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Duration: 0'45", 03 kB. The theme of Vivaldi's Follia as indicated in the sheet music. His first published work was, as might be expected for strings, a set of twelve 'Suonate da camera a tre' c. Vivaldi's Trio Sonata in D minor 'La Folia' RV 63 includes maximum virtuoso figuration for both violins and continuo, with occasional punctuation in the form of slower variations - an Adagio with some very Corellian suspensions, a Larghetto which gives all its attention to the first violin, and a Siciliano.

It's a noble tradition, as illustrated by the inclusion of both Bach's "Concerto in A minor for Four Harpsichords", and Vivaldi's "Concerto in B minor for Four Violins" on which it was based. But the showstopper is the vivid "La Folia": I love the strings' halting introductory bars and the way the ensemble picks up speed, building to dizzying whirls evocative of the Moorish dance it's named after. Jeannette Sorrell finds Vivaldi's rhythms and harmonies exhilarating.

She proves this in her own arrangements of two of Vivaldi's concertos, the first of which opens this new recording. Legend has it that Portuguese girls would collapse after completing this frenzied dance which is full of seduction and dramatic courtship.

The melody went on to catch the attention of many composers, including Vivaldi. Sorrell's arrangement turns his original trio sonata into a concerto grosso so the entire ensemble can join in "madness. For the generation after Corelli, the trio sonata became the genre in which young composers showed their skill in simultaneously shaping melodies and weaving counterpoint. The last of these sonatas is a set of variations on La Follia, a popular theme of the day. It is founded on a sequence of four chords, in the manner of a chaconne.

Vivaldi may not have been just copying Corelli who, in his opus 5, had also published variations on this theme; Vivaldi may implicitly have been claiming at the beginning of his career that he was Corelli's equal. Title: Sonate en trio opus 1 no. These guys play very active, aggressive, energetic - feverish - way, which I greatly like.

I have a number of recordings of the Vivaldi variations, and this is clearly my favourite. First time I heard it in concert, I was rather shocked about it, and definitely needed a drink.

That is not meant in a negative way! Highly recommended! Duration: 1'48", 1. Vivaldi's Folia, op 1 No 12 is a typical example of a form of variations from the 18th Century Contrary to those of the 17th Century Falconieri these variations are distinctly different, even though they are sometimes linked, following on from one another. The different tempi and the characters follow each other with varying feelings of tenderness, vivacity and virtuosity to the delight of the instrumentalists.

Chapter Carnival Carnival, the four weeks leading up to Shrove Tuesday and, formerly, to the traditional limitations of Lent, was once a season of relaxation, a historical custom now revived, even in the snow in St. Mark's Square. Music Vivaldi: Trio Sonata 'La follia' La follia or les folies d'Espagne was once the most popular dance tunes of the Baroque period, serving composer after composer as a basis for imaginative variations.

For Corelli it provided material for a violin sonata, while even in the twentieth century Rachmaninov had recourse to the same theme in a virtuoso work for solo piano. Il s'agit vraiment d'un acte extraordinaire d'auto-affirmation d'un compositeur jeune et ambitieux. With the development of the virtuosic repertoire for the violin at the turn of the century it was only natural that the Folia should be included in it. In the great Arcangelo Corelli used it as the basis for a series of exceedingly virtuosic variations with which he concluded his most influential collection of solo sonatas for violin and continuo, the famous Op.

In one of the most representative composers of violin music of the German and Dutch school, Henricus Albicastro, an artistic pseudonym of Johann Heinrich von Weissenburg ca. And it was not by accident that a year later, in , the young Antonio Vivaldi also chose to conclude a decisive publication in which he placed the highest hopes for the future of his artistic career, his Op. Probably derived from a Portuguese Folksong, this theme has formed the basis of instrumental and vocal variations since the late 16th century.

By following Corelli's celebrated set of with its own just five years later, Vivaldi was establishing his position in a competitive game. Each one has its own personality, and its own language'.

The ground bass is a repeated pattern which allows for any number of deviations to occur, thus creating variations, some of which can be truly crazy. The other piece chosen for this recording from Vivaldi's Opus 1 the more famous La Follia on the other hand, is a sonata in three parts in the form of theme and variations.

Its thematic material is clearly very similar to that used by Corelli in the homonymous Sonata for Violin and Bass from his Opus V both sonatas being composed on the same ground bass , except that Vivaldi's version is pervaded by a sense of tension and excitement not found in Corelli's work. In paying hommage to this very famous work by the Romagna born composer. Vivaldi, in fact, brings a nervousness to the ancient Iberian theme of La Follia through an obsessive journey which has little time for lyrical epissdes and leads to a series of final variations which are similar to Corelli's version but more pounding, hyperbolic and impatient.

His Folia was one of his very earliest works. Published in in Venice it brings his first printed collection to a close, paying an obvious tribute to Corelli's opera cinque. In spite of his youth, it already attests, with its 19 variations on this Iberian dance, to the rhythmic richness, variety an lyricism, simplicity and originality and inexhaustible verve of one of music's greatest geniuses.

In , eager to make his mark as a composer of both opera and instrumental music, the young Vivaldi published his first set of twelve trio sonatas as Opus 1. The last sonata, which is a highly virtuosic set of variations on the "La Follia" dance pattern titled only "Follia" in the print , is one of his most famous works; Vivaldi takes Corelli's variations on the same theme-and-bass pattern from Corelli's Opus 5 , which was already a famous work, and adds figuration of even greater complexity.

Duration: 0'39", kB. Vivaldi actually titled the opera 'Orlando'. Ristori and a libretto by Grazio Braccioli. Vivaldi made modifications to that opera in , and in wrote completely new music to Braccioli's libretto, which is why Scimone calls it 'Orlando Furioso'.

The last lines are directed to the sorceress Alcina. The 6 'la's are sung to the Folia tune, just making it into the 3rd measure. This snippet can be found about. Duration: 0'53", kB.

Waitzman c. Originally written for Guitar and 'big' Orchestra, Walter himself transcribed it for Guitar-ensemble and Winds ad. Duration: 0'43", 01 kB. Jahrhunderts' Helmut Richter wrote about the track 'reflexe': I made the transcription for two guitars after talking with Fried Walter, who was pleased to hear about it and approved of the transcription afterwards.

Walter takes the theme Gaspar Sanz and adapts it into variations according to the chronological style of later musical periods and composers in sometimes a very humorous way. He was not trying to duplicate the different musical styles in a scientifical historical context, but rather intended to create the means for an enjoyable journey through the musical history. However, you can always hear the 'melody' on top of things but in quite different rhythms. There is a theme and 8 Variations: Renaissance 1'45" , Barock 1'23" , Rokoko 1'58" , Fandango 1'34" , Biedermeier 1'37" , Wiener Walzer 2'06" , American Banjo 1'06" , Beat 1'08" , Avantgarde 1'23" , Duration: 3'15", 3.

I wrote the piece during the last couple of weeks. My reasons for the composition were several. First, it's my first attempt at a quartet; I wanted to get a feel for the instruments. I chose the Folia theme because I've used it in several piano pieces and found it attractive.

It's a nice progression to move from a minor tonic to a dominant chord in a decorated manner. Duration: 3'38", 3. Tangos usually consists of measure sections so I wanted to try using the Folia harmonic scheme as half of a pattern.

I've done this in other tangos, but for this one, I also used the Folia discant as the basis of the melody. The major-key theme is based on a descending scale pattern. The tango has had a long run as a living musical and dance style. My tangos tend to be a bit old-fashioned maybe from the pre era in style. I just find tangos to be fun to listen to, and thus fun to write. Duration: 3'05", 2. Attached is another composition. I was trying some new ideas but I still used the Folia chord pattern and discant in parts.

Actually, I used the discant the one Corelli used for a bass line too in the syncopated section. Duration: 3'43", 3. Here is a new piece that uses the Folia chord scheme in the second part of the first section and then uses the scheme at double, quadruple, and octuple speed in the coda.

Duration: 3'30", 3. I finally or Finalely wrote another piece using the Folia chord progression. It's a rumba can be danced either American or International style rather than a tango. I suppose, techincally, it's a "bolero-son" but most dancers wouldn't recognize that term. Duration: 3'19", 3. I have a new tango that uses the Folia chord pattern a bit. The name comes from the Spanish word for duck-billed platypus a monotreme. It's a pun based on the monothematic construction of the music.

Contemporary accounts describe it as frenetic and noisy, hence the idea that the name referred to the dance steps - "mad", "demented", "crazy". Edwin L. Marin directed this version of the Dickensian classic for MGM. The fifty-minute score contains ten themes incorporated into twenty-three orchestral numbers and seven choral selections. Waxman had to whip all of that into shape within five days! The recording session began at five in the afternoon and ended at nine the following morning.

The composer noted: 'High pressure has no ill effect on the inspiration but it's pretty hard on the body'. Weisss, used with permission. I composed it in the Summer of specifically to be included in a Concert of Historicist Composers sponsored by the Delian Society. I was especially intrigued by the meaning of "The Madness" or "Folly".


Guerau – Poema Harmónico (Madrid, 1694), facsimile edition

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Francisco Guerau

Francisco Guerau [1] died was a Spanish Baroque composer. Born on Majorca , he entered the singing school at the Royal College in Madrid in , becoming a member of the Royal Chapel as an alto singer and composer ten years later. Named a member of the Royal Chamber of king Charles II of Spain in , he also served as a teacher at the singing school until From Wikipedia, the free encyclopedia. Redirected from Francesc Guerau. Francesc Guerau i el seu temps. Categories : Spanish Baroque composers Composers for the classical guitar births 18th-century deaths Balearic musicians People from Mallorca Spanish male classical composers Spanish classical composers 17th-century classical composers 18th-century classical composers 18th-century male musicians Spanish composer stubs.


Francisco Guerau: Poema harmonico

Your review was sent successfully and is now waiting for our staff to publish it. Please consider supporting us by disabling your ad blocker on our website. Thanks again, best regards, Gilles. This is a celebrated book of guitar tablature first published in Madrid in A Verified Reviewer is a shopper who has confirmed an email address, or connected a social network with Yotpo, providing an added level of transparency and trust. Classical Guitar Skip to content. Why are your text-fromat tablatures always displayed on seven horizontal lines — instead of powma. We value your input.

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