Folia

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The Folia (Spanish Folía , in tablature and sheet music also French film ) is a melodic - harmonic sentence model that served as a template for a number of works of variations , especially in baroque music .

General

The term Folia (also Follià, Folia d'Espagne ) comes from Portuguese ( folia - "noisy merrymaking", "high-spirited exuberance"), but also exists in Italian ( follia - "folly", "madness", "madness") , in French ( la folie - "madness", "madness") and Spanish ( la folía ).

In addition to the sentence model, Folia also describes a fiery, fast Portuguese dance of the 16th century, a poem type of the 17th century and songs of Spanish and Portuguese origin, also from the 17th century. To what extent and whether at all these folias and the folio set model are related is still unclear.

The Folia in Music History

Earliest development of foli music

In the 15th and 16th centuries, pieces of music were created that did not bear the name Folia, but already showed some characteristics of the melodic-harmonic composition 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 1553. In all of these cases, it is uncertain whether they belong to the folio type, because, on the one hand, there are correspondences with the folio set model, but serious ones on the other There are differences (time signature, shape, character, etc.).

Because of its unbridled character, the foliate dance is said to have been banned again and again in its early days.

The early folia

In 1577 a typical foli melody in Francisco de Salinas ' De musica libri septem was first titled Folia , in further development the foli-typical harmony scheme appeared mainly in dances. The early Folia already has a lot in common with the late Folia: the three -bar , the homophony , the 16-bar theme (2 × 8 bars). However, the tempo of the early Folia is rather fast, the key signature of the basic key is not always a minor , but also a major , and the rhythmic and harmonic aspects are much more variable than in the late Folia (with ostinate bass, in minor and with the chord progression iVi-VII-III-VII-iVI <ref). The first series of variations were soon created ; the earliest comes from Johann Hieronymus Kapsberger (19 Variations on the Foliate Theme for Chitarrone , 1604). A short time later a folia appeared in the tablatures for Spanish guitar by Girolamo Montesardo ( Nuova inventione d'intavolatura , 1606).

The late folia

The violinist and composer Arcangelo Corelli, author of the most famous folio variations

A transition period followed, and the late folia replaced the early one. In 1672 Jean Baptiste Lully wrote the Air des hautbois Les folies d'Espagne . This work of variation on the foliate theme has all the characteristic features of the late folia for the first time: Lully varies the typical folia melody over a harmony sequence that continually rises from the minor key into the major parallel and then falls back again; the rhythm of a saraband sounds in slow three- beat . During this time, the harmony scheme, i.e. the bass line , becomes more important than the melody; the folia now belongs in the broadest sense to the Passacaglia or Chaconnas .

In the next few years the Folia spread across Europe; a number of folia compositions (especially variations on the foliate theme) were created and became a signature of baroque music . The most famous and very demanding 23 variations come from Arcangelo Corelli : a series of variations in changing tempos for violin and basso continuo from op. V. Arrangements for recorder were also published during Corelli's lifetime . This folio is still one of the most important works in the recorder repertoire. The work was orchestrated by Francesco Geminiani as a concerto grosso , but has also existed in (partly anonymous) arrangements for guitar since the 17th century.

Other sets of variations come (apart from anonymous authors) for example from

Sheet music example from the late folia

The first half of the foliate theme with variation (after Arcangelo Corelli), transposed to G minor

The Folia from Classical to Modern Times

Even after its heyday around 1700, the Folia was not forgotten. On the one hand, foliavariations were written which, in addition to the historical recourse to the foliage model, are independent works of their time. Some of these compositions are

On the other hand, the foliage model, namely the harmonic scheme, was inserted into other pieces, in its entirety, excerpts or based on them. Some examples are

In addition, the variation model of the Folia can be heard in the Finnish folklore Lampaan Polska , which is still current today , the Lamm-Polska . It usually begins with a quiet three-bar, and then ends with a brisk night dance according to the same harmony scheme.

literature

  • Giuseppe Fiorentino. "Folía". El origen de los esquemas armónicos entre tradición oral y transmisión escrita . Kassel: Reichenberger, 2013. ISBN 978-3-937734-99-6 . (Spanish)
  • Francisco Salinas: De musica. Bärenreiter, Kassel 1968 (reprint of the edition Salmanticae 1577)
  • Timo Jouko Herrmann: A sounding instrumentation lesson - Antonio Salieri's “26 Variations on La Follia di Spagna”. University of Music and Performing Arts, Mannheim 2003/04 (diploma thesis)
  • Richard Hudson: The Folia, the Saraband, the Passacaglia, and the Chaconne, the Historical Evolution of Four Forms that Originated in Music for the Fivecourse Spanish Guitar , Vol. 1: The Folia , Neuhausen-Stuttgart 1982.
  • Kurt Martinez: Five Hundred Years of La Folia. In: Soundboard. Volume 30, No. 2, 2004.
  • James Tyler: A guide to playing the baroque guitar. Indiana University Press, Bloomington and Indianapolis 2011, ISBN 978-0-253-22289-3 , pp. 135-153.

Web links

Individual evidence

  1. ↑ José Carlos Delgado Díaz: The Folk Music of the Canaries. Publicaciones Turquesa, Santa Cruz de Tenerife 2004, ISBN 84-95412-29-2 , p. 134
  2. ^ Frank Koonce: The Baroque Guitar in Spain and the New World. 2006, p. 28.
  3. ↑ See for example Adalbert Quadt (ed.): Guitar music of the 16th – 18th centuries. Century. 4 volumes. Edited from tablature. Deutscher Verlag für Musik, Leipzig 1970–1984, Volume 1, p. 20 f. ( Folie d'Espagne , around 1700) and 22 ( Ciacona , around 1700).
  4. ^ Adalbert Quadt (ed.): Guitar music of the 16-18. Century. 2 after tablatures for Colascione, Mandora and Angelica. Leipzig 1971, p. 1 f. and 66 (Bethune, le cadet).
  5. ^ Adalbert Quadt : Guitar music from the 16th to 18th centuries Century. According to tablature ed. by Adalbert Quadt. Volume 1-4. Deutscher Verlag für Musik, Leipzig 1970 ff .; 2nd edition ibid 1975-1984, volume 1, pp. 22-25 (two slides from La Guitarre Royalle from 1670).
  6. ↑ Youtube: Folias from the "instrucción de música sobre la guitarra española" (1697) .
  7. ↑ James Tyler: A Guide to Playing the Baroque Guitar. Indiana University Press, Bloomington and Indianapolis 2011, ISBN 978-0-253-22289-3 , pp. 80-95.
  8. ^ Friedrich Gersmann: Ars Viva. New guitar music in new editions. In: Guitar & Lute. Volume 10, Issue 2, 1988, p. 52 f .; here: p. 53.