Which versions of La Folia have been written down, transcribed or recorded? The purpose of this page is to make it easy for printing the entire listing of composers (so no fancy colors here but only black letters, and hyperlinks are just underlined to distinguish them easily in printed form), or to search a particular word or phrase in the browser (in the menu-browser: edit, search). The last function can also be achieved by the Pico search-facility of the (where the entire site will be searched for hits) but here all of the context within the realm of the chapter 'alphabetical composers' will be instantly revealed. Which versions of the later Folia have been written down, transcribed or recorded?
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Anonymous for carillon (in dutch: beiaard) (Ms. 1756) Les Folies d'Espagne (theme and double followed by 12 variations) Manuscript LBII II. 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, Chapter 7. And John Gouwens has published a nice introductionary method about playing the carillon at 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. • Dugoni, Paolo (edited the orginal manuscript for modern reading with bass and treble key) • Released 2011 by Paolo Dugoni • Pages: 5 pages • Published by Paolo Dugoni, Italy Anonymous for keyboard Diferencias sobre la Folia (siglo XVI) 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 Anonymous for keyboard (1), The Netherlands (Ms. Arnhem) La folij de Espagne (1695), theme without any variation Duration: 0'29', 01 kB. La folij de Espagne from the archive Bosch van Rosenthal (see manuscript below). Manuscript from the archive Bosch van Rosenthal © Rijksarchief Gelderland, used with permission • Rijksarchief Gelderland in Arnhem (RAGld) (Archives of the Province (region) of Gelderland in the Netherlands) Drs. 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. • 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 Anonymous for keyboard (2), The Netherlands (Ms. Simplecast Crack Keygen there. Arnhem) La folij d'Espagne (1695), theme and ten variations Duration: 5'08', 17 kB.
The theme as indicated below and all (10) variations La folij d'Espagne from the archive Bosch van Rosenthal 6 page in pdf-format, 97 kB Edited by Kees Rosenhart for the Nederlands Clavicord Genootschap (Dutch Clavichord Society) Link to, Go for the link Sheet Music. Text: 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.
• 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 A Royal Ode by Mr. D'Urfey: Congratulating the Happy Accession to the Crown, and Coronation of our most Gracious Sovereign Lady Queen Anne. The Words in Imitation of the foregoing Song, and fitted to some Strains of the same Ground. 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. Express Rip Cd Ripper Registration Code more.
• 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 Couplets pour Mme d'Hervart sur l'air des Folies d'Espagne (1687).
Text: Jean de La Fontaine (1621-1695), created 1687, published after his death. Opening of Foliations for Brass Quintet reproduced by permission of Meadow Music • 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 Bach, Johann Sebastian (1685-1750) 'Unser trefflicher lieber Kammerherr' (1742) from the Bauernkantate (BWV 212). The sheet music © Public Domain Source The Petrucci Library Unknown performers Duration: 4'21' direct link to YouTube © Unknown Duration: 1'53', 06 kB. The complete Aria, voice substituted by a flute.