Altre Follie, 1500-1750
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Music CD Cover
Composer: Peruvian AnonymousComposer: Anonymous
Composer: Antonio de Cabezon
Composer: Alonso de Mudarra
Composer: Vincenzo Ruffo
Composer: Alessandro Piccinini
Composer: Andrea Falconieri
Composer: Bernardo Storace
Composer: English Traditional
Composer: Francesco Corbetta
Composer: Arcangelo Corelli
Composer: Juan Cabanilles
Composer: Henricus Albicastro
Composer: Santiago de Murcia
Composer: Antonio Vivaldi
Conductor: Jordi Savall
Performer: Hesperion XXI
Performer: Michael Behringer
Edition: Music CD
Audio: English (Unknown); Spanish (Original Language)
Format: Import
CD Release Date: 2005-11-15
Music Label: Alia Vox Spain
Soundtracks:
- Folias criollas (improvisation), for ensemble
- Folias antiguas
- Pavana con su glosa
- Fantasia que contrahaze la harpa en la manera de Luduvico
- La Gamba for bass & soprano
- Partite variate sopra 'la Folia' aria romanesca
- Folias (a 3) echa para mi Señora Doña Tarolilla de Carallenos
- Folia, for keyboard
- Faronell's Division on a Ground
- Folias, for guitar in D minor (version from Varii scherzi di sonate, 1648)
- Sonata for violin & continuo in D minor ('La Follia'), Op.5/12
- Diferencias de Folias, for keyboard
- Sonata for violin & continuo 'La Follia' Op. 9/12
- Folias gallegas, for guitar
- Trio Sonata for 2 violins & continuo in D minor ('La follia'), Op. 1/12, RV 63
Free Music Notes for Altre Follie, 1500-1750
Free Music Review: An expanded reprise
Hit: 5 Stars
In the fictional account of Marin Marais' life, his mentor commands him to "improvise on The Spanish Follies". The implication is that by the mid-17th Century any string musician, aspiring or established, should be able to launch into one of the many versions of this ancient Iberian tune. Jordi Savall, who has already produced a collection of "The Follies" ["La Folia"] including a version by Marais, has assembled a new set of interpretations. As usual with Savall, those "interpretations" from composers represented on the previous CD and this one are subtle, but they are there. There's no question this disc is unique.
As with the earlier CD, the order of presentation is roughly chronological, with the first being something of a surprise. It's a Peruvian version of the dance extracted from a 17th Century collection. The use of Amerindian instruments in a genre generally overwhelmed by European interpretations perks the listener's attention. Savall also skips over France [enough Marin Marais?] to tap Britain's John Playford's 1684 version for this set. That side trip accomplished, Hesperion XXI returns to the Mediterranean to present familiar figures such as Mudarra, Correlli and Vivaldi. It is the latter's "Sonata" on La Follia which rightly concludes the set. Vivaldi's version must have been something along the lines of the original dance, but with fuller orchestration. The term "folia" is Tuscan for "mindless" or "crazy". Vivaldi's approach starts with a rather sedate, morose opening, but builds to an almost crashing crescendo at the conclusion. It is the favourite of many, and rightly so. Vivaldi's finale certainly reflects the original phrase.
The musicians of Hesperion XXI show a shift in emphasis from the group Savall assembled for La Folia in 1998. Percussionist Pedro Estevan has been replaced by David Mayoral and Marc Clos. Philippe Pierlot, who drifts in an out of Savall's ensembles has returned for this CD. The real change however, is the introduction of Manfredo Kraemer from Musica Antiqua Koln. The voice of the violin in this collection is anything but discordant, even if it seems novel. Assigned the leading string in five of the fifteen pieces rendered here - mostly later composers - Kraemer brings an additional vigour to the renditions.
It need not be said that the performances are flawless - this is, after all, Jordi Savall. The recording is equally precise and well up to Alia Vox's high standards. As usual with their productions the sound is clear, crisp and the listener is left with needing nothing more than time to listen to this disc often. If there's any shortcoming in this CD, it's the insistence on the notes writers to incorporate original texts along with the translations. Given that six languages are represented, this seems a wasteful use of space. [stephen a. haines - Ottawa, Canada]
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