Folia

When Folia is a melodic- harmonic set model, which was used in Baroque music as a template of several sets of variations especially.

General

The term Folia (also Follia, Folies d' Espagne ) comes from the Portuguese ( folia - " noisy merriment ", " hilarity "), but also exists in Italian ( follia - " folly ", " madness ", " madness " ), in French ( la folie - " madness ", " madness " ) and Spanish ( la folia ).

Folia shall mean a rate model and a Portuguese dance of the 16th century, a poem type of the 17th century and songs of Spanish and Portuguese origin, also of the 17th century. To what extent and if at all these are connected Folia and the Foliasatzmodell, is still unclear.

The Folia in music history

The earliest development of Foliamusik

In the 15th and 16th centuries created pieces of music, which, though not bearing the name of Folia, however, had already some character features of the melodic- harmonic set model of the later Folia: three -to four- part songs in the Spanish collection Cancionero de Palacio ( from 1494), Pavanen by Alonso Mudarra ( in Tres libros de Música en Cifras para vihuela, 1546) and ricercare by Diego Ortiz from the year in 1553. in all these cases, the membership of the Foliatypus is uncertain since on the one hand, although matches to the Foliasatzmodell are observed, on the other hand, however, serious differences ( time signature, shape, character, etc.).

Due to his unbridled nature of Foliatanz to have been banned in his early days again.

The early Folia

1577 was a typical Foliamelodie in Francisco de Salinas ' De musica libri septem the first time the title Folia, in the further development of the foliatypische harmonic scheme appeared mainly in dances. The early Folia now has been a lot in common with the late Folia on: triple time, homophony (music), the 16 -bar theme (2 × 8 bars ). However, the pace of the early Folia is rather fast, the scale type of the home key is not always minor, but often major, and the rhythmic and harmonic aspects are even more variable than in the late Folia. Soon the first series of variations arose; the earliest dates of Johann Hieronymus Kapsberger (19 variations on the Foliathema for chitarrone, 1604). Only a little later Folia appeared in the tablature for Spanish guitar by Girolamo Montesardo ( Nuova inventione d' intavolatura, 1606 ).

The late Folia

A transitional period followed, and the late Folia sparked early on. 1672 Jean Baptiste Lully wrote the Air of the skin bois Les folies d' Espagne. This set of variations on the first Foliathema has all the characteristic features of the late Folia: About a harmonic progression, the continually rising from the minor home key in the relative major and sinks back, Lully varies the typical Foliamelodie; in slow triple time heard the rhythm of a Sarabande. During this time wins the harmonic scheme, so the bass line, more important than the melody; the Folia now belongs in the broadest sense of the passacaglias or chaconne.

In the next few years, the Folia spread all over Europe; several Foliakompositionen (mainly variations on the Foliathema ) emerged and became a signature of Baroque music. The most well-known and very sophisticated variations originate from Arcangelo Corelli: a series of variations in changing tempos for violin and basso continuo. The work was orchestrated by Francesco Geminiani as a concerto grosso. Also known one in 1702 was published by Walsh in London working for recorder and basso continuo was ( in the early 1970s by Frans Brüggen recorded for the first time, a revision of this work by Hans -Martin Linde is available as sheet music ).

More variation sets for example, come from

Sample sheet music of the late Folia

The Folia from classical to modern times

Even after their heyday around 1700 the Folia not forgotten. Firstly Foliavariationen were written, which are separate works of their time next to the historic use of the Foliamodell. Some of these compositions are

  • Domenico Gallo: Folia in sol minore
  • Francesco Petrini: Variations sur Les Folies d' Espagne, Op. 28
  • 1778: Carl Philipp Emanuel Bach: 12 variations on the film d' Espagne in d mineur for Piano ( Wq 118 No. 9)
  • 1798 Luigi Cherubini Ouverture of the opera " L' Hôtellerie portugaise "
  • 1815: Antonio Salieri: La Follia di Spagna - 26 Variations for orchestra
  • François de Fossa: Les Folies d' Espagne
  • Fernando Sor: Folies d' Espagne
  • Mauro Giuliani: Variazioni sul tema della Follia di Spagna
  • Miguel Llobet: Variationes de un tema de Sor
  • 1863: Franz Liszt: Rhapsodie espagnole
  • 1929: Manuel María Ponce: Diferencias sobre la folia de Espana y fuga
  • 1932: Sergei Rachmaninov: Variations on a Theme of Corelli, Op 42
  • 1986: Matthias Maute: How I love you, sweet Follia! Tenor Recorder Solo

Secondly, the Foliamodell, namely the harmonic scheme was incorporated into other pieces, whole, partial or in line. Some examples are

In addition, the variation model of Folia sounds in the ever popular Finnish folklore Lampaan Polska, the Lamb Polska. It usually begins with a quiet triple time, then end with a brisk after-dance by the same harmonic scheme.

Variation (music) Theorbo Hans-Martin Linde Mer hahn en neue Oberkeet, BWV 212 Schwanengesang
341233
de