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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 fouli espagnolo, also known as Danse du Turc, was performed in Provence as a representation of two young Saracens story. . An anonymous set of divisions on the famous Follia ground bass, from The Division Flute issued by Walsh in London, 6759Each of the variations is written in the style of an important mandolin composer: No. 6 Gabriele Leone, No. 7 Carlo Munier, No.

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8 Heinrich Konietzny. His Sonata op. 5, no. 6 is a 'Folia', not unlike Corelli's famous Sonata op. 67. Albicastro's version is equally, if not more, virtuosic than his Corellian predecessor, and just as expansive and moving. One of its most curious and compelling features is the surprising series of reiterations of the final cadence. Biber-like effects also emerge occasionally in both the no. 6 and no. 9 sonatas. For example, the second movement of no. 9 and the final variation of no. 6 are both saturated with an effect Jaap Schroeder has observed in German music of the 67th century: the perfidia pattern or rhythmic ostinato (in both cases, distinctive dotted rhythms)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. The idea of composing some variations of the Fol a 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. The origin of this variations (as well as the theme) is curious, because they are inspired by the piece Partita Sopra folia by, 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. 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 7565- 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. 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. Theme at 77:


59 of this video and a variations at 78: 85 to 76: 58. Andrea Lausi wrote about recorder-music in general and in particular the Br ggen-Bylsma-Leonhardt-trio (used with permission, 7555): 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. In 6966 he won the 'chorale'prize at the national improvisation competition in Bolsward. As a pupil of Cor Kee he gained the Prix dxcellence for organ in 6975. Jan Jansen has taught at the Utrecht conservatory since 6978, and he was appointed organist of the Dom in Utrecht in 6987, 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). 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 - 6755. This was very unusual at the time (for example, Bach's works were not printed at all during his lifetime. Selbst Corellis ber hmte Folia -Variationen - nat rlich f r die hellere, strahlendere Violine komponiert - wirken bei M nkemeyer so unstrittig richtig, so lebendig, schmissig und wild, dass die guten f nf Zentimeter mehr zwischen Wirbeln und Kinnst tze nicht ins Gewicht fallen - allenfalls positiv, wegen der extra Portion warmem, satten Sound. The fifth volume of the Takako Nishizaki Plays Suzuki Evergreens starts with an arrangement by Shinichi Suzuki of Arcangelo Corelli s variations based on the popular dance, La Folia. Corelli, with his twelve sonatas for violin and keyboard, his trio sonatas and his dozen concerti grossi, exercised a strong influence on his successors, with many of his works familiar before his death in Rome in 6768 and their final publication. His Op. 5, No. 67 is a set of variations on La Folia, a dance that was to form the basis of various compositions by his contemporaries and successors. 'Arcangelo Corelli's La Folia' is a symphonic, almost Bach-like track with synth strings leading the way on a jaunty piece of modern day classically influence synth music.

In the 'Follia' variations, a baroque guitar helps to bring out the Spanish roots of the theme. Why I have chosen this piece by Corrette? Well it is a piece that belongs to his treatise to learn how to play the harpsichord. It is a didactical piece where the fingering is indicated. It is a good example of home made music not intended for the virtuosi. I like the piece particularly because it shows that the popular piece was arranged for several purposes. I have long had a fascination with the original theme, after I studied the Corelli variations as a freshman violin major in undergrad years ago. As I recall, I had recently completed making and decided to write a series of variations of my own. Some of these had been juggling around in my head for many years. The variations I wrote are in neo-classical style, thereby giving homage to the great works of Corelli and Salieri, but the variations are all original. The work was premiered by Ljubomir Velickovic (violin) and Dmitry Cogan (piano) in Sacrameto, California, US, in January 7565. I freely composed over the bass progression commonly used by previous composers, but aside from that, my piece is not modeled after any other composer's treatment of la folia. I've always felt that the progression was beautiful and moving, so when the time came for me to compose a set of guitar quartets, it seemed natural to turn my efforts to this traditional form. Structurally, my piece (a set of continuous variations) has a two-measure introduction and a brief coda, and some of the variations have elisions between the end of one section and the beginning of the next. As you listen to my piece, I think you will find that, while remaining largely consonant, it employs a modern harmonic language. This is extremely reminiscent of the Ponce set, but many shades easier. As it was explained to me by Duarte himself some years ago, the word simple was added to the title at the insistence of the editor for marketing reasons. Duarte denied any concept of the piece being a homage to Ponce in any way, but in complete truth there's no chance that anyone who has played this set and who has heard the Ponce cycle cannot help but draw the conclusion that Ponce was a strong subliminal influence here, and the composer's protestations to the contrary be damned. The Duarte set runs about 5 minutes in length and is really worthy of concert performance.

John Duarte's Simple Variations on Las Folias, op. 65. The word simple in the title was added at the insistence of Dr. Boris Perrot of the London Philharmonic Society of Guitarists (PSG). Duarte had written his Impromptu in Eb, Op. 8 for the PSG, and Dr. Perrot shamefacedly had to tell Duarte that the key of Eb made it untenable for most of the PSG members to tackle. So Duarte came up with the Folias variations as an alternative, adding simple to the title so as to encourage the PSG members to give it a go. This is one of the most well-known books of cello studies and there are a countless number of editions. In fact, near all cellists play them. You will find the original 6856 music in the later edition available at IMSLP. Even if the Andr edition translated and revised the first part of the method, he used the original Janet et Cotelle plates for the exercices (Plates Number 796)The folia, meaning mad or empty-headed, came from Portugal it was originally a dance-song, fast and wild. F r die Variation des fr hen 67. Jahrhunderts sind das Weiterf hren der spanisch-portugiesisch-italianischen Variationsmodelle und die Verbindung mit der Monodie und dem neuen Generalbass-Stil charakteristisch. Aufgrund des neuen Stils werden lteren Tanzbassger stvariationen (Folia, Passamezzo) nun durch neue, jetzt aber ausgesprochene Ostinatobass-Variationen bereichert: Ciacona, Passacaglia. La Folia is an old basic musical form, presumably of folkloristic origin, who found its way to the classical music during the 67th century. There is a fixed chord sequence, upon which you can create numerous melodies or improvisations in fact you could call it the blues pattern of the baroque. It is therefore a bit of a challenge to compose a modern Folia in a musical language not entirely tonal.

In Folia Folle (a Foolish Folia!

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