. 5/12
- Published by Schott
- Score 18 p.
- Publisher No. VAB8
- Ensemble Amarillis: Gaillard, Héloïse (recorder), Cochard,
Violaine (harpsichord), Gaillard, Ophélie (cello) 'Furioso ma non
troppo, Italie 1602-1717'
- Title: La Follia
- Released 1999 by Ambroisie compact disc AMB 9901
- Duration: unknown
- Recording date: August 1998 in la fondation Tibor Varga, Sion
- Angelloz, Guy (flute), Batselaere, Arnold (organ) 'Flute et orgue a
Notre-Dame de Paris'
- Title: Arcangelo Corelli: La Follia
- Released 1985(?) by Pierre Verany compact disc PV 785094
- Duration: 4'55" (booklet indicates 4'49")
- Recording date: April 10 & 11, 1985 in the Notre-Dame of Paris
- Anonymous transcription for large orchestra (c. 1802)
John A. Rice wrote about this transcription in 'Empress Marie Therese and Music at the Viennese Court, 1792-1807' page 67-68:
Marie Therese had at her disposal many wind and brass players, whom she sometimes brought together in orchestras that must have made a brilliant and colorful sound. Her concert on 18 July 1802 ended with what she referred to as "Die Follia di Spagna mit allen Instrumenten von Eybler." Eybler is not known to have composed such a work (footnote 66: No orchestral variations on La Follia by Eybler are listed in Hermann [= Hildegard Hermann, Thematisches Verzeignis der Werke von Joseph Eybler, Munich, 1976]). But she owned, under the title Follia a più strumenti, an anonymous orchestral transcription of the variations on La Follia from Corelli's violin sonatas, Op. 5 (CaM, p. 62; see Fig. 1.3), which the diary allows us to attribute to Eybler. The orchestral parts call for (in addition to strings) pairs of flutes, oboes, clarinets, bassoons, horns, trumpets, and timpani (footnote 67: A-Wgm, XIII 29392).
- Title: Follia a più strumenti (or in the diary of Marie Therese: Die Follia di Spagna mit allen Instrumenten von Eybler
- Source: A-Wgm, XIII 29392 according to Pohl (Austria, Vienna, Gesellschaft der Musikfreunde, call-number (signatur) XIII 29392
- Arita, Masahiro (flute), Bach-Mozart Ensemble Tokio 'Italian Baroque
flute music'
- Title: La Follia e-moll for traverse flute and basso continuo Op. 5 No. 12 (d klein)
- Released 1996 by Denon compact disc CO 18013
- Duration: 10'41"
- Recording date: January 20-23, 1996 in Akigawa Kiarara Hall, Tokyo, Japan
- L'Astrée ( Francesco D'Orazio violin, Alessandro Tampieri violin and baroque guitar, Alessandro Palmeri cello,
Francesco Romano theorbo, Giorgio Tabacco harpsichord)
- Title: Sonata "La Follia" per violino e basso continuo op.V n.12, Tema, Variazioni I - XXIII
- Broadcasted by RAI radio 3 (Italy) April 3 and October 30, 2005
- Duration: 10'24"
- Recording date: unknown at Cappella Paolina del Palazzo del Quirinale di Roma, Italy
- Autumn, Emilie (baroque violin) 'Laced, unlaced'
- Title: La Folia
- Released 2007 by Trisol Music Group 2 cd-set TRI 294
- Duration: 10'18"
- Recording date: unknown
- Autumn, Emilie (baroque violin) 'Laced, unlaced'
- Title: La Folia Live
- Released 2007 by Trisol Music Group 2 cd-set TRI 294
- Duration: 9'25"
- Recording date: unknown
- Balestracci, G.(viola da gamba), Pandolfo, P. (viola da gamba), Nassilo,
G (cello) Còntini, L. (arch lute) & Raschitti, M. (harpsichord)
'Arcangelo Corelli, Sonata per viola da gamba and basso continuo Opus
V, Vol II'
- Title: Follia
- Released 2002 by Symphonia compact disc 8 012783 011892
- Duration: 12'10"
- Recording date: October 2001 in Pieve di Tre Colli, Pisa, Italy
- Belder, P-J.(recorder), Schiffer, R. (baroque cello) & Stinder,
H. (harpsichord) '17th and 18th Century chambermusic'
- Title: Variationen über La Follia, opus 5, Nr. 12.
- Released 1992 by Erasmus compact disc WVH 058
- Duration: 11'04"
- Recording date: November 1991 in the Lutherse Kerk, Breda the Netherlands
- Belder, Pieter-Jan (recorder), Rainer Zipperling, Rainer (cello/viola da gamba) & Delft, Menno van
(harpsichord) 'The Art of the Recorder, Die Blockflöte - Pieter-Jan Belder'
- Title: 'La Follia' for recorder and basso continuo (opus 5 n.12)
- Released 2004 by Brilliant Classics compact disc 92460
- Duration: 11'01"
- Recording date: unknown
- Benoist, Andree 'Piano Roll: La Folia, accompaniment only'
piano roll, 1921
Click picture for magnification- Title: 'La folia in D minor' by Corelli in an arrangement by Spalding, accompaniment only
- Released 1921 by Duo Art, The Aeolian Company 12998, made in the USA
- Duration: unknown
- Recording date: unknown
- Besset, Serge and ensemble 'd'apres La Follia de Corelli'
See Besset, Serge (composers letter B)
- Bezverkhny, Mikhail (violin) 'Yuri Korchinsky and Mikhail Bezverkhny: Musical Tournament'
- Title: 'La folia'
- Released 1990 by Melodiya LP C90 29537 002
- Duration: unknown
- Recording date: 1988
- Bianchini, Chiara (Baroque violin), Darmstadt, Gerhat (Baroque cello), Gross, Alfred (harpsichord) 'Italian violin music 1600-1750'
- Title: La Folia op. 5/12
- Released 1986 by Edition Open Window Red-White, LP OW 002
- Duration: 10'50"
- Recording date: unknown
- Bobesco, Lola (violin) 'Lola Bobesco violin plays Bach and Mozart'
- Title: Sonata in Re Minor Op. 5 No. 5 (? instead of No. 12) 'La Follia'
- Released in the 1970's by Electrecord ( Romania ) White Label lp ECE 0844
- Duration: unknown
- Recording date: unknown
- Bova, Aldo (recorder) and Stolz, Ernst (organ )
Duration: 5'45" direct link to YouTube
The first part as played by Aldo Bova & Ernst Stolz
© 2009 Aldo Bova & Ernst Stolz, used with permissionDuration:6'26" direct link to YouTube
The second part as played by Aldo Bova & Ernst Stolz
© 2009 Aldo Bova & Ernst Stolz, used with permission- Title: La Follia by Arcangelo Corelli
- Published at YouTube August 2009
- A distance collaboration between the two musicians
- More about Ernst Stolz you can read at " http://www.ernststolz.com/ernststolz.htm
- Bratza, Milan (violin) and Vrederic Jacsicas (harpsichord) 'The historic Violin'
- Title: Sonata No 12 'La Follia'
- Released in 1930s Columbia Masterworks Music Appreciation 78 set. It is originally from Columbia's History of Music by Eye and Ear, Volume 3.
- Duration: unknown
- Recording date: 1930s
- Bress, Hyman (violin) 'The Violin: Vol. 1' (accompanied by the piano)
- Title: La Folia
- Released 1962 by Folkways Records LP FW03351, nowadays Smithsonian Center for Folklife and Cultural Heritage
- Duration: 8'13"
- Recording date: not mentioned in the documentation
- Brink, Robert (violin) and Pinkham, Daniel (harpsichord) 'Arcangelo Corelli, sonatas for violin and harpsichord, opus 5 Volume 1'
In the documentation was stated:La Follia has proved the most popular and is the oldest permanent classic of the virtuoso's repertoire. It was a favorite with the 19th Century performers who added luxuriant accompaniments and spectacular cadenzas. In the original form, as recorded here, it consists of twenty-three variations for violin and harpsichord on the theme of an old Portuguese dance. The dance was originally accompanied by tambourines and performed by men dressed in women's clothes who acted so wildly that they appreared to be out of their senses, hence the title 'Follia' meaning 'Madness'
This tune was used in vocal music by Steffani and Milanuzzi. In harpsichord solo variations by d'Anglebert, François Couperin (Les Folies Françoises), Alessandro Scarlatti, and Pasquini. And in an organ setting by Cabanilles. J.S. Bach employed it in the ' Peasant Cantata' (record Allegro alg-82). It is found in works by Gretry (in the Opera 'L'Amant Jaloux') and in 'The Beggar's Opera' to the words ' Joy to Great Ceasar'. Other composers who made use of La Follia include François Farinel, whom Corelli met in Hannover around 1680, Lully, Frescobaldi, Marais, Pergolesi, Vivaldi, Keiser, Cherubini, Liszt, and even Rachmaninoff (in his Variations on a theme by Corelli, Opus 42).- Title: Variations on 'La Follia' (Sonata No. 12)
- Released in 1951 by Allegro LP AL 109
- Duration: 12'28"
- Recording date: January 1951 in Boston, USA
- Brüggen, Frans (recorder), Bylsma, Anner (cello) & Leonhardt,
Gustav (harpsichord) 'Italienische Blockflotensonaten um 1700'
Andrea Lausi wrote about recorder-music in general and in particular the Brüggen-Bylsma-Leonhardt-trio (used with permission, 2005):
I have always considered the anthologies issued by the Brüggen-Bylsma-Leonhard trio for Telefunken (Italian Recorder Sonatas, Blockflötenmusik auf Originalinstrumenten...) among the key recordings of the ‘70s. Veritable chamber music lesson, these recordings shaped the perception of the recorder as a musical instrument for many years to come. What I find central to this is the quality, so-to-say the real magic, of Brüggen’s sound. The recorder is an instrument with a particular limited amount of overtones – it is actually a good approximation to a sonic laser with all the energy concentrated in the fundamental – and Brüggen’s playing puts this quality at the center of his constant focus. A playing where the center of the tone is never missed, the sound being always direct and full. These qualities blend with the play of other two musicians in interpretations of a simple nobility, where the 'abstract' timbre of the recorder – the quality Brüggen once defined as its 'dangerous innocence' – appears perfectly functional in putting in evidence all of the curves and shapes of the compositional architecture.
The Brüggen-Bylsma-Leonhard series included also a very impressive rendition of the Follia and, given such an overwhelming example to confront with, I have been always surprised that in the past years so many recorder players recorded the piece, which after all is definitely not a piece composed originally for the recorder. [...] and I find the Cavasanti-Guerrero-Erdas reading to be perhaps the first to cope with the mastery of BBL example. [...]- Title: Variationen über La Follia, opus 5, Nr. 12.
- Released 1968 by Telefunken LP SAWT 9518-A Series: Das Alte Werk
- Recording date: February 1967, Bennebroek Holland
- Brüggen, Frans (recorder), Bylsma, Anner (cello) & Leonhardt,
Gustav (harpsichord) 'Italian recorder sonatas'
Ulrike Brenning wrote about La Follia as introduction for this recording:
The work differs only in points of detail from the versions for violin and demands a high degree of technical competence on the part of its performance, since Corelli, an accomplished violinist, conceived the work as a virtuoso bravura showpiece. The folia or ostinato bass, after which the piece is named, is a solemn, weighty theme that is subjected to a total of twenty-one variations to produce a veritable fire-work display of ideas.
- Title: Variations on 'La Follia' Opus 5 No. 12 in G minor
for treble recorder and basso continuo from Sonatas by Arcangelo Corelli,
his V Opera London (Walsh) 1702.
- Released 1995 (prod. 1968) by Teldec compact disc 4509-93669-2 Series: Das Alte Werk
- Recording date: February 1967, Bennebroek Holland
- Duration: adagio 1'14" allegro 2'15" adagio 0'39" vivace 0'21" allegro 0'12" andante 0'30" allegro 0'41" adagio 1'25" allegro 2.49"
- Title: Variations on 'La Follia' Opus 5 No. 12 in G minor
for treble recorder and basso continuo from Sonatas by Arcangelo Corelli,
his V Opera London (Walsh) 1702.
- Brüggen, Frans (recorder), Bylsma, Anner (cello) & Leonhardt,
Gustav (harpsichord) 'Frans Brüggen Vol 2', Recorder works by 10 Italian composers
In the lp-box is written about La Follia as introduction for this recording:
Corelli's variations on La Folia, from the beginning of the 18th century the composer's most famous work, were originally written for violin and figured bass and constitute, in this version, the last of the twelve 'Sonate a violino e violone o cimbalo', which first appeared in Rome with the superscription of 1st January 1700, and by 1720 saw no fewer than twenty reprintings, above all in Amsterdam and London.The present version for recorder (in which the only simplifications are of technical peculiarities like the chords or double-stopping of the violin version) had already been published in 1702 by Walsh in London. The imaginative title 'La Folia' (Walsh wrote 'La Follia') denotes nothing more than that the work is constructed on the bass pattern known as a 'folia', which first emerged in Spanish and Italian music in the early 16th century as a bass (i.e. as a harmonic framework) for vocal and instrumental movements, and thence, partly also combined with more or less fixed or varied upper melodic part, set out on its victorious path through Europe. In the instrumental music of Corelli's time, particularly in the sets of variations, this pattern atteined its richest flowering - not only Corelli himself, but also Pasquini, d'Anglebert, Cabanilles, Marais and Alessandro Scarlatti wrote sets of variations on La Folia, in so doing giving free rein to their imagination, particularly from the point of view of technique.
Corelli's 'sonata' is planned as a sequence of a theme and 21 variations. The theme preserves, along with the traditional 3/4 measure, the traditional descant melody and its sarabande character; thereafter movement and melodic figuration are increased from variation to variatio, and rhythm, tempo and compositional technique constantly changed, while the harmonic movement and its symmetric organisation (4 + 4, 4 + 4 bars, both halves repeated) remain firmly fixed. The frequent recurrence of long phrases building up from grave crotchet movement in sarabande rhythm to virtuosic semiquaver figurations in the separate movements gives the work its inner coherence and its accompanying dynamics; the abundance of ingenious melodic and constructional ideas and the extraordinary technical demands lend it that range of colour and that air of fantasy which already fascinated its contemporaries and made the work so uniquely famous.- Title: Variationen über 'La Follia' für Blockflöte in f' und B.c, op. 5, Nr. 12
- Released 1974 by Telefunken, Das alte Werk 3 lp-box 6.35073(-00-501)
- Duration: 10'10"
- Recording date: not mentioned in the documentation of the lp-set
- Alt-recorder in f', copy after P.I. Bressan built by Martin Skrowroneck, Bremen, Germany, 1966
- Brüggen, Frans (recorder), Bylsma, Anner (cello) & Leonhardt,
Gustav (harpsichord) 'Italian Recorder Sonatas'
- Title: Variations on 'La Follia' for recorder in F and continuo Opus 5 No. 12
- Released by Telefunken vinyl SAWT 9518-A EX, re-released 1994 by WEA/Elektra compact disc 4509 93669-2
- Duration: unknown
- Recording date: February 1967
- Brüggen, Frans (recorder), Bylsma, Anner (cello) & Leonhardt,
Gustav (harpsichord) 'Arcangelo Corelli, Sonatas Op. 5 No 7-12 La
Follia'
- Released by RCA SEON Red Seal LP RL 30393
- Duration: 9'30"
- Recording date: September 1979/March 1980 in De Lutherse Kerk, Haarlem
- Brüggen, Frans (recorder), Bylsma, Anner (cello) & Leonhardt,
Gustav (harpsichord) 'Arcangelo Corelli, Sonatas Op. 5 No 7-11 and No 12 La
Follia'
- Released 1990 by RCA SEON Red Seal compact disc
- Duration: 9'30"
- Recording date: September 1979/March 1980 in De Lutherse Kerk, Haarlem
- Brüggen, Frans (recorder), Bylsma, Anner (cello) & Leonhardt,
Gustav (harpsichord) 'Corelli's Sonatas Op. 5 No 7-12 La Follia'
- Released by RCA Victor Red Seal compact disc EURO RD 71055 (not available in North America).
- Duration: 9'30"
- Recording date: September 1979/March 1980 in De Lutherse Kerk, Haarlem
- Brüggen, Frans (recorder), Bylsma, Anner (cello) & Leonhardt,
Gustav (harpsichord) 'The art of the recorder'
- Title: La Follia, allegro
- Released 1995 by Teldec compact disc, Das Alte Werk 4509-99030-2
- Duration: 2'49"
- Brüggen, Frans (recorder), Bylsma, Anner (cello) & Leonhardt,
Gustav (harpsichord) 'Corelli, sonatas Op. 5, Nos 7-11, La Follia, Op.
5, No 12.'
- Title: La Follia (in g minor)
- Released 1981 by Pro Arte lp PAL 1045, originally released
as Philips LP, and re-issued 1986 Pro Arte compact disc cdd 291 and
Sony compact disc.
- Duration: unknown but less than 9'30"
- Recording date: unknown but not after 1978
- Brüggen, Frans (recorder), Harnoncourt, Nikolaus (viola da gamba)
& Leonhardt, Gustav (harpsichord) 'Blockflötenwerke des Barock'
David Lasocki wrote about La Follia as introduction for this recording:
The final work in the collection is a set of 23 variations on La Follia, a sixteen-bar ground bass that had been used as the basis of variations for well over a century and had by then picked up an 'accompanying' melody in chaconne rhythm. This is something of a tour de force, particularly in bowing technique.
- Title: Variationen über La Follia für
Blockflöte (in f) und Basso continuo
1) Adagio 2) Allegro 3) Adagio 4) Vivace 5) Allegro 6) Andante 7) Allegro 8) Adagio-Allegro - Released by Telefunken LP SAWT 9560-M Series: Das Alte Werk
- Title: Variationen über La Follia für
Blockflöte (in f) und Basso continuo
- Campoli, Alfredo (violin) and Gritton, Eric (piano)
- Title: La Folia - Variations Serieuses
- Edition Hubert Leonard (with cadenza), revised by Issay Barmas, 3/-
- New release of old recording (78 rpm LP K1670-71), released 2002 by Dutton, compact disc CDBP 9718
- Duration: Part 1-4: theme and variations 3'15", Part 5-10: theme and variations 4'07", Cadenza: 4'15"
- Recording date: May 22, 1947 in Kingsway Hall, London
- Carolina Pro Musica 'Bridges from Europe to Peru'
- Title: La Folia, Opus 5 No. 12
- Released by Carolina Pro Musica
- Duration: unknown
- Recording date:February 11, 2001 at St. Martin's Episcopal Church, Charlotte, NC, a live concert recording
- Cartier, J.B. edited the music for violin and piano
- Published by H. Lemoine c.1911
- Score 13 p. and 1 part, 36 cm
- Series: Maitres italiens du violon au XVIIIe siecle, Edition J. Jongen et Joseph Debroux
- Cavasanti, Lorenzo (alt-flute in f), Guerrero, Jorge Alberto (cello), Erdas, Paola (harpsichord)
'Lo Specchio Ricomposto (the mirror recomposed)'
Gilles Cantagrel wrote for the slipcase: (translation by Christopher Cartwright and Godwin Stewart):Duration: 0'54", 848 kB.( 128kB/s, 44100Hz)
The opening of Opus 5 nr. 12 as played by Cavasanti, Guerrero and Erdas
© Cavasanti, Guerrero and Erdas 2004, used with permission - Title: La Follia Op.5/12
- Released July 2004 by Stradivarius compact disc STR 33684
- Duration: 10'21"
- Recording date: August 8-10, 2002 in Montevarchi, Arezzo, Italy
- alto flute in f built by Luca de Paolis after P. Bressan (c.1710), cello built by Claude Pirot (end of 18th century), harpsichord built by Tony Chinnery (2002) after Carlo Grimaldi
- See also the page Recommended Folia-recordings
- La Cetra d'Orfeo: Michel Keustermans (recorder and director), Hervé Douchy (violoncelle), Jacques Willemijns (harpsichord), .'Enfer & Paradis'
- Title: La Folia part 1, 2 and 3 (separate tracks on the disc)
- Released 2003 by Arsis compact disc
- Duration: 9'16"
- Recording date: unknown
- Concertino Köln (Andrea Keller, Baroque violin, Helga Löhrer, baroque violoncello, Gerald Hambitzer, harpsichord) 'Price Waterhouse Konzertsommer 1997'
- Title: Sonata d-moll "La Follia" für Violine und b.c Adagio-Allegro-Adagio-Vivace-Allegro-Andante-Allegro-Adagio-Allegro
- Released by K & K Kultur & Kommunikation GmbH 3-cd-set (cd 2: track 16-24)
- Duration: 11'02",
- Recording date: July 9, 1997 in Schloß Charlottenburg-Orangerie, Germany
- Daskalakis, Ariadne (violin), Strümpel, Gabriella (violoncello),
Lerch, Helene (harpsichord) 'Ariadne Daskalakis, Matteis, Biber, Baltzar, Corelli, J.S. Bach, DG Bank Musik-Edition 1999'
- Title: Sonata Op. 5, Nr 12 'La Follia'
- Edition: Lea Pocket Scores (Urtext)
- Released 1999 by Tudor Recording AG Zürich, compact disc 7081 in corporation with the DG Bank (German Bank), the Südwestrundfunk Baden-Baden and Bayerischen Rundfunk München
- Duration: 11'26",
- Recording date: August 27 and 28, 1999 in the Studio of the Südwestrundfunk, Kaiserslautern, Germany
- Daskalakis, Ariadne (violin), Strümpel, Gabriella (violoncello),
Lerch, Helene (harpsichord) 'Violino Arioso, Ariadne Daskalakis'
- Title: Sonata Op. 5, Nr 12 'La Follia'
- Edition: Lea Pocket Scores (Urtext)
- Released 2000 by Tudor Recording AG Zürich, compact disc 7081
- Duration: 11'26",
- Recording date: August 27 and 28, 1999 in the Studio of the Südwestrundfunk, Kaiserslautern, Germany
- David, F. edited and Hermann, F. transcribed the music for viola and
piano
- Title: Sonata la follia for viola and piano
- Published by International Music c.1948
- Score 15 p. and 1 part, 31 cm
- David, F. edited the music for violin and basso continuo
- Title: Folies d'Espagne: variationen fur Violine mit beziffertem Bass
- Published by Henri Petri, Breitkopf & Hartel 191?
- Score 15 p. and 1 part, 35 cm
- David, F. edited the music for violin and piano
- Title: Folies d'Espagne for violin and piano, entirely re-arranged for the concert stage according to an earlier version and provided with an original variation by Auer, Leopold.
- Published by Fischer 1922
- Score 25 p. and 1 part, 32 cm
- Series: Carl Fischer's music library no. 877
- The Early Music Consort of London conducted by Munrow, David 'Renaissance
Suite' for the Joël Santoni film "La Course en tête"
(a film on the Belgium cyclist Eddy Merckx).
James Durant wrote as an introduction at the backside of the cover:
[...] Munrow extended his activities with the Consort to a heavy schedule of concerts, tours, and the making of numerous albums, encompassing the early music of many countries. His popular English television series Pied Piper considered music of all eras. In the eight years of Munrow's all-too-brief career before his death in 1976, he also wrote a book Instruments of the Middle Ages and Renaissance (Oxford University Press. London: 1976) and composed and arranged the scores for four feature films, including Ken Russell's The Devils, the EMI-MGM Henry VIII, John Boorman's Zardoz, and the French documentary La Course en tête, produced by Vincent Malle and directed by Joël Santoni.
It is Munrow's score for La Course en tête that is heard here. Focussing upon the European bicycle races at Grenoble, the film sensitively explores the anxieties and problems, as well as the pleasures and rewards, of the professional bike riders in competition. For his score, Munrow utilized arrangements of music by Hassler, Praetorius, Susato, Macque, Phalèse, and Corelli, and composed original themes in early music styles. [...]
Arcangelo Corelli (b. Fusignano, 1653; d. Rome, 1713) studied counterpoint with Simonelli and violin with Bassani. His travels as violin virtuoso and composer took him to Paris and throughout Germany. In 1685 he settled in Rome in the service of Cardinal Pietro Ottoboni. Corelli made a major contribution to the development of violin technique. As composer, his sonatas da camera and concerti grossi were the predecessors of the sonatas and concertos of Bach and Handel. David Munrow's "End Music" uses Variations on La Folie d'Espagne from Corelli's, Op. 5 No. 2.- Title: End Music - Variations of 'La Folie d'Espagne' from Corelli, Op. 5 No. 12 'Division Flûte' (1706) arranged for Recorder solo, Flute, Lute, Bassoon, Violin, Trumpet, Strings and Continue.
- arrangement from a manuscript Division of flute (1706), editor unknown
- Released 1974 by EMI as LP HQS 1415, in France as Pathe Marconi EMI 2C 064 - 12789, in Northern America as Angel S 37449
- Library of Congress Catalogue Card No. 77-751146
- Duration: 6'36"
- Recording date: unknown (not mentioned on the LP Angel release)
- Ehrhardt, Susanne (recorder) Ogeil, Jacqueline (harpsichord) Waugh,
Margaret (cello) 'La Follia, variations by Corelli, Vitali, Vivaldi, Scarlatti'
From the slipcase:'La Follia' has proven to be one of the most popular and enduring harmonic progressions from the Renaissance and Baroque period. Throughout history 'La Follia' has been used by many great composers including Corelli and Vivaldi, right through to Liszt and Rachmaninoff. This CD contains a wide selection of 'La Follia' variations by Baroque composers, including one of the most well known settings, by Corelli - 'La Follia' from Sonata Op 5, No 12. This work is Corelli at his best, displaying an endless imagination through a succession of variations in ever changing moods and metres. Likewise the setting by Vitali also featured, contains a wealth of variation and invention
- Title: Sonata Op 5 no 12
- Released 1998 by Move Records compact disc MD 3211
- Duration: 10'15"
- Recorded at Move Records studio, Melbourne, Australia without indication of any dates
- Ehrhardt, Susanne (recorder) 'Musik im Umkreis von Sophie Charlotte'
Lance Eccles wrote about the performance:The insert in the CD says the Corelli is for 'Altblockflöte und Basschalumeau', but I don't hear any Basschalumeau. The accompaniment seems to be cembalo (Michael Schönheit) and Cello (Bettina Messerschmidt).
- Year of release not indicated in the slipcase by GEMA without a catalogue number
- Duration: 9'36"
- Recording date: 1998 for the Preussische Schlösser und Gärten Museumsshop
- Enesco, Georges (violin) & unknown pianist 'Georges Enesco, violin'
- Title: Sonate en Ré Mineur pour violon et piano Op. 56 no 12 LA FOLLIA
- arrangement pour violon et piano: David, revision Petrie
- Released 1990 by Music Memoria compact disc MONO AAD 30322
- Duration: 8'53"
- Recording date: Enesco died in 1955, so it had to be recorded earlier
- Enesco, Georges (violin) & unknown pianist 'Historical Recordings - George Enescu' (Enescu instead of Enesco)
- Title: Sonata in Re Minor Op. 5 No. 5 'La Follia'
- Released in the 1980's by Electrecord (Romania) White Label lp ELE 02715
- Duration: unknown
- Recording date: Enesco died in 1955, so it had to be recorded earlier
- Enesco, Georges (violin) & unknown pianist
- Title: Folies d'Espagne, Part 1 & 2
- Released 192? by Columbia 12" 78rpm record, pressed in ENGLAND 192? numbers on deadwax: W98627 and 12240 / W98628 and 12241, ordernumber D41013
- Note that the name of composer is spelled as Correlli
- Duration: unknown
- Recording date: unknown
- Enesco, Georges (violin) & Schlüssel, Sanford (piano), unknown
title of cd
- First released by Columbia 50187/88D (matrices 98617/18 and 98619/20
- Re-released 1992 by Biddulph Recordings compact disc LAB 066
- Duration: 8'37"
- Recording date: 1929
- Ensemble Caprice Stuttgart 'Kammermusik von Corelli und Kuhnau'
- Title: Sonate op. 5 Nr. 12 d-moll/g-moll (La Follia)
- Released December 1997 by Antes (Bella Musica Edition) compact disc
- Recording date: unknown
- Ensemble Fitzwilliam (Jean-Pierre Nicolas recorders, Michèle Dévérité harpsichord and organ, Bruno Cocset violoncello, violoncello piccolo and viola da gamba,
Yasunori Imamura theorbe and barock guitar)
'Corelli, Sonatas Opus V Nos. 7-12'
In the slipcase is written:
Jean-Pierre Nicolas chose the flute in D, pitched a third lower than the standard treble instrument in order to play the exact melodic lines and especially the virtuosic variations of the Follia
- Title: La Follia, 23 variations
- Released November 2005 by ZigZag territoires compact disc 2005.11.21
- Duration: 11'29"
- Recording date: February 28- March 4, 2005 in Chapelle de l'ecole St Geneviève Versailles, France
- Ensemble Fraal: Jaques Lesburqueres (flute), Hans-Michael Eckert (cello), Hans-Wolfgang Brassel (harpsichord) 'Italienische Impressionen'
In the booklet is written:
Just imagine if everyone had composed in the manner of Arcangelo Corelli, whose variations on an old Spanish Sarabande La Follia caused quite a stir, not only with his contemporaries ...
- Title: Variationen über das Thema 'La Folia'
- Released 2007 by Bella Musica Edition compact disc
- Duration: 9'36"
- Recording date: March 10-12, 1995 in Schlossbergsaal des SWF, Landesstudio Freiburg, Germany
- Ensemble Galilei (Liz Knowles: fiddle,
Deborah Nuse: Scottish small pipes and fiddle, Sarah Weiner: oboe recorders
and pennywhistle, Sue Richards: Celtic harp, Carolyn Anderson Surrick:
viola da gamba with Jan Hagiwara: percussion and Nancy Karpeles: bowed
psaltery) 'From the Isles to the Courts'
As mentioned in the slipcase some variations of Corelli are mixed into this Folia-medley, where the Marais-variations are more prominent.- arrangement by Liz Knowles, published by Major B Music (ASCAP)
- Released 2001 by Telarc compact disc CD-80536
- Duration: 09'16"
- Recording date: June 19-22, 2000 in Gordon Center for the Performing Arts, Owings Mills, Maryland
- Ensemble Il Giardino Armonico; Giovanni Antonini (recorder), Paolo Beschi (cello), Luca Pianca (theorbo), Lorenzo Ghielmi (organ and harpsichord)
'Italian Recorder Sonatas'
- Title: Follia
- Released 1992 by Nuova Era compact disc 6789
- Recording date and place: unknown
- L'Ensemble Musica Antiqua de Provence:
Christian Mendoze (recorder), Corinne Betirac (harpsichord), Federico Marincola (baroque guitar)
- Title: Sonate op 5 no 12 La Follia (including an interview)
- Broadcasted by Radio France April 29, 2006
- Duration: 9'51" (excluding an interview of 4'45")
- Recording date and place: April 29, 2006 live in Studio 118, France
- Eolina Quartet 'Eolina Quartet plays Janitsch, Kazandjiev, Guillemain and Corelli'
- Title: Variations 'La Follia'
- Released 19?? by Balkanton ( Bulgaria ) Blue Label LP BKA 10116
- Duration: unknown
- Recording date: unknown
- Fernandez, François (violin) and Wilson, Glen (harpsichord) 'Corelli violin sonatas Op. 5 nos. 7-12'
Glen Wilson wrote for the disc:There is no twelfth sonata. XII is entitled Follia, and is a set of 22 variations on the dance tune of that name which goes back to fifteenth-century Portugal and was a great favourite throughout the baroque era. The 'madness' implied in the title was said to reflect the wild mood of the dancers. Corelli takes us a step further into a state of general derangement. Geminiani, in one of his treatises, names Corelli's variations as the ultimate work of the violin literature, and says 'I have had the pleasure of discoursing with him myself upon this subject, and heard him acknowledge the Satisfaction he took in composing it, and the Value he set upon it.'
- Title: Follia
- Released 2007 by Naxos compact disc Naxos 8.557799
- Duration: 11'55"
- Recording date: Recorded in Kloster Bronnbach, Wertheim, Germany from 20th to 22nd March 2006
- violin built by Andrea Guarneri 1690, harpsichord built by Henk van Schevikhoven, Helsinki after a 1628 Andreas Ruckers
- Ferrarini, Claudio (flute) and Tasini, Francesco (harpsichord) 'Il grande
barocco Italiano - Corelli'
- Title: Sonata No 12 in D minor 'La Follia', transposed to G minor
- Released March 1997 by Mondo Musica compact disc MM 96008
- Recording date: March 15, 1996
- Including birdsounds
- Fiorentino, Maria Giovanna (Flauto dolce), Zanardi, Carlo (violincello),
Polato, Pier Luigi (arciliuto, tiorba), Loreggian, Roberto (clavicembalo)
'Arcangelo Corelli Opera V - Sonate per flauto dolce (Londra, Walsh 1702)'
- Title: Follia, Sonata XII in sol minore
- Released 1999 by Tactus compact disc CDTC650309
- Duration: 10'10"
- Recording date: 1996
- Fontanarosa, Patrice (violin) and Dintrich, Michel (10 string guitar)
'Duos pour violon et guitare (cd)' and 'Duo Fontanarosa and Dintrich, Volume 2 (lp)'
In the slipcase is stated:
Born in Bologna, Italy, Corelli lived in Rome. He has produced the most significant example of a sonata for two or three instruments. He was an innovator in the concerto form which underwent an extraordinary development in the following centuries. "La Folia" certainly one of Corelli's most enchanting works, reveals his real discovery - the instrumental use of the 10 - string guitar and the violin. The resulting resonance lends to Corelli's music all its sensitivity, charm and originality. The balance achieved in the movements of the concerto is a miraculous poetical synthesis.
- Title: La Folia
- Arrangement by Michel Dintrich
- Originally released 1970 by Barclay as LP for Classic 991 025. Re-release 2003 by Accord compact disc 476 092-1 (including Ibert, Granados , de Falla, de Sarassate, Paganini and Vivaldi which are all not included at the LP-version)
- Duration: 12'09"
- Recording date: October 1968 and November 1970 in l'eglise Notre Dame du Liban, Paris, France
- Fontanarosa, Patrice (violin) and Dintrich, Michel (10 string guitar) 'Duo Fontanarosa and Dintrich'
- Title: La Folia
- Arrangement by Michel Dintrich
- Released by Musidisc 2 LP-set silver label made in France 16005 Stereo
- Duration: 12'09"
- Recording date: October 1968 and November 1970 in l'eglise Notre Dame du Liban, Paris, France
- Fontanarosa, Patrice (violin) and Nordmann, Marielle (harp)
- Title: Sonata No 12 in D minor 'Les folies d'Espagne'
- Released 1996 by EMI Classics compact disc 5563592
- Recording date: February 1996
- La Fontegara Amsterdam: Coolen, Saskia & Hotslag, Peter & Tol,
Han (3 recorders) 'Common Grounds: Recorder Consort Music'
Hard to classify because they mixed the variations of Marais and A. Scarlatti and introduce some improvisations in the middle part.
Erik Beijer wrote as introduction in the slipcase:
The 'Follia', too, became a rich stew in the hands of LFA: we get a taste of Corelli and Marais, but also a touch of Scarlatti and Carl Philip Emmanuel Bach. But what does it matter? In the art of arranging, varying and improvising, the question 'which note is whose?' has become absolutely irrelevant.
- Title: La Follia (arrangement La Fontegara Amsterdam) by Corelli, Marais and Domenico(?) Scarlatti (this must be a slip of the pen because Alessandro Scarlatti is musically quoted).
- Released 1995 by Globe compact disc GLO 5112
- Duration: 8'45"
- Recording date: December 1993 in Utrecht, The Netherlands
- Francescatti, Zino edited the music for violin and piano
- Published by International Music Co. c.1976
- Score 16 p. and 1 part 7 p., 31 cm
- Friedrich, Reinhold (trumpet), Lücker, Martin (organ), Friendrich, Hartmut (trombone) 'Top'
Oliver Buslau wrote for the slipcase:
The oldest form of arrangement known in musical history is the variationof already existing themes. Some of these models really became archetypes: They were varied by so many composers that the original spiritual father fell into oblivion. Two of these essential themes are the English folk song 'Greensleeves' and the sarband tune 'La Folia'. The attraction of these themes lies in the comprehensible harmonic sequences, on which they are based and which have encouraged numerous composers to write so-called ostinato variations, that is improvisations over a bass, that is permanently repeated. This type of variation was already mentioned in a novella by the author of Don Quichote, Miguel de Cervantes, who called this piece 'Folia'. Therefore the famous theme from the Corelli concerto bears the name of a whole variation genre being at the same time its most popular representative. Corelli, the baroque master of the violin and 'inventor' of the concerto grosso, develops from the simple model a whole host of modes of expression, from grandiose festiveness to complicated counterpoint, from sweeping cantabile to brilliant virtuosity.
Reinhold Friedrich and Martin Lücker wrote for the slipcase:
Das führte zur 'Follia' von Corelli. Wirklich der helle Wahn diese Musik! (Follia=Wahnsinn, fixe Idee). Aus der originalen Vorlage (Violine und bezifferter Bass) haben wir eine Art organisierter Improvisation gemacht. Zunächst wurde die originale Violinstimme ihrer Länge wegen zwischen Trompete und Orgel aufgeteilt, und dann ging 's kos: Da wird auf der Grundlage der Continuo-Notierung improvisiert, figuriert und konzertiert, kaum etwas haben wir dabei notiert.
- Title: La Follia, Opus 5, nr. 12
- Released 1993 by Capriccio and Hessischer Rundfunk compact disc 10 483
- Duration: 13' 39"
- Recording date: June 25-30, 1993 in the St. Katharinenkirche Frankfurt am Main
- The organ of the St. Katarinenkirche was (re)built by Rieger Orgelbau, Schwarzach
- Gatti, Enrico: violin (Laurentius Storioni, Cremona 1789)
Nasillo, Gaetano: cello (Barak Norman, London c.1710)
Morini, Guido: harpsichord (Antonio Martini, Ravenna 2001) 'Corelli, Sonate a Violino e Violone o Cimbalo Op.5'
Enrico Gatti wrote for the slipcase (translated from the French by John Tyler Tuttle):
The twelfth sonata is "La Follia" by antonomasia, the one that was the basic for the compositions of Marais, Vivaldi, Reali, et al. It was customary to colclude a collection with a series of variations on the same bass (lateron, one will also find examples in Vivaldi, Tessarini, Tartini ...), and Corelli, in truth, deploys a vast range of ideas, metres and phrasings to best illustrate the proud, ancient Iberian theme. Pupil Francesco Geminiani spoke of it in these terms: " I do not pretend to be its inventor: other composers of the very highest level have embarked on the same voyage; and none of them with greater success than the celebrated Corelli, as can be seen in his Opus V, on the Aria de la Follia de Spagnia [sic]. I had the pleasure of discussing this with him and heard him acknowledge the full satisfaction he felt in composing it, and the worth he attributed to it (source).
- Title: Follia, in re minore
- Arrangement by Reinhold Friedrich and Martin Lücker
- Released by Arcana in a coproduction with WDR3 2x compact disc A 423
- Duration: 11'37"
- Recording date: May 25 till June 2003 in the church of Badia Cavan, Langhirano, Parma, Italy
- Gli Accademici di Milano (Renato Biffoli and Giuseppe Magnani violin
soloists, Nereo Gasperini cello and Bruno Canino harpsichord, Dean Eckertsen
conductor and editorial responsibility 'Corelli, concerti grossi, opus
5 (complete)'
Joseph Braunstein wrote for the slipcase of the re-issue 1962:The last number of Opus 5 is not a sonata but a variation cycle which is not only the crown of the set but Corelli's greatest technical achievement. It has a precursor in the Ciacona, the last piece of the chamber sonatas Opus 2. The ciacona (Chaconne in French), the passacaglia (passecaille), as wel as the Portuguese folia, whose Italian spelling is follia are closely related. They are dances in triple time.
The origin of the follia was long a matter of dispute. It was thought to be Spanish, but the Portuguese musicologist Luis de Freitas-Branco has drawn attention to the fact that the noun folia (meaning obsession) and the verb foliar derived from it, are Portuguese and not Spanish words. The follias were known in Portugal as early as the fourteenth century. Yet the tendency to regard the follia as a Spanish dance developed only from the beginning of the seventeenth century and one called them 'Folies d' Espaigne'. At the end of the sixteenth century follias were included in collections of instrumental music. There they invariably appear as variations on an ostinato bass. They can be found in works of Italian, French and German composers and the theme of the follia was heard everywhere.
It seems very strange indeed that through four centuries dozens of composers have used that tune for variations. This phenomenon becomes more puzzling in view of the fact that the range of this tune is only a fourth plus a semitone. Yet it exercised an irresistible magnetic power on a host of composers. Percy Scholes compiled a list of 23 names but remarked "that it is certain that dozens of examples are omitted." His list includes Frescobaldi [red: which is not a folia], Corelli, Vivaldi, Domenico [red: Alessandro the father of Domenico is intended here] Scarlatti (Variazioni sulla Follia di Spagna), Bach (Peasant Cantata, 1742), Carl Philipp Emanuel Bach, Gretry, Cherubini, Liszt (Spanish Rhapsody for Piano, 1863) and Rachmaninoff with his Variations on a Theme by Corelli (!) for Piano. The tune was well known in Italy and Corelli became familiar with the ostinato technique presumably through the works of Girolamo Frescobaldi whose 'Cento Partite sopra Passacagli' (1637) is on account of its melodic, rhythmic and contrapuntal diversity a worthy predecessor of Corelli's 'La follia' and Chaconne and Passacaglia by elaborations has been thrown on the the market that, it is true, bear Corelli's name but go far beyond the violin technique of his time, elaborations which Pincherle defined as "calamitous disarrangements" of La Follia.
The student of this work who happens to be a violinist will quickly become aware of Corelli's basic conception. The composer's overriding interest centered on violinistic problems and the technique of bowing in particular . Thus, Geminiani's task was a very difficult one because he had to adapt the violinistic style to the ensemble.- Title: Follia, Sonata XII in sol minore
- Released 1958 (first time), this re-issue 1962 by Vox Productions LP-3set VBX 38 as part of the series 'Complete music of Arcangelo Corelli Vol. III'
- Duration: 14'15"
- Recording date: not mentioned
- Goldschmidt, Thomas Ulrich (violin) Lorenzen, Wolfram (piano) 'Corelli- Beethoven'
- Title: La Follia
- Released 1988 by FSM Germany LP Stereo 68715
- Duration: unknown
- Recording date: unknown
- Grehling, Ulrich (violin) Wenzinger, August (violoncello) Neumeyer,
Fritz (harpsichord)
- Title: Sonata 'La Follia'
- Released 1955 by Archive Production vinyl 25 cm long play 33 1/3 rpm record mono ARC 3008
- Edition recorded: Edition Schott 438l (Mainz B. Schott's Sohne, 1953)
- Duration: 12'15"
- Recording date: October 8, 1953 in the Paulus-Saal, Freiburg
- Grehling, Ulrich (violin) Wenzinger, August (violoncello) Neumeyer,
Fritz (harpsichord)
- Title: Sonate op. 5 Nr. 12 d-moll 'La Follia'
- Released by Archiv Produktion single vinyl extended 45 RPM mono 37 035 EPA, theme and var. 1-10 side A, var. 11-23 side B. Series: VIII Das italienische Settecento serie D: solo- und triosonate
- Edition recorded: Edition Schott 438l (Mainz B. Schott's Sohne, 1953)
- Duration: 12'15"
- Recording date: October 8, 1953 in the Paulus-Saal, Freiburg
- Grindenko, Tatyana (violin) and the Moscow Chamber Academy
- Title: Sonata No 12 in D minor 'La Follia'
- Released 1989 by Ondine compact disc Ode 735-2
- Duration: 10'05"
- Recording date: May 1989 at the Järvenpää Concert Hall
- Grumiaux, Arthur (violin) and Castagnone, Riccardo (harpsichord) 'Arcangelo Corelli. Sonate Op. 5 A Violino E Violone O Cimbalo'
In the slipcase is written:
Incidentally, the suite in Italy at that time was called sonata da camera, or chamber sonata, so that it could be immediately distinguished from the sonata da chiesa. The 12th and last of the so-called 'sonatas' has nothing to do with either of these: it is a theme with variations. The theme, entitled 'La Follia' - a Spanish dance - was one of the most popular melodies of the day and was arranged by many Baroque composers. But it really only survives today in this last and most popular of Corelli's 12 sonatas.
- Title: Sonata No. 12 in D minor: Adagio - Allegro
- Released 2004 by Elite Classics Baroque Collection 2 compact disc-set 51-550-B labeled 'For sale in Russia'
- Duration: 13'26"
- Recording date: not mentioned in the documentation
- The same release contains the Follia of Corelli performed by Siegwald and Wieland Kuijken and Robert Kohnen as a bonus track
- Grumiaux, Arthur (violin) and Castagnone, Riccardo (harpsichord) 'Baroque violin sonatas'
William Yeoman wrote for the slipcase:The last of Corelli's twelve sonatas comprising his Op. 5 consists entirely of a series of increasingly virtuosic variations on 'La Folia'. Originally a Portuguese peasant's dance, the Folia (the etymology of which is related to our 'fool') became the basis for improvisations by more courtly musicians throughout the Iberian peninsula before making its way northwards to France, Italy, England and the Netherlands during the sixteenth and seventeenth centuries. Corelli's version, like the rest of his Op. 5, was highly influential; Vivaldi's Op. 1 trio sonatas of 1705, for example, ends with a set of Folia variations as a direct homage
- Title: Sonata in D minor, Op. 5 No. 12 'La Folia'
- Released 2007 by Philips compact disc 2x cd-set mono recording 442 8240, originally produced 1957, Universal International Music
- Duration: 11'53"
- Recording date: July 1956 Bachzaal, Amsterdam, The Netherlands
- Grumiaux, Arthur (violin) and Castagnone, Riccardo (harpsichord)
- Title: 'La Follia' Sonata OP.5 no 12
- Released by Philips LP A 00380 L (Made in Holland)
- Duration: 13'14"
- Recording date: 1975
- Grumiaux, Arthur (violin) and Castagnone, Riccardo (harpsichord) 'Corelli, 12 sonate a violine e cembalo op 5'
- Title: 'La Follia' Sonata OP.5 no 12
- Released 1975 by Philips LP 6700 096
- Duration: 13'14"
- Recording date: 1975
- Grumiaux, Arthur (violin) and Castagnone, Riccardo (piano) 'An Arthur Grumiaux recital'
- Title: 'Follia'
- Released 1956 by Gold Label mono LP LC 3414
- Duration: 11'51"
- Recording date: July 1956, Amsterdam, The Netherlands
- Grumiaux, Arthur (violin) and Castagnone, Riccardo (piano) 'Grumiaux, the early recordings'
- Title: Sonata in D minor Op.5 No.12 'La Folia'
- Released 1993 by Philips 3-cd boxset PHCP-1260~2 (made in Japan) and 438-516 (438-517, 518 and 519) made in Germany
- Duration: 11'51"
- Recording date: July 1956, Amsterdam
- Arrangement by Riccardo Castagnone
- Grumiaux, Arthur (violin) and Castagnone, Riccardo (piano) 'Violin sonatas: Tartini, Corelli, Vitali, Veracini'
- Title: Violin Sonata in D minor, Op. 5, No. 12, "La folia"
- Released by Naxos compact disc 9.80482
- Duration: 11'48"
- Recording date: unknown
- Haendel, Ida (violin) and Parsons, Geoffrey (piano) 'Ida Haendel, violin Classical Recital'
- Title: Sonata No 12 in D minor 'La Folia'
- Released 1977 EMI, A Christopher Parker recording, the first release LP ASD 3352
- Duration: 13'25"
- Recording date: june 1976
- Arrangement by Fritz Kreisler
- Haendel, Ida (violin) and Parsons, Geoffrey (piano) 'Baroque Transcriptions'
- Title: Sonata No 12 in D minor 'La Folia'
- remastered 2002 from the original release 1977 by EMI LP ASD 3352, SBT compact disc SBT 1258
- Duration: 13'25"
- Recording date: june 1976
- Arrangement by Fritz Kreisler
- Haendel, Ida (violin) and Parsons, Geoffrey (piano) 'July Classical Sampler 1977'
- Title: excerpt of Sonata No 12 in D minor 'La Folia'
- Released 1977 as a demo by EMI/HMV LP DEMO C41 (UK only release), originally LP ASD 3352
- Duration: unknown (excerpt)
- Recording date: june 1976
- Arrangement by Fritz Kreisler
- Haendel, Ida (violin) and Yampolsky, V. (piano)
- Title: Folia
- Released as mono recording 1960's by Russian label Melodiya LP D 07287-07288
- Duration: 11'39"
- Recording date: 1960
- Arrangement by G. Leonard
- Haendel, Ida (violin) and Yampolsky, V. (piano)
- Title: Folia
- Released as mono recording 1960 by Russian label Melodiya LP D 07287
- Duration: 11'39"
- Recording date: 1960
- Arrangement by G. Leonard
- Haendel, Ida (violin) and Yampolsky, V. (piano)
- Title: Folia
- Released as mono recording by Russian label Melodiya LP D-07287. Gost 5289-61.
- Duration: 11'20"
- Recording date: unknown
- Arrangement by G. Leonard
- Haendel, Ida (violin) and Yampolsky, V. (piano) 'Bach, Händel, Corelli, Schubert, Bartok, Stravinsky'
- Title: La Folia
- Released as mono recording by Russian label Melodiya LP D-07287, 07288 GOST 5289-68, Pink Label
- Duration: 11'20"
- Recording date: 1960
- Arrangement by G. Leonard
- Haendel, Ida (violin) and Yampolsky, V. (piano) vinyl without title
- Title: La Folia
- Released as mono recording by Russian label Melodiya LP D-07287, Ryga Factory GOST 5289-61
- Duration: 11'20"
- Recording date: 1960
- Arrangement by G. Leonard
- Hall, Mike (alto trombone) Bell, Rebecca (harpsichord) and Rice, Larry (double bass) 'Arcangelo Corelli, solo chamber sonatas opus 5'
A very unusual line-up with alto trombone and harpsichord and double bass as basso continuo but it sounds all very natural to me.
The choice was made out of practical and orchestral considerations. The solo trombone sounds an octave lower than Corelli's violin, so they used the double bass as the bass instrument because it sounds an octave lower than Corelli's bass, but also because the two instruments compliment each other so well in the 21st century ear according to Mike Hall. Duration: 1'04", 1011 kB. (128kB/s, 44100 Hz)
2 Variations, with multi-phonics of the alto trombone in the second variation
© James Michael Hall 2004, used with permission
Mike Hall wrote for the slipcase about Sonata 12 in D minor:
This sonata is performed essentially as Corelli published it, 23 variations on the 'Follia' theme. Perhaps Portuguese in origin, the centuries old "Follia" theme was a popular subject for variation sets of the 17th century. Some have described Corelli's variations as nothing more than bowing exercises, but Corelli makes his bass as active and involved as the solo. This adds considerable interest to a sonata that seems intended as a vehicle for virtuosic display. We employ orchestration that suits the wind soloist and we rely upon trombone multiphonics to take the place of the many passages that call for double-stopped notes on the violin. Trombone multi-phonics is the practice of singing a note with the voice, while at the same time, playing a lower note with the lips. While this is certainly not a Baroque technique, it is an accepted part of 21st century trombone technique. In the same way that Corelli sought to demonstrate the technical capabilities of the violin that flourished in his era, this recording seeks to demonstrate similar capabilities unique to the trombone in the 21st century. Indeed, this recording and its accompanying performance editions aspire to take a place in the unbroken, 300-year performance lineage established upon Corelli's solo sonatas.
- Title: Sonata No 12 in D minor 'Follia' variations
- Released 2004 by Conn-Selmer Kagarice Brass Editions compact disc KUCS1207
- Duration: 12'53"
- Recording date: September 24-26, 2001 and January 14-16, 2002 at Saint Lawrence Catholic Campus Center, Lawrence, Kansas, USA
- Alto trombone: Conn 36h E-flat alto trombone with B-flat/A valve attachment. Greg Black standard weight, custom mouthpiece, similar in internal size and shape to Bach 18.
- Holloway, John (violin) and the Zurich Chamber Orchestra
- Sonata for Violin and Basso Continuo, Op. 5: no 12 in D minor 'La Follia'
- Released July 27, 1999 by 'I Love classics' compact disc (2) #541
- Homolya, Istvan and Devich, Sandor edited the music Z 13 600
- Title: Sonata per violino e basso continuo (violino cello and continuo) 'Follia' Opus 5 No. 12
- Published by Editio Musica Budapest, H-1370 PO 322 Telex 22 5500
- Score 13 p. and 2 part, 346 bars
- Publisher No. Z 13 600
- Hoopes, Chad (violin), O'Riley, Christopher (piano)
Great program for top talents and to encourage all people to join playing the music. Some funny jazzy variations and some lying down as the photo indicates.
- Title: La Follia in an arrangement of Fritz Kreisler
- Broadcasted for the program 'From the Top at Carnegie Hall', Season 2, Episode 11: Jumping Through Hoopes
- Recorded in 2008 for NBC television at carnegie Hall, New York, USA
- Duration 8'20"
- From the Top at Carnegie Hall is a co-production of 'From the Top', WGBH and Don Mischer Productions in partnership with Carnegie Halll.
- More about this episode at season 2, episode 11
- Huang, Bin (violin) and Kim, Hyung-Sun (piano) 'Baroque Violin Favorites'
- Title: 'La Folia'
- Released 2002 by Naxos compact disc 8.5558960
- Duration: 9'02"
- Recording date: 23-24 January 2002 at the River Run Centre, Guelph, Ontario, Canada
- Jacobsen, Maxim edited the music for violin and piano. Cadenza by H.
Leonard.
- Published by Edition Peters c.1931
- Score 8 p. and 1 part, 31 cm
- Publisher No. 3443
- Jansen, Jan (organ solo)
Unfortunately nothing is said in the documentation (slipcase) about this wonderful arrangement of the Folia-arrangement of the music by Corelli.
In an e-mail Jan Jansen wrote July 12, 2009:Ik speelde "La Folia" gewoon uit het manuscript voor viool en continuo. Harmonische toevoegingen kwamen logisch voort uit de bc. De regisratie en registerwisselingen zijn afhankelijk van de mogelijkheden van het orgel. (translation: I just played the Corelli variations from the manuscript for violin and basso continuo. Harmonic added parts were derived from the b.c. The registration and stops are of course dependable from the possibilities of the local organ.)
In the slipcase is written about Jan Jansen:Jan Jansen (1946) studied organ, piano and harpsichord at the Utrecht conservatory. In 1966 he won the 'chorale'prize at the national improvisation competition in Bolsward. As a pupil of Cor Kee he gained the Prix dÉxcellence for organ in 1970. Jan Jansen has taught at the Utrecht conservatory since 1973, and he was appointed organist of the Dom in Utrecht in 1987, where he performs weekly with the choir at Saturday afternoon concerts. He has played in Holland and abroa, and has made many recordings (radio, TV,LP,CD).
- Title: Sonata No 12 in D minor 'La Follia' in an arrangement for organ solo
- Released by Lindenberg compact disc LBCD 71/74 in association with the dutch Katholieke Radio Omroep (KRO) and Radio Netherlands World Service (RNW)
- Duration: 11'30"
- Recorded 1996 at the Anton Kartner Choir-organ (built in 1767), in Tekla, Bohemen
- Jelescu, Radu (violin), Buniato, Giannina (voice soprano), Carrubba, Sergo (pianoforte)
Duration: 3'52" direct link to YouTube
Fragment of the film 'Le cose che parlano' with Radu Jelescu's arrangement of La Follia
© 2006 Zelig srl Catania- Title: 'La follia' di Arcangelo Corelli
- Arrangement: Radu Jelescu
- Duration: 3'52"
- As part of the film 'Le cose che parlano', a film by Rosario Lizzio and Tiziana Bosco
- Production: Zelig srl Catania in collaboration with Comune di Catania - Assessorato al Turismo
- Recorded 2006 in Italy
- Joachim, J. & Chrysander, F. edited the Urtext edition
- Twelve violin sonatas opus V (including La folia)
- Published by Lea Pocket 1970
- Score 107 p., 17 cm
- Publisher No. Lea Pocket Scores 166
- Jones, Thomas (violin) Valler, Rachel (piano) 'A Kreisler Celebration'
- Title: La Folia (Arcangelo Corelli, arr. Fritz Kreisler)
- Released by Move Records compact disc MD3173
- Juda, Jo (violin) Hengeveld, Gerard (piano) 'Nardini and Corelli'
- Title: Sonate Op.5 Nr.12 d-moll La Follia
- Released by Diskanto LP
- Khitruk, Anastasia (violin) and Tchalik, Daniel (piano) 'La Folia'
Baudime Jam wrote for the slipcase (translated by Michael Pochna):
The first mention of the theme on which 'La Folia' is based occurs in 1505, and a number of compositions bearing that name appear throughout the 16th century. In 1611 'Tesoro', the first published dictionary of the Spanish language, gives us this definition: 'La Folia: Portuguese dance, very loud since in addition to many people on foot with little cymbals (Basque tambour) and other instruments, it includes portefaix in costumes carrying on their shoulders boys dressed as girls who shake their long sleeves, dance sometimes, and play their cymbals as well; the noise is so loud and the rhythm so fast that they all seem to be possessed by 'madness' whence the name 'Folia'.
During the seventeenth century, the spirit of the Fpolia changed: from a leaping dance it was transformed into a kind of passacaglia or chaconne, noble and stately. From then on, La Folia came intofashion with composers all across Europe, from Frescobaldi in Italy; Boyce and Arne in England, passing through Lully and d'Anglebert in France and Pergolesi and Bach in Germany. This theme has remained popular with composers such as Cherubini (The Portuguese Hostelry: 1798), Liszt (Spanish Rhapsody: 1863), and Nielsen (Mascarade: 1906).
In Corelli's work, the sixteen-bar tune recurs constantly in the bass, while the violinist proceeds continually through new material, alternating mood and tempo for twenty three variations. The edition used here is that of the nineteenth-century violinist Hubert Leonard, who has altered somewhat the order of Corelli's variations, and has expanded some of them as Corelli himself undoubtedly did in performance.- Title: La Folia, variations sérieuses
- Released 1999 by Suoniecolori compact disc SC 253312
- Duration: 11'10"
- Recording date 1999 in La Maison de la Musique de Nanterre
- Kneihs, Hans Maria (recorder) & Radulescu, Michael (harpsichord) & Kaiser, Michael (cello) 'Baroque Recorder Vol. 2'
- Title: La Follia Variation Op. 5 No. 12 for Recorder and Bass Continuo
- Released 1972 by Klavier LP KS 512
- Duration: 9'55"
- Recording date: unknown
- Kokott, Marion (recorder) & Alexander Weimann (harpsichord), Douglas Vistèl (double bass) Doris Runge (baroque cello), Christian Hoffmann (Irish harp), Stefan Jagemann, Natajaran, Christoph Renner (percussion) and Helmut Abel (accordion) 'Floating senses, flute music'
In the last variations all the musicians are mentioned and the gratitude for their contribution is shown.
- Title: Sonata No 12, op. 5 in G minor 'La Follia'
- Released 2003 by Hännsler Classic compact disc 98.461
- Duration: 12'53"
- Recording date: not mentioned in the documentation
- Kol, Bracha (recorder) & Brodo, Amy (cello) & Shemer, David
(harpsichord) 'Baroque Favourites'
Ora Binur Shmit wrote for the slipcase:'La Folia' also belongs to the variations genre. Folia (or Follia, known also as Les Folies d'Espagne and by other titles) is a famous melody of the early 16th century, probably of Portugese origin, which was used by a great number of composers as a theme for continuous variations. The Folia has no ritornellos, is almost always in D minor and is geberally slow and dignified.
The Folia began, usually, with a statement in which all second beats were dotted. This threw a powerful secondary accent on the opening chord.
This masterly set of twenty-four variations, which concluded his Op. 5 is Corelli's most difficult as well as his most enduringly popular composition.- Title: La Follia, Op. 5 No. 12
- Released 1988 by Fine Art Collection CDI compact disc 18806
- Duration: Adagio/Allegro 3'25", Adagio/Vivace/ Allegro/Andante/Allegro/Adagio 4'28", Allegro 2'56"
- Recording date: 1988 at the Jerusalem Music Centre, Jerusalem, Israel
- Kottmann, Alois (violin) Dennemarck, Rudolf (piano) 'Portrait'
In the booklet is written:
With cycle of sonatas opus 5, in which the Sonata "Folies d'Espagne" belongs, Corelli finally established his fame as composer and violinist. This piece of music appeared in print in Rome, Amsterdam and London all in the same year - 1700. This was very unusual at the time (for example, Bach's works were not printed at all during his lifetime.
- Title: Sonata Folies d'Espagne, op. 5/12 (La Folia): Variationen über ein Thema von Farinelli
- Released 2002 by Melisma 2 cd-box OPUS 7202-2
- Duration:10'06"
- Recording date: January 31, 1976 at the Hessischer Rundfunk, Germany
- Kovács, Dénes (violin) Banda, Ede (cello) Sebestyén,
János (harpsichord) 'Twelve Sonatas for Violin and Continuo, Op.
5'
- Released circa 1972 on Hungaroton LP SLPX 11514-15
- Duration: 12'10"
- Recording date: circa 1970
- Kraemer, Manfredo (Hespèrion XXI conducted by Jordi Savall and others) 'Altre Follie'
Rui Vieira Nery wrote for the slipcase:
With the development of the virtuosic repertoire for the violin at the turn of the century it was only natural that the Folia should be included in it. In 1700 the great Arcangelo Corelli (1653-1713) used it as the basis for a series of exceedingly virtuosic variations with which he concluded his most influential collection of solo sonatas for violin and continuo, the famous Op. 5, the contents of which are known to have circulated in manuscript for more than a decade prior to this printing. In 1704 one of the most representative composers of violin music of the German and Dutch school, Henricus Albicastro, an artistic pseudonym of Johann Heinrich von Weissenburg (ca. 1660 -ca. 1730), published a sonata 'La Follia', which displays a clear Corellian influence in its virtuosic writing. And it was not by accident that a year later, in 1705, the young Antonio Vivaldi (1678-1741) also chose to conclude a decisive publication in which he placed the highest hopes for the future of his artistic career, his Op. 1 collection of trio-sonatas, with yet another magnificent set of Folia variations.
- Manfredo Kraemer (violin), Balazs Mate (violoncello), Xavier Díaz-Latorre (guitar), Carlos García-Bernalt (harpsichord)
- Title: Follia (1700)
- Released 2005 by Alia Vox compact disc AV 9844
- Duration: 11'00"
- 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
- Kränzlein, Anna Katharina see composers letter K(ränzlein)
- Krainis, Bernard (recorder) et son ensemble baroque 'La flute a bec
(2) as part of the series 'Musique pour instruments anciens, vol. 6'
- Released by Mode Disques LP MDK 9 252. Year of release not indicated
- Duration: 10'23"
- Krainis Recorder Consort Bernard Krainis (alto recorder), Paul maynard (harpsichord), Barbara Mueser (viola da gamba) 'Music for the recorder Vol. 2'
as part of the series 'Eight centuries of music for recorders'
Bernard Krainis wrote for the recording:
In May of 1702 John Walsh, the famous London music publisher, issued 'Six Solos for a Flute and Bass' by Arcangelo Corelli. Five of these 'solos' were transcriptions for alto recorder of the celebrated violin sonatas from Opus 5 (which Walsh had published two years earlier). The remaining work, also from Opus 5, was the even more celebrated 'Follia' or 'Spanish Folly': a set of variations on a tune much admired by composers of variations before Corelli's time and since. Recorder transcriptions of all sorts of music, both vocal and instrumental, were commonplace in 17th and early 18th Century England. Players of the recorder (then called the 'flute') were apparently as numerous then as now, since publishers displayed much energy and imagination in supplying their needs.
- Title: La Follia, Opus 5 No. 12
- Released by Kapp Disques LP KS-3386. Year of release not indicated but it must be after 1957 because the source of that year was used
- Duration: 10'23"
- Source used: Archangelo Corelli: La Follia. New York: McGinnis and Marx, 1957
- The name Correlli (with double R) is proclaimed with large letters on the recording, but not in the smaller texts. The spelling of the name Arcangelo is as 'Archangelo' throughout the texts.
- Kreisler, Fritz edited the music for violin and piano
- Published by Carl Fischer c.1927
- Score and 1 part, 31 cm
- Publisher No. 31858
- Kreisler, Fritz
- Programme for solo recital published 1925 (concert was not recorded)
- The programme included Corelli's La Folia, Lalo's Symphonie Espagnole and a selection of lollipops including transcriptions of La Fille au cheveux de lin by Debussy and Molly on the Shore by Grainger.
- Recording date: November 15, 1925 at the Royal Albert Hall with Charlton Keith
- Kuijken, Sigiswald (violin: Giovanni Grancino, Milan 1700) Kuijken, Wieland (violoncello: Andrea Amati, 1570)
Kohnen, Robert (harpsichord: Joannes Daniel Dulcken, Anvers 1755) 'Sonate a Violino e Violon o Cimbalo op. V'
- Released 1984 by Accent compact disc ACC 10033
- Duration: 11'48"
- Recording date: April 1984 in L'eglise Protestante de Bruxelles Chapelle Royale
- Kuijken, Sigiswald (violin) Kuijken, Wieland (violoncello) Kohnen, Robert (harpsichord) 'Arcangelo Corelli. Sonate Op. 5 A Violino E Violone O Cimbalo'
In the slipcase is written:
Incidentally, the suite in Italy at that time was called sonata da camera, or chamber sonata, so that it could be immediately distinguished from the sonata da chiesa. The 12th and last of the so-called 'sonatas' has nothing to do with either of these: it is a theme with variations. The theme, entitled 'La Follia' - a Spanish dance - was one of the most popular melodies of the day and was arranged by many Baroque composers. But it really only survives today in this last and most popular of Corelli's 12 sonatas.
- Title: Follia
- Released 2004 by Elite Classics Baroque Collection 2 compact disc-set 51-550-B labeled 'For sale in Russia'
- Duration: 11'53"
- Recording date: not mentioned in the documentation
- The same release contains the Follia of Corelli performed by Grumiaux and Castagnone
- Kulenkampff, Georg (violin) and orchestra conducted by Selmar Meyrowitz
- Title: La Folia, part 1 and part 2
- Released by Ultraphone 78 RPM FP 137
- Duration: unknown
- Recording date: not mentioned in the documentation (1920's?)
- Kurosaki, Hiro (violin), Balsa, Emmanuel (cello),
Christie, William (harpsichord) Soundtrack: 'Jefferson in Paris', original
music composed by Richard Robbins. Period music performed by 'Les Arts
Florissants'/ Christie, William. Historical music selected and overseen
by David Bahanovich. From the liner notes by David Bahanovich, historical
music supervisor, Paris, January 1995:
'... It was said that Jefferson's violin playing helped him win his wife's hand in 1772, and it would not be surprising if Maria Cosway was also impressed by his musical abilities. I gravitated to Corelli's Violin Sonata Op 5 no 12 La Follia not only because Jefferson owned multiple editions of this work but also for its sheer beauty. Corelli's La Follia and its orchestrated version by Francesco Geminiani are heard throughout the film, each time helping to highlight the ever-changing emotional landscape. ...'.
Jim Stevenson commented in June 2001:the Geminiani version does not appear to be on the CD. And since the CD is designated ADD and a reference is made to Erato records, it may be that this is an old recording re-released. But I could find no other reference to it. This CD no longer seems to be available through retail outlets. I had to get a copy from used CD dealers.
- Violin Sonata Op. 5 No. 12 La Follia - Theme & 23 Variations
- Released: 1995 Angel Records compact disc CDQ 7243 5 55311 2 4.
- Duration: 10'21"
- Recording date: not mentioned in the slipcase or container
- Kussmaul, Rainer (violin), Wolf, Jürgen (cello), Praetorius, Lisedore
(harpsichord) 'La Folia'
- Title: Sonate XII (La Follia) für Violine und Generalbass
- Released c. 1950 by Impromptu LP CS 93402
- Duration: 12'27"
- Recording date: not mentioned on the backside of the cover
- see also the page Recommended Folia-recordings
- Legene, Eva (recorder) Gillespie, Wendy (viola da gamba), Wright, Elisabeth
(harpsichord)
- Recorded by Indiana University, School of Music (Early Music Institute) in Bloomington
- Sound cassette, digital stereo, 1986-1987 no. 187
- Recording date: October 7, 1986
- Leonard, Hubert & Marteau, Henri edited the music for 2 violins
and piano
- Published by B. Schott's Söhne New York/Mainz Schott Music Corp. c.1930
- Score 7 p. and 2 part, 30 cm
- Publisher No. Edition Schott 1542; 06995/96
- Leonard, Hubert edited the music for violin and continuo
- Published by Schott freres c.191?,
- Score 11 p. and 1 part, 36 cm
- Publisher No. S.F. 1165
- Leupold Trio: Eva Stegeman (violin), Wouter Mijnders (cello) and Sören Leupold (chitaronne)
- Title: La Follia
- Recorded and broadcasted live at AVRO Radio 4 (The Netherlands) January 6, 2008
- Duration: 10'02"
- Recording date: January 6, 2008 in Kleine Zaal Concertgebouw, Amsterdam, The Netherlands
- Lichtenberg, Leopold edited and fingered the music for violin and piano.
Cadenza by H. Leonard
- Published by G. Schirmer Inc. 1929
- Score 8 p. and 1 part, 31 cm
- Publisher No. Schirmer's library of musical classics v. 525
- Linde, Hans-Martin (recorder) Jappe, Michael (viola de gamba) Scheidegger, Rodolf (harpsichord)
'Corelli für Blockflöte, sechs Sonaten aus OP 5, Corelli'
- Sonate nr. 6 D dur op 5
- Recorded 1981 by EMI LP EMI 1c 065-45 712
- Duration: 10'05"
- Recording date: 1981
- Linde, Hans-Martin edited the music for Treble Recorder and Basso continuo
Hans-Martin Linde wrote in the preface:
'La Follia', a dance melody similar in style to a sarabande, has inspired numerous composers to write variations on it. They include d'Anglebert (Pièces de Clavecin), Vivaldi (Op. 1, no 12) and Marais (Pièces de Violes, Deuxième Livre). Variations on the Follia melody for recorder over the Follia bass, described as 'Faronels Ground', appeared in the collection 'The Division Flute' (1706) (Edition Schott 5737). J.S. Bach in the aria of the Goldberg variations made use of the popular bass only. Its origin is unknown. It appeared already in early sources, and was described as 'Italian' by Spanish composers in the 16th century (cf. D. Ortiz, 'tenore italiano').
Corelli's 'La Follia', Op. 5, no 12, was published by John Walsh (London 1702) in a version for recorder transposed from d to g. It follows the original version for violin exactly, except for the double-stop parts.
There are no thrill signs in the original text (British Museum, London). Other additions made by the editor have been indicated as such. The variant in bar 160 is also to be found in F. Geminiani's Concerto grosso version of Corelli's Op. 5, nr. 12. The pauses that have been inserted by the editor should facilitate the division of the variation sequence.- Published by Schott, Mainz 1972
- Score 20 p. and 1 part, 30 cm
- Publisher No. OFB 121
- Locatelli Trio: Wallfisch, Elizabeth (violin), Tunnicliffe, Richard
(cello), Nicholson, Paul (piano) 'Corelli: 12 sonatas, Op. 5'
- Title: Sonata No 12 in D minor 'La Follia'
- Released November 1990 by Hyperion compact disc (2x) CDA 663812
- Recording date: 1989
- Manze, Andrew (violin) and Egarr, Richard (harpsichord) 'Corelli, violin
sonatas, Op. 5'
Andrew Anze and Richard Egarr wrote for the slipcase:
Opus 5 ends with twenty-four variations on the simple harmonic sequence, said to have originated in the Iberian peninsula: Follia. Many sets of variations in general, and of the Follia in particular, survive on paper, although one suspects that far more were improvised. than were ever written down. One violinist contemporary of Corelli who studied in Rome, Michel Farinel (1649-c.1700), introduced the Follia to England (where it was known as 'Farinel's Ground'). Perhaps it was part of a Roman violinist's everyday repertoire, in which case Corelli's notated version in Opus 5 was perhaps didactic in intent. He certainly provides an A-to-Z of violin technique circa 1700, including variations dedicated to arpeggios, consecutive thirds, running sixteenths and the indispensable messa di voce, the long, sustained bow stroke which was considered to be the key to good violin playing. Alongside these techniques, Corelli also leaves plenty of room for the performers' personal follies.
- Title: Sonata XII in D minor, 'Follia', adagio, allegro, adagio, vivace, allegro, andante, allegro, adagio, allegro '
- Released 2002 by Harmonia Mundi USA compact disc HMU 907298.99
- Duration: 12'12"
- Recording date: November 5-8, 2001 and February 5-8, 2002 at Skywalker Sound, Nicasio, California
- Manzone, Jaques-F. (violin), Degenne, Pierre (cello), Pillet-Wiener,
Nicole (harpsichord) 'Corelli, Sonatas Op. 5'
- Released 1965 by Decca France LP 7.151
- Recording date: unknown
- Markov, Albert Eduard (violin)
- Title: Sonata No 12 in D minor 'La follia'
- Released 1953 by the Russian label Torch as vinyl 5289-61
- Duration: unknown
- Recording date: unknown
- Martini edited the music for violins and choir
- Title: 15 Variationen über die Sarabande 'Aria della Follia'
- Published by Schott
- Score 146 p.
- Publisher No. CON38-70
- Melkus, Eduard (violin) Atmacayan, Garo (cello) Dreyfus, Huguette (harpsichord)
Eduard Melkus wrote as an introduction:
Since no authentic ornaments for 'La Follia', the last work in Opus 5, were available, the original text has been left untouched, although an eighteenth-century violinist would certainly have added some improvisations. Only the last variation was extended to include Veracini's coda. Otherwise we avoided Verancini's versions of Opus 5, since they entail too sweeping changes in the whole composition.
- Title: Sonata No 12 in D minor 'La follia'
- Released by Archiv F20A 20073
- Duration: 11'53"
- Recording date: January 9-12 and March 27-29, 1972 in Palais Schönburg Wien, Austria
- Mendoze, Christian (flûte à bec) and Musica Antiqua: Philippe Foulon (violoncelle), Brigitte Tramier (harpsichord),
Jean-Michel Robert (théorbo and guitar) 'Sonates pour violon op. 5 intégrale vol 2'
- Title: Sonata no 12 Follia
- Released 1999 by Parnassie compact disc PAR 04
- Duration: unknown
- Recording date: February 22 and 25, 1997 in unknown location
- Menuhin, Yehudi (violin) and Giesen, Hubert (piano) 'The Young Yehudi
Menuhin, The HMV Recordings 1929-30'
- Title: Sonata No 12 in D minor 'La follia'
- Released January 2001 by Biddulph LAB 032
- Recording date: December 11, 1930
- Menuhin, Yehudi (violin) and Giesen, Hubert (piano) 'Menuhin encores'
- Title: Violin sonata no. 12 in D minor: 'La follia'
- Released 1976 by His Master's Voice LP HLM 7077 Mono.This is an album of transfers from old 78's to 33 released in 1976.
- Recording date of La Follia 1930
- Milevski, Piotr (violin) Gee, Lawrence (piano)
- Title: Sonata in D minor, op. 5 no. 12 ('La Folia')
- Recorded by Indiana University, School of Music (Early Music Institute) in Bloomington for the Artist Diploma in Violin
- Sound tape reels, stereo, 1983-1984 no. 160
- Duration: 9'15"
- Recording date: October 13, 1983
- Milstein, Nathan (violin) Pommers, Leon (piano) 'The Art of Nathan Milstein
- Beethoven, Brahms, Dvorauml;k, etc'
- Arrangement by Hubert Leonard
- Released 1959 by US Capitol as LP SP-8481
- Re-released 1993 by EMI as 6-pack compact disc CDM 64830
- Duration: 9'15"
- Recording date: January 27-29, 1959
- Milstein, Nathan (violin) Pommers, Leon (piano) 'Quattro Sonate Italiane'
- Arrangement by Hubert Leonard
- Released by EMI Capitol as LP 3 C 053-81638 (Italian pressing)
- Duration: 9'15"
- Recording dat
So, to the very famous variations in trio on la Follia by Corelli, which open the concert, the response in false symmetry
at the very end will be the trio of the Folies d'Espagne by Marin Marais, his exact contemporary
the other side of the Alps two admirable pieces of equal length on the same motif, that Portuguese dance of the folia which passed
through Spain (whence the name "Folies d'Espagne" given to it by the French) and whose popularity soon swept
throughout Europe in the 17th century.
Lully adopted the famous theme and d'Anglebert won fame with his variations for harpsichord on the same subject.
This is before one finds it in Italy with the 23 variations from Corelli, and then again in France from Marin Marais.
Would extravagance itself not be a symbol of the Baroque, a precious asset of the imaginary and a pretext for everything daring,
for all metamorphoses?