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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. 8 Heinrich Konietzny.

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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.

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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.

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