The Folia Melodies

The Folia MelodiesAuthor(s): Richard HudsonSource: Acta Musicologica, Vol. 45, Fasc. 1 (Jan. - Jun., 1973), pp. 98-119Published by: International Musicological SocietyStable URL: http://www.jstor.org/stable/932224 .

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98

The Folia Melodies RICHARD HUDSON (LOS ANGELES/CALIF.)

The history of the folia falls into two periods. The earlier folia, mentioned by Salinas in 1577, originated in Portugal, became popular in Spain, and was im- ported into Italy around 1600 along with the Spanish guitar and such forms as the saraband, the passacaglia, and the ciaccona. Large numbers of such folias fill Italian guitar books from the first half of the 17th century, and isolated examples occur as late as 1664 in Italy, 1774 in Spain. The later folia, although related in certain respects to the earlier one, has some different and distinct characteristics. It emerged during the final quarter of the 17th century, particularly in France and England, enjoyed a wide popularity throughout the remainder of the Baroque period, and appeared even in a few works of the 19th and 20th centuries. In addition, there was a chordal scheme that influenced both folias. The scheme appeared in Spanish sources at the end of the 15th century and became an integral part of the Italian dance style from 1500 to 1650. Both the later folia and the chordal scheme have been described fairly extensively in musicological literature.' Only recently, however, has the earlier folia been examined in detail.2 In another article I have described its harmonic and rhythmic construction and its relation to the chordal scheme.3 I would like now to consider particularly the melodic aspects of these three musical entities, commencing with the possibilities inherent in the chordal scheme itself, and then investigating the manner in which melody is fashioned in each of the two folias.

The chordal scheme is shown on the third staff of Ex. 1; below it are three variant forms. In the Italian dance style (1500-1650) these chord progressions join other schemes as central frameworks of composition. The music for a dance or an instrumentally accompanied song (its created by distributing the chords of one of the schemes at equal or unequal intervals throughout the piece, and then by adding, as desired, melodic figuration or new chords that circle separate framework chords. Since each of the schemes or chord-rows appears in a number of different musical forms, I have found it useful to invent a terminology that is independent of any particular one. Naming each according to the first chord that distinguishes

1 The principal works are the following: OTTO GomBosI, Folia, in: MGG 4, cols. 479-484; Italia, patria del basso ostinato, in: La rassegna musicale 7 (1934), p. 14--25; Zur Friihgeschichte der Folia, in: AMI 8 (1936), p. 119-129; and The Cultural and Folkloristic Background of the Folia, in: Papers of the American Musicological Society (1940), p. 88-95. JOHN WARD, The Vihuela de Mano and Its Music (1536-1576) (Ph. D. diss., New York University 1953), p. 300-325; and The Folia, in: Kongressbericht der IGMw, 5. Kongress, Utrecht, 1952 (Amsterdam 1953), p. 415-422. LAWRENCE H. MOE, Dance Music in Printed Italian Lute Tablatures from 1507 to 1611 (Ph. D. diss., Harvard University 1956), p. 121-128, 164-169; and Folia, in: Harvard Dictionary of Music, ed. WILLI APEL (2nd. ed. Cambridge, Mass. 1969), p. 322-323. ANDREAS MOSER, Zur Genesis der Folies d'Espagne, in: AfMw I (1918-1919), p. 358-371; PAUL NETTL, Zwei spanische Ostinatothemen, in: ZfMw I (1918-1919), p. 694-698; JEFFREY PULVER, Folies d'Espagne, in: The Monthly Musical Record 50 (1920), p. 32-33 and 103-104; FREDERICK NIECKS, Les Folies d'Espagne: A Study, in: The Musical Times 29 (1888), p. 717-721. 2 HELGA SPOHR, Studien zur italienischen Tanzkomposition um 1600 (Ph. D. diss., Albert-Ludwigs- Universitit, Freiburg i. B. 1956), p. 56-68. 3 The Folia Dance and the Folia Formula in 17th Century Guitar Music, in: MD 25 (1971), p. 199-221



R. Hudson: The Folia Melodies 99

Ex. 1: The melodic tone-series associated with Scheme V and its variants. (Upper case Roman numerals indicate major triads, lower case minor).

Tone-series 4

3 2 3 5 4 3 2 3 1 1

Tone-series 7

1 1 2 3 2 1 7 1

Chord-row V

i i VII III VII i V i

Without the initial i chord

V i VII III VII i V i

Without III

i V i VII VII i V i

Lacking both i and III

V i VII VII i V i

it from the others, the scheme occurring in the passamezzo moderno becomes Scheme IV; that of the passamezzo antico, Scheme VII; the romanesca, Scheme III. The scheme that concerns us here will be called Scheme V, indicating that its second chord (or first, in the case of two of the variants in Ex. 1) is V. Although musi-

cologists have in the past referred to Chord-row V as the "folia," I feel that this is

historically inaccurate and needlessly confusing. The folia is a specific musical form; Scheme V is an abstract succession of chords that acts within the Italian dance style to define modality. Scheme IV represents the mode per B quadro (a mode that leads during the Baroque period to the tonal major mode); Schemes III, VII, and V, the mode per B molle (corresponding to the later minor mode).4

The four versions of Scheme V given in Ex. 1 occur in the Cancionero de Palacio from the late 15th century5 and continue to appear until the end of the Italian dance

4 See my article The Concept of Mode in Italian Guitar Music During the First Half of the 17th Cen- tury, in: AMI 42 (1970), p. 163-183. 5 See WARD'S Kongressbericht article, p. 416-417.



100 R. Hudson: The Folia Melodies

style around 1650. By bringing them together in Ex. 1, I do not mean to indicate the order of their derivation or any particular historical relationship between them. Since a chord-row, especially in the Italian dance style, seems to be the determining musical element, the formation of melody tends to be guided by certain simple and natural patterns suggested by the chord progression. The two commonly occurring suc- cessions of tones that match Scheme V are shown on the upper two staves of Ex. 1.6

They are consistently a third apart, except for a possible adjustment of the opening or closing tone. I have labeled each tone-series by the unique scale degree which it

possesses, but which never occurs in the other. The notes in parentheses may be included or omitted; the blackened notes are alternate tones. Occasionally some or all of the tonic chords in the chord-row are major triads, in which case the corresponding notes in the tone-series change to B-natural.

When employed in a particular composition, the chord-row and its tone-series are associated with specific rhythms and structure, and may occur a number of times. When many pieces of the same title display a common rhythmic structuring of Scheme V and one of its tone-series, then one can speak of a chordal and melodic

framework. In any particular piece belonging to a type, variation of the framework results in a specific melody and a specific chord progression. Thus it is useful here, I believe, to conceive of three stages of development: first a tone-series (abstracted from any rhythmic implications), then a melodic framework (a tone-series to which has been added a design of rhythm and structure, as it appears in many com-

positions of a single type), and finally a melody (the melodic framework with melodic or rhythmic variations added, as employed in a single piece). The same

concept applies to a chord-row, a chordal framework (of a form), and a harmonic

progression (of a single piece). Throughout its long history Scheme V tends to be associated with one of the two

tone-series shown in Ex. 1. Furthermore, at any given moment in history the forms

utilizing Scheme V seem to favor one of the tone-series over the other, and this

preference seems to alternate from period to period. From the end of the 15th

century through the first quarter of the next century, Tone-series 4 occurs more

frequently, appearing in some pieces of Juan del Encina and others in the Can- cionero de Palacio7 and in a number of frottole by Tromboncino and Fogliano.8 Throughout the middle two quarters of the 16th century,

,emphasis shifts to Tone-

6 Almost the same tone-series that I show on the upper staff of Ex. 1 is given by Ward (his dissertation, p. 301) in company with the complete version of the chord-row. 7 I located most of the 15th and 16th century Scheme V compositions referred to in this paragraph through the writings of Gombosi, Ward, and Moe mentioned in footnote 1; to their sources I have added a few others. A modern edition of the Cancionero musical de Palacio is printed in Monumentos de la mzfsica espaiiola, Vols. V and X, ed. HIGINIO ANGLES (Barcelona 1947-1951). Tone-series 4 appears in the upper voice of the following pieces based on the complete chordal scheme: Nos. 12, 81, 121, 126, 179, 271, and 361; for the chord-row without the III chord, see Nos. 59 and 197; without the initial i chord, Nos. 79 and 310. Two exceptions that employ Series 7 are Nos. 9 and 92. 8 BARTOLOMEO TROMBONCINO, Aqua non e I humor che versan gli occhi (1514), in: ALFRED EINSTEIN, The Italian Madrigal (Princeton 1949) III, p. 318-319; and Gli a pur from Frottole libro quarto (Venice 1520), in: Madrigals of the 16th and 17th Centuries, copied by Dr. Alfred Einstein (Northampton, Smith

College Library) 84; GIACOMO FOGLIANO, La non vuol esser pi' mia (1515), in: EDITH GERSON-KIwI, Studien zur Geschichte des italienischen Liedmadrigals im XVI. Jahrhundert (Wiirzburg 1938), p. 21.




series 7, which appears in some French and Italian galliards;9 in some recurring forms that are often used as galliards, such as La cara cosa,10 La gamba," and

J'aimerais mieux dormir seulette;12 in some Spanish pavanas of Mudarra, Pisador, Valderrabano, and Cabez6n;13 in an aria from the Fugger lute book,14 a setting for

Wyatt's Blame Not My Lute,15 and the top voice of the keyboard accompaniment in Diego Ortiz's Recercadas quarta and ottava.16 From around 1580 until the end

9 See Gaillarde No. 3 from Quatorze gaillardes . . . (Paris: Attaingnant [1531]), fol. 6, modern ed. in: Keyboard Dances from the Earlier Sixteenth Century, ed. DANIEL HEARTZ, Corpus of Early Keyboard Music 8 (American Institute of Musicology 1965), p. 5-6. For an Italian example, see JULIO ABONDANTE, Intabolatura ... sopra el lauto . . . Libro primo (Venice 1546), No. 10: El Pichardo gagliarda, transcribed from the 1563 edition by GERALD LEFKOFF in: Five Sixteenth Century Venetian Lute Books (Washington, D.C. 1960), p. 110. 10 See La cara cossa del Berdolin, from: Venice, Biblioteca Marciana, Ms. Ital. IV. 1227 (collocazione 11699), printed by KNUD JEPPESEN in: Balli antichi veneziani per cembalo (Copenhagen 1962) No. 10; Tone-series 7 accompanies Scheme V also in the Saltarello de Roy, No. 25. See also HANS NEWSIDLER'S Ein welisch Tentzlein Clira cassa, from: Das ander Buch. Ein new kiinstlich Lautten Buch (Niirnberg 1544), transcribed in: DTO, Jg. 18/2, Bd. 37: Osterreichische Lautenmusik im XVI. Jahrhundert, ed. ADOLF KOCZIRZ (Vienna 1911; repr. Graz 1959), p. 54; and Caracossa for cittern by SEBASTIAN VREEDMAN, in: Carminum quae cythara pulsantur liber secundus (Louvain 1569), transcribed by JOHANNES WOLF in: Handbuch der Notationskunde (Leipzig 1919; repr. Hildesheim 1963) II, p. 133. Tone-series 7 appears in the upper voice at the beginning of the Passo e mezzo della cara cosa of GIACOMO DE GORZANIS (Il secondo libro de intabulatura di liuto [Venice 1563]), transcribed by OSCAR CHILESOTTI in: Note circa alcuni liutisti italiani della prima metti del cinquecento, in: Rivista musicale italiana 9 (1902), p. 56-58. The following padoana and saltarello, as well as the other cara cosa examples given by Chilesotti, seem to combine both tone-series. 11 See London, British Museum, Ms. Royal Appendix 59-62, fol. 16v, transcribed by Ward in his dissertation, Ex. 47 (p. 50 of the musical examples). 12 See the melody given by JEHAN TABOUROT (Thoinot Arbeau) in his Orchesographie (Langres 1589), English transl. Mary Stewart Evans (New York 1967), p. 113-115. Tone-series 4, on the other hand, appears in the J'aymeroye mieux dor[mir] from ADRIAN LE RoY's A Briefe and easye instru[c]tion to learne the tableture, to conducte and dispose thy hande unto the Lute, englished by 1. Alford Londenor (London 1568), transcribed in: Adrian Le Roy, Fantaisies et Danses, ed. P. JANSEN and D. HEARTZ (Paris 1962), p. 21-22 (concerning other examples, see p. XII). Le Roy, however, seems to favor Tone- series 4 for all of his Scheme V pieces; see the Pavane si je m'en voy and its gaillarde (p. 16-18), The First Gaillarde Milanoise (p. 23), and Fowerth Milano[ise] (p. 27). 1s For vihuela pavanas, see ALONSO DE MUDARRA, Tres libros de mz'sica en cifra (Seville 1546), modern ed. EMILIO PUJOL in: Monumentos de la mz'sica espafiola 7 (Barcelona 1949), p. 22-23, 29; ENRIQUEZ DE VALDERRABANO, Libro de misica de vihuela intitulado Silva de Sirenas (Valladolid 1547), transcribed by PUJOL in: Monumentos de la mtisica espaiiola 23 (Barcelona 1965), p. 65-68, 69-71; DIEGO PISADOR, Libro de mirsica de vihuela (Salamanca 1552), transcribed in: Les luthistes espagnols du XVIe siecle, ed. G. MORPHY (Leipzig 1902) II, p. 193. Excerpts from these works are given by NETTL in: ZfMw I (1918- 1919), p. 695-697. Cabez6n has two sets of Diferencias sobre la pavana italiana, in: Obras de mu'sica para tecla, arpa y vihuela (Madrid 1578), fols. 186v and 190v, printed by CHARLES JACOBS in: The Collected Works of Antonio de Cabez6n I (Brooklyn 1967), p. 40-43, 50-54. Another work of Cabez6n, however, uses Tone-series 4: Pavana con su glosa from the Libro de cifra nueva para tecla, harpa y vihuela (Alcala de Henares 1557), compiled by VENEGAS DE HENESTROSA, fol. 67 (in: Jacobs' Collected Works I, 80-81). 14 Vienna, tsterreichische Nationalbibliothek, Ms. 18821, transcribed by ADOLF KOCZIRZ in: DTO, Jg. 18/2, Bd. 37, p. 111. 15 Washington, D.C., Folger Shakespeare Library, Ms. 448.16, fol. 4v. For a reconstruction of the music, see IvY L. MUMFORD, Musical Settings to the Poems of Sir Thomas Wyatt, in: ML 37 (1956), p. 318; and ARTHUR WILLIAM BYLER, Italian Currents in the Popular Music of England in the Sixteenth Century (Ph. D. diss. University of Chicago 1952), p. 136-137. Byler also describes some other English compositions based on Scheme V. 18 Tratado de glosas sobre cla'usulas y otros generos de puntos en la mftsica de violones (Rome 1553), p. 117-119, 130-133, modern ed. MAX SCHNEIDER (Kassel 1967). Ortiz's pieces employ a particular structure that often occurs in 16th century compositions based on Scheme V. The Scheme (without the initial i chord) appears once in longer note values (sometimes this section is repeated), followed by two (or sometimes more) statements of the Scheme in diminished note values. Only the final statement ends on the tonic. This same structure can be found almost a century later in the Pavana gagliarda di Spagna from ANTONIO CARBONCHI's Le dodici chitarre spostate (Florence 1643), copy in Rome, Biblioteca




of the Italian dance style about 1650 (and in a few pieces as late as the 1660's), preference seems to return to Tone-series 4. This can be observed in the alta

regina,17 the spagnoletta,s1 a later version of the pavaniglia,19 and, as we will see, in the earlier folia. Finally, although after mid-century Scheme V no longer func- tions as a chord-row in a special compositional process, its chord progression continues to live in the later folia, which, to complete the historical cycle of alternations, employs Tone-series 7.

Musicale Governativa del Conservatorio di Musica S. Cecilia, p. 8-10. A manuscript lute piece that uses this structure is printed in MGG 4, col. 482. 17 FABRITIO CAROSO, II ballarino (Venice 1581), Trattato II, fol. 9; facs. ed. (New York 1967); the same author's Nobilth di dame (Venice 1600), p. 100, facsimile page and transcription by OSCAR CHILESOTTI in: Biblioteca di raritah musicali (Milan [1884-1915]) I: Danze del secolo XVI; repr. as Sezione IV, N. 22 of Bibliotheca musica bononiensis (Bologna 1969), p. 18-20; and Bologna, Civico Museo Bibliografico Musicale, Ms. Q 34 (dated 1613), the opening portion transcribed by LUIGI TORCHI in: La musica istrumentale in Italia nei secoli XVI, XVII e XVIII, in: Rivista musicale italiana 4 (1897), p. 616. 18 There are many examples of this form, which displays a fairly fixed melody based on Tone-series 4. See, for example, CAROSO'S II ballarino, Trattato II, fols. 163v-164; the Spagnoletta nuova at modo di madriglia in his Nobilta' di dame, p. 153 (Biblioteca di raritf musicali I, 32); CESARE NEGRI, Le gratie d'amore (Milan 1602; facs. ed. Bologna 1969), p. 117; GILES FARNABY, The Old Spagnoletta from The Fitzwilliam Virginal Book, modern ed. J. A. FULLER MAITLAND and W. BARCLAY SQUIRE (Leipzig 1899; repr. New York 1963) II, p. 471; and BERNARDO STORACE, Selva di varie compositioni d'intavolatura per cimbalo ed organo (Venice 1664), copy in Naples, Biblioteca del Conservatorio di Musica S. Pietro a Majella, p. 24-28, modern ed. BARTON HUDSON in: Corpus of Early Keyboard Music 7 (Rome 1965), p. 37-43. 19 The pavaniglia is identical to CABEZ6N'S Pavana italiana (see footnote 13), JOHN BULL'S Spanish Paven (The Fitzwilliam Virginal Book II, p. 131-134), and the Pavane d'Espagne in the Nederlandtsche Gedenck- Clanck of ADRIAEN VALERIUS (Haarlem 1626; facs. ed. Amsterdam & Antwerp 1947), p. 246. The form enjoys great popularity during the first half of the 17th century and ordinarily exhibits a consistent melodic framework based on Tone-series 7, thus representing an exception to the usual preference for Series 4 during this period. However, NEGRI in: Le gratie d'amore presents two versions: a Pavaniglia alla Romana (p. 135), which has the traditional melody, and a Pavaniglia . . . all'uso di Milano (p. 159) with a new melody based mainly on Tone-series 4. The two melodies, moving often in parallel thirds in the same manner as the two tone-series in Ex. 1, are as follows, with the numerals below the lower staff showing the usual chordal framework.

All'uso Milano

III VI I II V I i 1V

For further information on the pavaniglia and its relationship to the folia, see Spohr's dissertation, p. 69-73.




During each of these periods of history there are a few exceptions from the favored tone-series. In a number of more complex instrumental pieces figuration obscures the melody, so that the upper voice suggests neither tone-series or seems to combine them both. In some cases the melody itself may be in an inner part or

may be split between several voices. Other pieces seem more concerned with chords than with melody, even beginning in the upper voice on scale degree 5 and moving up to 7 when the VII chord arrives, an essentially uneventful effect melodically. In spite of some exceptions and some indeterminate examples, however, the number of relatively simple compositions that do illustrate an historically alternating preference for Tone-series 4 and 7 is, it seems to me, sufficiently great to be significant. In 1577 then, when the earliest folia music appears, Scheme V had already existed for a considerable length of time as a compositional chord-row, along with the variants and tone-series shown in Ex. 1. From these fixed series of chords and tones, a musical design is created for a specific form by imposing a particular rhythm and

phrase-structure. We will now examine how this is accomplished in the music for the two folias.

Ex. 2: The basic form of the earlier folia, with a melody by Salinas (De musica libri septem [1577], p. 308) on the top staff (transposed), and below it Follias semplice (c. 1630) from Perugia, Biblioteca Comunale, Ms. 586 (H72), fol. 6v.

measure 1 2 3 4 6 7 8 9

i V i VII i V

10 11 12 13 14 15 16

i VII i V I

The lower staff of Ex. 2 shows the basic harmonic and rhythmic framework of the earlier folia as it appears in numerous guitar examples from the first half of the 17th century. Early in the century the Spanish guitar played only strummed chords (the rasgueado style). Beginning around 1630 the punteado style, the playing of selected notes on separate courses, was gradually introduced and sometimes combined with the chords. Most of the guitar folias present only chords (functioning, since each simply fills the full range of the instrument, as triads in root position)




and no melody. I have transcribed the folia semplice (one that has not been varied) in Ex. 2 by showing the numeral and root pitch for each chord, with the stems

(indicating the direction the hand moves over the strings. Almost all of the guitar folias consist of a single statement of the structure given in Ex. 2, to be repeated, presumably, a number of times as the accompaniment for a dance or a song.20

The harmonic progression in Ex. 2 presents Scheme V twice: first without the III chord and then lacking i and III (see Ex. 1), producing a structure of two parallel periods. The first ends on V, the second on I. This simple framework, however, is often varied both harmonically and rhythmically. Some of the variant forms are shown on the lower staff of Ex. 3. Also shown here is a repetition of the second

Ex. 3: Harmonic variants of the earlier folia, with a reconstructed melody.

1 2 3 4 5 6 7

i V i VII i I (II) I (III) I

(IV)

8 9 10 11 12 13 14 15

V (i V i VII i V I (III) I

11. 112. I

16 Ritornello

i iv V i I IV I

20 This structure is shown in Riemann Musik-Lexikon, 12th ed., Sachteil (1967), p. 294. The earliest

guitar folias occur in GIROLAMO MONTESARDO's Nuova inventione d'intavolatura (Florence 1606), p. 24-

27, copies in Bologna, Civico Museo Bibliografico Musicale (but lacking p. 25-26) and Vienna,




half, which is indicated in several sources, and a ritomello, to be played twice between each rendition of the main piece.2'1 The quarter notes show the same chord progression as Ex. 2, except for a typical rhythmic adjustment in measures 3 and 11 which extends the duration of V and produces a second-beat harmonic accent. Other second-beat accents result from the addition of the new chords depicted in Ex. 3 by half-notes. Although the symbol of the half-note is used here to emphasize pictorially the chord insertions, each is actually performed by playing two quarter notes with the stroke directions given for the framework chord. Thus the down- down-up stroke pattern continues uninterrupted even when new chords are added. Most of the new chords relate to a framework chord as V to I, in accordance with a special system of chordal variation in the Italian dance style.22 Thus, in measures 2 and 9 the framework chord V is partially replaced by II, its secondary dominant; IV in measure 5 similarly varies the framework chord VII. A III chord 'is sometimes, but by no means always, added in measure 5 or 13, perhaps an effort (as I suggest in my other folia article3 ) to bring the framework into more perfect accord with Scheme V. These second-beat chord changes result in lively patterns of alternation in the harmonic meter between 3 and 3 . Sometimes the two-beat anacrusis and its i chord are omitted. In addition, the tonic chords may be all major, all minor, or mixed within a single piece.

Although my previous folia article was concerned mainly with harmonic and rhythmic structure, I did offer there a melody that I constructed from the diverse harmonic patterns of the guitar folia. This melody is shown on the top staff of Ex. 3. Scale degree 2 was set, for example, in measure 2 in order to accommodate both V and II; I provided two notes in measure 5 in order that one might be an acceptable non-harmonic tone with each of three different chords. Proceeding in this manner, then, and rounding out the phrases in as natural a way as possible, I created a melody that followed, for the most part, the pattern of Tone-series 4. The subsequent discovery of some actual musical examples that follow the reconstructed melody fairly closely led to my pursuit of the folia melodies and to this present article.

On the top staff of Ex. 2, over the basic harmonic framework of the earlier folia, I have set a melody from Francisco Salinas' De musica libri septem (Salamanca 1577). Salinas gives two melodies that illustrate a particular metrical scheme. 23 He seems to make no mention of the first melody in his text, but describes the second

Gesellschaft der Musikfreunde (complete). A rasgueado guitar folia from LODOvIco DEL MONTE'S Vago fior di virtit (Venice, no date) is transcribed by OSCAR CHILESOTTI in: Notes sur les tablatures de luth et de guitare, in: LAVIGNAC and DE LA LAURENCIE, Encyclopedie de la musique (Paris 1913-1931) Part 1/2, p. 677. On p. 676 appears a facsimile of the page containing this and two other Folias alla vera spagnola. 21 The word ritornello or ripresa is not used in the Italian dance style with precisely the same meaning it had with Monteverdi and other monodists. See my article The Ripresa, the Ritornello, and the Passacaglia, in: JAMS 24 (1971), p. 364-394. 22 For a more detailed description of chordal variation and its relationship to the musical organization of this music, see my article, Chordal Aspects of the Italian Dance Style 1500-1650, in: Journal of the Lute Society of America 3 (1970), p. 35-52. p3 p. 308-309. Facs. ed. (Kassel 1958).




as an example of a popular type that the Portuguese call "Follias."24 Curiously, however, the second melody matches perfectly the chord progression of Scheme III,25 whereas the first fits the earlier folia framework. Although the basic harmonic framework is shown in Ex. 2, it is sometimes modified, as we have seen, by omitting the opening i chord or by extending the duration of the first V chord. With these two changes, the framework matches Salinas' first melody perfectly. Comparison with Ex. 1 shows that the melody employs the exact pitches of Tone-series 4.

There are a number of texts associated with the earlier folia. Eight different

Spanish texts are printed in Luis de BriCefio's Metodo mui facilissimo (Paris 1626).26 Several Spanish and Italian texts to be sung sopra folia appear, accompanied by guitar chord letters, in Italian manuscript sources from the first half of the 17th century.27 Most of these texts compare metrically with those of Salinas in the manner shown in Ex. 4. Ex. 4a gives Salinas' pattern for a single line of poetry;

Ex. 4: Metrical plans of earlier folia texts.

(a) The scheme used by Salinas for a single line of poetry.

u W A ? V ,

(b) The scheme usually used in 17th century Spanish and Italian texts for two lines.

UV V ,

V/ U .. v. v

(U)

comparison with his melody on the top staff of Ex. 2 shows that the musical structure accommodates two such lines. The other folia texts, however, follow the metrical

plan of Ex. 4b. Here one trochaic foot is usually added at the beginning, to be sung to the two-beat musical anacrusis, and an unaccented

,syllable is sometimes included

at the end. The entire scheme is then split into two lines of poetry at the point indicated by the slash. The musical structure therefore matches one four-line stanza

24 "...quas Lusitani, Follias, vocant..." The Latin scholar whom I consulted concerning this passage concluded that the statement about the folia refers to the second melody, and that nowhere in the text is the other melody specifically mentioned. J. B. TREND, in his article on the folia in Grove's Dictionary of Music and Musicians (5th ed. London 1954) 3, p. 182, states that "the earliest tune described as being that of the folia is found in [the work of] Salinas..., who gives two versions." Trend's transcription of the first melody should show the E's flatted. Salinas actually begins the melody on B, and the C is not sharped. 25 This melody, along with several others that are given by Salinas at various spots in his book, is included by WARD in his article Romanesca, in MGG 11 (1963), col. 778. 26 Fols. 8-11 (copy in Paris, Bibliotheque Nationale). Other Spanish texts are given by EMILIO COTARELO

Y MoRI in: Colecci6n de entremeses I (Nueva Biblioteca de Autores Espafioles 17 [Madrid 1911]), p. ccxlv-ccxlvi. 27 Florence, Biblioteca Riccardiana, Ms. 2793, fols. 37v-38; Ms. 2951, fols. 129v-130v, 153-154v, and 165v-166v; Ms. 2973 (III), fol. 29. See also Florence, Biblioteca Nazionale Centrale, Magl. XIX. 143, fol. 54.




Ex. 5: The earlier folia in polyphonic compositions.

(a) Kapsberger, Libro primo d'intavolatura di chitarone (Venice 1604), copy in The British MUseum, p. 28: Folia, opening statement.

I LI I I .'

1 2 3 4 5 6 7 8

+ t A-- ; .1 +• . +t +

(b) Stefani, Scherzi amorosi (Venice 1622), copy in Bologna, Civico Museo Bibliografico Musicale, p. 24: Partita di Donna amata, Aria della Folia.

Al-ma mi- a do- ve ten va - i Al-ma mi- a che fug- gi til 2 3 4 5 6 7 8

i V I VII i V

Un ch'a- do - ra i tuoi bei ra - i On - d'il cor fe - ri - to ffi. 9 10 11 12 13 14 15 16

I VII i iv I




of poetry. When, as was indicated in Ex. 3, the final half of the musical scheme is

repeated, this is accompanied by a repetition of the last two lines of text. In some of the Spanish texts the same two lines conclude the first, third, and fifth stanzas.27a

Ex. 5 presents two illustrations of the folia framework used in polyphonic com-

positions (in distinction to the monophonic example of Salinas or the purely chordal

guitar pieces). The first is from the earliest set of folia variations, published by Giovanni Girolamo Kapsberger in 1604. Kapsberger labels his second statement of the folia structure Partita Ia, with the implication that the first (Ex. 5a) represents a relatively unvaried form of the framework. He follows the harmonic and melodic framework outlined in Ex. 3 rather closely, except that the movement from VII to i occurs one measure earlier (in measure 6). Ex. 5b is an anonymous monody from Giovanni Stefani's Scherzi amorosi of 1622.28 It follows Ex. 3 even more faithfully and uses both major and minor tonic triads. The chords indicated by Stefani in

guitar notation are transcribed in Ex. 5b by Roman numerals below the lower staff. In both examples the V chord in measure 3 is sustained for two beats, as in the Salinas melody in Ex. 2. Exx. 5a and 5b, like Ex. 3, include scale degree 5 in the

Ex. 6: Earlier and later folias from Madrid, Biblioteca Nacional, Ms. M. 811:Libro de diferentes cifras de gitara (1705).

(a) P. 105: Folias, opening statement.

S•.,-,

do • F " • •.. .

22" I .I

I I I • •, 1 I ! I I I! b . •

~~~J. , . 27a The metrical scheme of Ex. 4b appears also in some folia texts from the first half of the 16th century. See GIL VICENTE's Auto da Sibila Cassandra [15037], in: Gil Vicente, Obras completas, ed. MARQUES BRAGA (Lisbon 1942-1944), I, p. 62; O velho da horta, 1512 (V,175); Templo d'Apolo, 1526 (IV, 188); and

Triunfo do inverno, 1529 (IV, 327 and 330). A somewhat different scheme appears in his Auto da feira, 1527 or 1528 (I, 245). In the Recopilaci6n en metro (Seville 1554) of DIEGO SkNCHEZ DE BADAJOZ, folias using the scheme of Ex. 4b occur in Farsa militar (fol. LXXXv) and Farsa del juego de Cailas (fols. CXLI-CXLII); facs. ed. La Academia Espafiola (Madrid 1929); modern ed. D. V. BARRANTES (Libros de

Antafio, XII [Madrid 1882-1886]) I, p. 409-410 and II, p. 273-278. Since neither author provides music for his texts, it is not certain how they fit into the musical history that begins in 1577 with Salinas. 28 According to NIGEL FORTUNE, A Handlist of Printed Italian Secular Monody Books, in: Royal Musical Association Research Chronicle 3 (1963), p. 38-39, this work was first published in 1619, although no copy now exists of the earlier edition.




(b) P. 136: Folias italianas, first statement.

I" I~

1 r -I r-19r~ dov- (~::F:F

fifth or sixth measure, even though the III chord is not present to require it. A punteado guitar example from a Spanish manuscript of 1705 (Ex. 6a) shows similar characteristics, although here the first V chord, as in the guitar example on the lower staff of Ex. 2, does not extend beyond measure 2.

Exx. 3 through 6a suggest, therefore, the extent to which the simple framework of Ex. 2 can be varied in individual pieces. Compared to the chordal guitar examples, compositions which include a melody are relatively few in number. Such pieces may consist of a single statement of the structure and thus constitute, like the rasgueado guitar pieces, an aria for singing or dancing; or they may present a number of statements in a set of ;instrumental variations. Folia pieces that display Tone-series 4 in a single statement occur in a lute manuscript of Rasponi (1635)29 and in the Sonate di chitarra spagnola (Florence 1640) of Antonio Carbonchi.30 Sets of variations whose opening statement clearly exhibits Tone-series 4 appear in Alessandro Piccinini's Intavolatura di liuto e di chitarrone, Libro primo (Bologna 1623),31 in

II primo libro di canzone (Naples 1650) of Andrea Falconiero (for two violins and basso continuo),32 and in Madrid, Biblioteca Nacional, Ms. M. 1359.33 I believe the

29 Florence, Biblioteca Nazionale Centrale, Magl. XIX. 105, fol. 14. 30 Folias passeggiate per E, p. 19 (the third piece), copy in Florence, Biblioteca Nazionale Centrale. This is the only example I know of a guitar folia before 1650 that is written entirely in the punteado style (like lute music) and hence displays, in addition to chords, a melody. Two sources from the same period contain sets of folia variations in the combined punteado-rasgueado style: ANGIOL MICHELE BARTOLOTTI, Libro primo di chitarra spagnola (Florence [1640]), copy in Bologna, Civico Museo Biblio- grafico Musicale, p. 75-76: Follia; and FOSCARINI, I quatro libri della chitarra spagnola (no place or date), copy in London, British Museum (K.8.e.9, incorrectly bound with the title page for an edition of Books 1-3), p. 23: Folias sopra I'O con parti variate, and p. 34: Fulias [sic] con parti variate. 'I Partite variate sopra la folia aria Romanesca [the last two words were probably added by mistake], p. 120-121, for chitarrone. Facsimile edition in Alexandri Piccinini, Opera, Vol. I (Antiquae musicae italicae, Monumenta bononiensia [Bologna 1962]). 32 Copy in Bologna, Civico Museo Bibliografico Musicale, p. 32-33 of the canto part book: Folias echa para mi Sefiora Dofia Tarolilla de Carallenos. 33 p. 593-595. The manuscript is entitled Huerto ameno de varias flores de mtisica recogidas de muchos organistas por Fray Antonio Martin, 1708. For information concerning the four manuscripts




opening variation of Bernardo Storace's set, although somewhat less obvious, also mirrors Tone-series 4.34 Several sets of keyboard variations do not present a clear tone-?series in the upper voice of the first variation: the Folias con 20 diferencias of Jos6 Jimenez (died 1672),85 the variations of Cabanilles (1694),36 and the Otras folias in Madrid, Biblioteca Nacional, Ms. M. 1360 (dated 1709).37 A number of folias seem to alternate in their upper voice between scale degrees 2 and 1, or 2 and 3, revealing more interest in harmony than in melody.38 I have found only two sources that show Tone-series 7 in the upper voice of an earlier folia: Bologna, Civico Museo Bibliografico Musicale, Ms. Q 34 (dated 1613), fol. 100v, a single statement which 'is exceptional also in omitting, like Salinas' melody, the two-beat anacrusis,39 and Oporto, Portugal, Municipal Library, Ms. 1577, Loc. B, 5, fol. 111, which contains a set of four keyboard variations from around 1700.40 By this date, however, a new folia scheme had become established - one with a different structure and with a melody based on Tone-series 7.

The later folia seems to have emerged for the first time during the 1670's. The earliest example is an Air des hautbois Les folies d'Espagne from 1672 by Lully.41 Probably around the same time Jacques Gallot (the younger) published in Paris a book entitled Pieces de luth composees sur differens modes.., avec les folies

M. 1357-1360, see Catilogo musical de la Biblioteca Nacional de Madrid, ed. H. ANGLIS and J. SUBIRA (Barcelona 1946-1951) I, p. 295-309. 34 Selva di varie compositioni, p. 38-42 (Corpus of Early Keyboard Music VII, p. 59-65). s5 Edited by H. ANGLcS in: Antologia de organistas espafioles del siglo XVII (Barcelona 1965) I,

p. 33-42. 36 Diferencias de folias, printed in: Johannis Cabanilles, Opera omnia, ed. H. ANGLIs (Barcelona 1933) II, p. 130-137. 37 Huerto ameno de varias flores de mz'sica recogidas de varios organistas por Fray Antonio Martin, fols. 215v-217v. Another set of keyboard variations that does not begin with a clear statement of either Series 4 or 7 is the Partite sopra folia from Frescobaldi's Toccate e partite d'intavolatura di cimbalo ... Libro primo (Rome 1615), copy in Washington, D.C., Library of Congress, p. 63-65. It is transcribed from the 1637 edition in Girolamo Frescobaldi, Orgel- und Klavierwerke, ed. PIERRE PIDOux (Kassel 1954) III, p. 67-69. Helga Spohr has shown (her dissertation, p. 65-68), however, that this work is based on the scheme of the fedele, a similar but somewhat different form. Montesardo (Nuova inventione d'intavolatura, p. 24) uses the title Folia chiamata cosi da Spagnuoli, che da Italiani si chiama Fedele. See my article The Folia, Fedele, and Falsobordone, in: MQ 58 (1972), p. 398-411. '8 See the example from the Casimiri lute manuscript of around 1625 transcribed by GOMBOSI in: MGG 4 (1955), col. 483. I suspect that the rhythm of both lines should be adjusted so that the VII chord is extended an additional dotted quarter. In the Rasponi manuscript cited in footnote 29 the writer seems to have difficulty notating hemiola rhythm. In one rhythmic variant measures 2 and 3 (referring to Ex. 3) are in s meter; measures 4 and 5 combine to form one measure of

39 Transcribed by LUIGZ TORCHI in: Rivista musicale italiana 4 (1897), p. 613. 40 Transcribed by BARTON HUDSON in: A Portuguese Source of Seventeenth Century Iberian Organ Music (Ph. D. diss. Indiana University, 1961; Ann Arbor: University Microfilms, No. 61-6940) II, p. 345-347. See Vol. I, p. 86 for remarks concerning the piece. 41 In Bibliotheque de Versailles, MS. 168: Partition de plusieurs marches et batteries de tambour tant

franCoises qu'etrangeres avec les airs de fifre et de hautbois a 3 et 4 parties... recueillis par Philidor l'ain.. . 1705. The section entitled Marche du Regiment du Roy contains on p. 36: Batteries de tambours, marche du Regiments du Roy faite par Mr. de Luly [sic] l'an 1670, on p. 36-37: L'air des hautbois fait par Mr. de Luly, and on p. 38-39: 2e air des hautbois Les folies d'Espagne fait par Mr. de Luly en trio [actually in four voices] par ordre du Roy l'an 172 [Since Lully died in 1687, this date, although lacking one digit, could only be 1672] Philidor l'aind en ayant

receu l'ordre du Roy a

St. Germain en laye pour le porter a' Mr. de Luly. Jules Ecorcheville mentions this piece in a passage quoted by GEORG FISCHER, Musik in Hannover (2nd. ed. Hannover & Leipzig 1903), p. 26.



R. Hudson: The Folia Melodies Ill

d'Espagnes enrichies de plusieurs beaux couplets...42 In 1682 The King's Health: set to Farrinel's Ground in six strains was published in London with words by Thomas D'Urfey,43 followed by instrumental variations in 1683 for recorder and in 1685 for violin.44 Although this ground was not ordinarily called "Folia" in England at this time, Michel Farinelli wrote later in his autobiography that "mes Follies d'Espagne et d'Angleterre ont paru avant les pieces de Mr. Corelli45... et, en effet, mon mss. contient la Basse continue des Follies traditionelles.""46

The musical properties of the later folia are indicated in Ex. 7. Only the first half of the structure is shown here, since the other half ?is usually similar, except for a final cadence on i.47 On the lowest staff appears the fixed harmonic scheme, the

42 Copy in Paris, Bibliotheque du Conservatoire (F.S.58). The piece called Folies d'Espagnes mises par l'autheur appears on p. 71-77. Concerning the date of the book, see WOLFGANG BOETTICHER'S article on the Gallot family in: MGG 4 (1955), col. 1329. 43 Copy in the British Museum (G. 17). The piece is actually a set of five variations in which the fifth and sixth "strains" combine to form a considerably altered version of the scheme. The song attained great political fame and appears in numerous sources. For a facsimile reproduction from Several New Songs, ed. THOMAS D'URFEY (1684), see The Songs of Thomas D'Urfey, ed. CYRUS LAWRENCE DAY (Cambridge, Mass. 1933), p. 48-53; for comments and a list of later sources, see p. 128-129. The same music and text are in D'URFEY's Wit and Mirth: or Pills to Purge Melancholy II (1700; facs. repr. New York 1959), p. 152-156. Part of the same music, with the text "Mars Now is Arming," appears in: A Royall Ode by Mr. D'Urfey, Congratulating the Happy Accession to the Crowne and Coronation [in 1702] of our most Gratious Soveraigne Lady Queen Anne, the words in Immitation of a former Peece of the Authors call'd Joy to great Caezar &c. [the opening words of The King's Health] and made to some strains of a famous peece of Musick known by ye name of Farrinells Ground from A Collection of the Choicest Songs & Dialogues Composed by the most Eminent Masters of the Age (London, songs printed at different dates), copy in the British Museum (G. 304), 139. "Joy to Great Caesar" appears also as Air LXIII of the Beggar's Opera (1728), modern ed. EDWARD J. DENT (London [1954]), p. 81-82. See CLAUDE M. SIMPSON, The British Broadside Ballad and Its Music (New Brunswick, N.J. 1966), p. 216-218, and JOHN WARD, in: JAMS 20 (1967), p. 37-41. 44 The Genteel Companion; Being exact Directions for the Recorder: With a Collection of the Best and Newest Tunes and Grounds Extant. Carefully Composed and Gathered by Humphry Salter (Lon- don 1683), copy in the British Museum (K.4.a.6), contains both Mr. Fardinels Ground (p. 40-41) and The King's Health (the 5th and 6th unnumbered pages following p. 41). Two years later, Faronells Division on a Ground appears as the fifth piece in The Division-Violin: Containing a Choice Collection of Divisions to a Ground for the Treble-Violin (London 1685), copy in the British Museum (K.1.c.4, which, I believe, is the first edition of the book, in spite of the mention by Margaret Dean-Smith in MGG 10, col. 1348, of one a year earlier; HUGo RIEMANN, John Playford's Division Violin und Michel Farinell's Folies d'Espagne, in: Die Musik 10 [1910-1911], vierter Quartalsband, p. 328-329, lists the contents of the second and "much enlarged" edition, which was also published in 1685 and which includes a number of pieces that are not in the British Museum copy). The violin piece includes eleven variations (or a "theme" plus ten variations) and is printed by MOSER in: AfMw I (1918-1919), p. 363-364; and by RIEMANN in: Die Musik 10, QuartaIsband 4, p. 3-4 of the Musikbeilagen. The first four strains of the 1682 version of The King's Health correspond approximately to statements 1, 3, 2 and 5 of the violin variations. In SALTER'S recorder book, The King's Health is similar to the 1682 vocal setting, except that the fourth strain is almost the same as the first. Mr. Fardinels Ground presents six statements, the first four matching fairly closely the opening four statements of the violin piece. The fifth begins like the seventh violin statement. The sixth is unique to this piece and, compared to the other variations, is lacking two measures as well as the customary half-cadence on the dominant. 45 In Sonate a violino e violone o cimbalo, Op. 5 (Rome [1700]); innumerable later editions were published in London, Amsterdam, Paris, Venice, and Rouen. Modern ed. in Les ceuvres de Arcangelo Corelli, ed. J. JOACHIM and F. CHRYSANDER (London 1888-1891) III, p. 96-107. 46 FISCHER, Musik in Hannover, p. 26. The manuscript of Farinelli's autobiography was in the possession of Ecorcheville. Scheme V was not unknown in England prior to this time. Christopher Simpson uses it as a ground in The Division-Violist (London 1659) and The Division-Viol (London 1667; facs. ed. London 1965), p. 65-67. 47 In Gallot's piece each of the ten statements of the structure presents the opening half written in full, followed by a double bar and then the four concluding measures of the second half. The first four measures of the opening half are to be repeated as the opening portion cf the second half.




Ex. 7: Comparison of later folia melodies (only the opening halves shown).

Lully (1672), opening statement.

The King's Health (1682), first strain.

d'Anglebert (1689), opening statement.

Corelli (1700), opening statement.

Feuillet (1700).

Marais (1701), opening statement.

Madrid, Bib. Nac., Ms. M. 1360 (1709), fols. 212 - 215, opening statement.

Lambranzi (1716).

Le Sage & d'Orneval (1724 - 37). 4-/ 44'/ -1

F rPM IF I 0F I I I i LzII w 1 11 T1

J. S. Bach (1742), transposed from B minor.

0 ,O . .. . o ''

I. )?

Fi i

1, 1 11 E I I

I. 1 I

1

i V i VII III VII i V




complete series from Chord-row V. Above this are a number of different versions of the melody, all of which remain very close to Tone-series 7. There is a tendency for second-beat accents and for note repetition within a single measure. The first harmonic accent occurs on the opening i chord, whereas in the earlier folia it falls on V. This structural change creates for the later folia a significantly different rhythmic design.

This framework is used for instrumental variations 48 and as a musical scheme for songs 49 and dances.50 It gains such widespread popularity by the late Baroque period that it is quoted within larger works.51 French and English examples display, almost

48 For viola da gamba: MARIN MARAIS, Couplets des folies d'Espagne from Pieces de viole, Livre II (1701); eleven of the thirty-two variations are printed in Suite D moll fair Viola da Gamba und Cembalo, ed. CHRISTIAN

D)BEREINER, in: Antiqua, Schott No. 1608 (Mainz & Leipzig 1933); twenty-five

are included in Les Folies d'Espagne fiir Fl6te Allein, ed. HANS-PETER SCHMITZ (Kassel 1956). For lute: Folies d'Espagne from the manuscript lute book of Graf Wolkenstein-Rodenegg (c. 1680) in the possession of Wilhelm Tappert; transcribed by him in Sang und Klang aus alter Zeit (Berlin [1906]), p. 94-95. For keyboard: JEAN HENRY d'ANGLEBERT, Variations sur les folies d'Espagne in: Pikces de clavecin (Paris 1689), facs. ed (New York 1965), p. 88-98; Variation de Voli de Spang in Copenhagen, Kongelige Bibliotek, Mss. (Thottske Samling 2928): book from 1702 of Christiana Charlotte Amalia Tr6lle, fols. 31v-32; Madrid, Biblioteca Nacional, Ms. M. 1360, fols. 212-215; ALESSANDRO SCARLATTI, Variazioni sulla "Follia di Spagna" from a manuscript in Naples, Biblioteca del Conservatorio di Musica, printed in: Antologia di musica antica e moderna per pianoforte, ed. G. TAGLIAPIETRA (Milan 1931) IX, p. 112-122; C. P. E. BACH, Les folies d'Espagne avec 12 variations pour le forte-piano (Hamburg 1778), the opening printed by KURT VON FISCHER, C. Ph. E. Bachs Variationenwerke, in: Revue Belge de Musicologie 6 (1952), p. 198. For violin: HENRICO ALBICASTRO, VI Sonate a violino solo col basso continuo (c. 1700), partially printed by MOSER in: AfMw I (1918-1919), p. 369-371; and an anonymous example from Ms. Z of the Schlosskirche in Sondershausen, printed by RIEMANN in Die Musik X, Quartalsband 4, p. 1-2 of the Musikbeilagen. For chamber ensemble: ANTONIO VIVALDI, Sonate da camera a tre, Op. 1, modern ed. by WALTER UPMEYER (Kassel 1949) II, p. 38-51. For harp: Madrid, Biblioteca Nacional, Ms. M. 816, fols. 3v-4. 49 In addition to the English examples already mentioned, the later folia is used for the singing of a text in the opera Die grossmiichtige Thalestris by J. P. F6RTSCH (1690); see FRIEDRICH CHRYSANDER, G. F. Hiindel (2nd. ed. Leipzig 1919) I, p. 358; MOSER, AfMw I (1918-1919), p. 367; and NIECKS, The Musical Times 29 (1888), p. 719. In France the folie d'Espagne appears as a melody for the singing of texts in LE SAGE and D'ORNEVAL, Le theatre de la foire, ou l'opera-comique contenant les meilleures pisces qui ont 6t6 representees aux foires de S. Germain & de S. Laurent ... avec une table de tous les vaudevilles & autres airs gravez-notez a la fin de chaque volume (Paris 1724-1737) I, p. 4 (No. 16) of the Table des airs, to be used, for example, on p. 353 in the Parodie de l'opera de Teldmaque by LE SAGE, a work presented in 1715 (modern ed. along with the Beggar's Opera, in: Zwei Opern- Burlesken aus der Rokokozeit [Berlin 1912]). See also Les parodies du nouveau theatre italien... avec les airs graves (Paris 1738) II, p. 31 (No. 112) of the Table des airs. Concerning other French texts, see MAX FRIEDLAENDER, Das deutsche Lied im 18. Jahrhundert (Stuttgart & Berlin 1902) I, p. 365-367. 50 A letter from Madame de Sevigne in 1689 mentions the dancing of les folies d'Espagne; see CURT SACHS, World History of the Dance (New York 1937), p. 408. The melody of a Folie d'Espagne pour femme is given by FEUILLET in his Recueil de dances (Paris 1700), p. 33-38, along with the dance steps for six repetitions of the music. On p. 102 of his Choregraphie (Paris 1700) he gives the folia melody with notation for castanets. GOTTFRIED TAUBERT, in: Rechtschaffener Tanzmeister (Leipzig 1717), includes a similar example described as Die Folie d'Espagne mit einer fiinffachen Variation fiir ein Frauen-' zimmer . . . welche zu Paris in der Oper getantzet worden; for a facsimile of the page showing the music and choreography, see KARL HEINZ TAUBERT, H6fische Tiinze, ihre Geschichte und Choreo- graphie (Mainz 1968), p. 115. The melody is also associated with a dance in GREGORIO LAMBRANZI'S Neue und curieuse theatralische Tantz-Schul (Niirnberg 1716), plate 3. 51 REINHARD KEISER, Der liicherliche Prinz Jodelet (1726), modern ed. by FRIEDRICH ZELLE in: Publika- tionen liIterer praktischer und theoretischer Musikwerke, Jahrgainge XXI & XXII, Bd. 18 (Leipzig 1892), p. 3 (in the Sinfonia); J. S. BACH, Aria: Unser trefflicher lieber Kammerherr, from the "Peasant Can- tata," Mer hahn en neue Oberkeet, in: Johann Sebastian Bachs Werke (Leipzig 1851-1926; repr., Ann Arbor 1947) XXIX, p. 183-185. Later works include L'amant jaloux (1778) of GRtTRY, modem ed. in: Collection complete des ceuvres de Gritry (Leipzig [1884]-1936) XXI, p. 92-94 (in Acte II, Sc?ne III); and the overture to CHERUBINI's H6tellerie portugaise (1798), excerpt printed by MOSER in: AfMw I (1918-1919), p. 368. Some even later examples are listed in the Harvard Dictionary (2nd. ed.), p. 323.




without exception, the harmony, structure, and melody of Ex. 7. Sets of variations begin with such a statement, while subsequent variations hold structure and harmony constant and either vary the melodic framework through figuration and rhythmic animation, or replace it with a new framework, which on occasion may even be based on Tone-series 4.52 There are a few instrumental sets from Spain and Italy, however, that do not commence with the melodic outline shown in Ex. 7, yet do exhibit a structure in which the i chord receives the first accent. Since this structural difference seems to me to be a crucial point of distinction between the two folias, I will consider these examples a part of the history of the later folia.53 In the excerpt shown as Ex. 6b the structure of the upper voice alternates mainly between scale degrees 3 and 2. This occurs also in a piece by Gaspar Sanz.54 A set of variations by Francisco Guerau begins with a more mobile melody in the upper voice, but one based on neither tone-series.55 The Partite diversi di follia of Bernardo Pasquini seem to begin with his own elaboration of Tone-series 7, but neither series is apparent in his Variationi sopra la follia. Although the deviating examples mentioned above usually present the complete chord series of Scheme V, the variations of Pasquini sometimes omit the III chord.56

The later folia, then, is always based on the rhythmic structure shown tin Ex. 7.

Except for the few examples mentioned above, it usually includes all the chords of Scheme V and has a distinctive melody based on Tone-series 7.

The structural, harmonic, and melodic frameworks of the two folias are shown in Ex. 8. Like chords are vertically aligned to facilitate comparison. Although a number of different chords, as we have seen in Ex. 3, can be added to the earlier folia framework, only the III chord is shown in Ex. 8, since it belongs to the chord progression of Scheme V.

52 Examples of subsequent variations that employ Tone-series 4 are The King's Health (1682), fourth strain; Faronells Division on a Ground for violin, statements 5, 8, and 11; CoRELLI'S La follia, statements 5, 6, 8, 12, 22, and 23.

53 Although most of the folias from the first half of the 17th century do clearly show the first harmonic accent on the V chord, a few rasgueado guitar examples seem to commence with a full measure of i. Their number is so small that they do not constitute one of the significant variants of the earlier folia. It is possible, however, that they can be interpreted in the sense of a "three-beat anacrusis," with the guitar beginning on the first beat, a vocalist entering on the second beat with the customary two-note anacrusis. Examples are found in BENEDETTO SANSEVERINO, Intavolatura facile (Milan 1620), copy in London, British Museum, p. 45; Giovanni Ambrosio Colonna, Intavolatura di chitarra alla spagnuola (Milan 1620), copy in Bologna, Civico Museo Bibliografico Musicale, p. 19-21, Folias sopra l'A, I, and C; CARLO MILANUZZI, Terzo scherzo delle ariose vaghezze (Venice 1623), copy in Hamburg, Staats- und Universittitsbibliothek, p. 49 (four examples); FOSCARINI, Intavolatura di chitarra spagnola, Libro secondo

(Macerata 1629), a microfilm copy in the Deutsche Staatsbibliothek in Berlin, p. 9-11 (sopra l'A, I, and C); and Florence, Biblioteca Riccardiana, Ms. 2774, fol. 89. A later example by LUCAS RUIZ DE RIBAYAZ from Luz y norte musical para caminar por las cifras (Madrid 1677) is given by WOLF both in its original notation and in transcription in: Handbuch der Notationskunde II, p. 202. 54 Instrucci6n de mr'sica sobre la guitarra espailola, Libros I & II (Saragossa 1674), fol. 40; facs. of the 3rd ed. (1674), as well as the 8th ed. of Libro III (1697), ed. by Luis GARCIA-ABRINES (Saragossa 1952; another ed. 1966). 55 Poema harmonico (Madrid 1694); the first half of the opening statement in: AfMw I, p. 361. 56 See, for example, the second half of the opening statement of Variationi sopra la follia. The Pasquini works are printed by MAURICE BROOKS HAYNES in: Corpus of Early Keyboard Music V, Part 4

(American Institute of Musicology 1967), p. 25-35, 36-37. Another piece that omits III is La folie de Spange for cittern, transcribed by Wotr in: Handbuch der Notationskunde II, p. 140-141.



Ex. 8: Comparison of the two folia frameworks.

(a) The earlier folia, showing III as a possible alternate chord.

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16

i V i VII i V i VII i i I I (III) I I (III) I I

(b) The later folia, transposed from D minor.

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16

i V i VII III VII i i V i VI III VII iV i

in

o

0

0

?.

,.q

,a.-

tt•

ra




Concerning rhythm and structure, both folias present two parallel sections in triple meter. The earlier folia usually has a two-beat anacrusis on a i chord, but this is occasionally omitted; in either case, the first accented chord is V. The other folia may sometimes have a short anacrusis (see Ex. 7), but usually has none; its first accent falls on the i chord. The earlier folia has a ritornello and sometimes repeats the second half; the later one has neither ritomello nor internal repetition. A characteristic rhythmic effect in the earlier folia results from second-beat chord changes, which may occur in any measure except 4, 8, 12 or 16, and which produce various alternations in the harmonic rhythm between I and 3 . In guitar pieces the stroke pattern maintains at the same time an unchanging rhythm in 3 . The later folia also features second-beat accents, but these result not from chord changes, but from melodic activity within a single chord. The earlier folia thus seems, in general, to be lively in spirit, with a brisk tempo;57 the later one slower and more dignified.

In regard to harmony, both folias are based generally on Scheme V or one of its variant types. The later folia almost always uses the complete chord-row, with each chord occupying a single measure. Further harmonic variation seldom occurs. The framework of the earlier folia employs Scheme V without its III chord and, in the second half and occasionally even in the first, without the initial i. This simpler framework, however, may have major or minor tonic triads and may be varied harmonically by adding IV, II, or III chords or chords to round out the cadences. Sometimes even the second half, especially in later sources, follows Scheme V exactly, by including not only a III chord, but also i on the last two beats of measure 9 and VII on the first beat of measure 14. Furthermore, chords may be shifted in time so that they sound earlier or later than indicated in Ex. 8a. These harmonic and rhythmic possibilities result in considerable variety among examples of the earlier folia. Although usually in G minor, they may occur also in other keys, both major and minor. The later folia almost always appears in D minor.

The melodic framework of the earlier folia follows Tone-series 4. No melodic features beyond that of pitch succession seem to become established as typical. The rhythmic effects described above have, of course, an intimate affect on the melody. The later folia bases its melody on Tone-series 7 and creates a framework which is varied so slightly from piece to piece that one might almost speak of a fixed melody. Two characteristics are prominent: the repetition of tones within a measure and a second-beat accent, most often 'in the odd-numbered measures, but occasionally also in the others. In 1717 Taubert describes the folia tune as the "beriihmteste aller Sarabandenmelodien."58 Johann Mattheson writes in 1739: "Sonst scheinen die

57 SEBASTIAN DE COVARRUBIAS HOROZCO, in his description of the folia dance in Tesoro de la lengua castellana o espafiola (Madrid 1611), says "... es tan grande el ruido y el son tan apresurado, que parecen estar los unos y los otros fuera de juyzio. Y assi le dieron a la danqa el nombre de folia de la

palabra toscana f o 1 e, que vale vano, loco, sin seso, que tiene la cabeqa vana." (translated by Ward in his Kongressbericht article, p. 420: "the noise is so great and the sound so fast that they [the dancers] all seem to be out of their minds: and thus they gave to the dance the name of folia, from the Tuscan tongue, namely folle, which means empty, mad, without a brain, that is, an empty head.") Much of the noise was produced by sonajas, metal discs attached to a wooden ring. See the modern ed. of Covarrubias' work, with the additions of 1674, ed. MARTIN DE RIQUER (Barcelona 1943), p. 603.

5s A facsimile of the page from Rechtschaffener Tanzmeister is printed in: MGG 4, col. 480.



R. Hudson: The Folia Melodies I17

bekannten Folies d'Espagne auf gewisse Weise mit zu der Sarabanden-Gattung zu gehiren ... es ist wahrlich mehr Gutes in solcher alten Melodie, deren Ausdehnung nur eine kleine Quart [the interval from C-sharp to F in Ex. 7] begreifft, als in allen

Mohren-Tiintzen, die iemahls erfunden seyn m6gen." 59 A composition called Les folies d'Espagne en sarabande appears in 1712 in a dance collection of Andre Philidor (l'ain').60 These sources that mention the saraband refer, no doubt, to the later folia, which features in its melody the second-beat accents characteristic of the late Baroque saraband.61 In their earlier history, however, the two forms are also linked harmonically, for during the first half of the 17th century the zarabanda francese, when in the minor mode, is usually based on Scheme V.62

Both folias appear either as single statements of the structure, to be used for a dance or song, or as the subject of a set of instrumental variations. A single statement of either folia may be labeled with a singular or plural title. Either may be called [La(s)] Fol(l)ia(s), but the later folia is more often entitled Folie(s) d'Espagne or Farinelli's (spelled in various ways) Ground. Occasionally in Italy the name for the earlier type is spelled Fulia(s), or the plural, Fol(l)ie is formed according to Italian rules. There are a number of Spanish sources that contain both types of folia. In Madrid, Biblioteca Nacional, Ms. M. 811 (dated 1705) the later type is called Folias italianas. This manuscript includes a simple rasgueado piece of the earlier type (p. 98) in addition to the two sets of variations whose beginnings are shown in Ex. 6. Pablo Minguet e Irol, in his Reglas y advertencias generales que enseian el modo de taier todos los instrumentos mejores (Madrid 1752-1754), differentiates his Folias italianas from the earlier type, which he names Folias espaiiolas. He also indicates a tempo differentiation by notating the earlier type in 3 meter, the other in 3 . The connection between Italy and the later type is made clear when he states, following two variations for violin, "si se quiere taiier mds diferencias de folias muchas, y buenas; veanse la Coreli [isic], Opera Quinta ..."63 Barcelona, Biblioteca Central, Ms. M. 1453 contains Folias de la Opera 5 del Sor Arcangelo Coreli, followed by Folias de Espanya ...64 The previously cited examples from Madrid, Biblioteca

59 Der vollkommene Capellmeister (Hamburg 1739), p. 230. Almost the same words appear in VALENTIN TRICHTER's Ritter Exercitien-Lexicon (Leipzig 1742); see KARL HEINZ TAUBERT, H6fische Tiinze, p. 114.

6o Paris, Bibliothbque Nationale, Vm'. 3555: Suites de danses pour les violons et hautbois qui se jouent ordinairement it tous les bals chez le roy, p. 39. For a brief excerpt from the music, see Catalogue du fonds de musique ancienne de la Bibliotheque Nationale, ed. JULES ECORCHEVILLE (Paris 1910-1914) IV, p. 198. 61 The saraband in Italy during the first half of the 17th century did not have this rhythm. This characteristic appears to have developed in France, probably around mid-century. Among the sarabands of Louis Couperin (d. 1661), for example, some use second-beat accents, others do not. A number employ repeated notes along with second-beat accents; see his Oeuvres completes, ed. PAUL BRUNOLD (Paris 1936), No. 65, second part (p. 66), No. 74 (p. 73), and No. 110 (p. 111-112). 6 See my article The "Zarabanda" and the "Zarabanda Francese" in Italian Guitar Music of the Early 17th Century, in: MD 24 (1970), p. 125-149. 63 Minguet's work was apparently published around 1752-1754 in several sections for the various instruments (see MGG 5, col. 197). In the copy that I obtained from the Biblioteca Nacional in Madrid the guitar portion is dated 1774, the flute and psaltery parts 1754; the others are undated. Folias espafiolas are on fols. 8vy, 10, and 12 of the guitar section; folias italianas on fol. 10 of the guitar part and fol. 4v of the violin section; a facsimile of this page is printed by FELIP PEDRELL in: Catalech de la Biblioteca Musical de la Diputaci6 de Barcelona (Barcelona 1908) I, p. 179. 64 The contents of this manuscript are listed in La misica espafiola desde la edad media hasta nuestros dias, ed. H.

ANGLU.S (Barcelona 1941); p. 53.




Nacional, Ms. M. 1360 include a later folia with a melody like those in Ex. 7 and an earlier one that has Tone-series 7 in the tenor voice and Series 4 in the alto. Since the two tone-series move essentially in parallel thirds, it is not uncommon to find them together in a single variation. Sanz in 1674 presents, in addition to the later folia variations already mentioned, a simple rasgueado folia of the earlier type.65

The two folias thus exhibit both similarities and differences in melody, rhythm, structure, and harmony, as well as in nomenclature, social function, geography, and time. The first music for the earlier folia occurred midway in the development of a musical style that incorporated fixed chordal schemes as a part of the process of composition. The later folia appeared only after this style had run its course. The chronology is depicted in Ex. 9. The solid lines show roughly the periods of

Ex. 9: The chronology of Scheme V and the two folias.

The later folia . . >

The earlier folia ............ .

Scheme V I

1 I I 1 1500 1600 1700 1800

greatest activity; dots represent isolated works that appear even later; the arrow indicates that the later folia continues even into our own century. Consideration of this chronology shows that the chordal scheme of the earlier folia, by itself, was not a special characteristic of the form, since the same progression appeared during the course of over a century and a half also in other forms.66 For the later folia, on the other hand, the chordal scheme was a distinctive feature, for at that time in

history it appeared in no other prominent form. I have considered the development of the folia melodies, then, in three stages.

The two tone-series, which emerge from the chordal progression of Scheme V and

65 Instrucci6n de maisica, Libro I, fol. 18. 66 This is illustrated clearly by FABRITIO COSTANZO'S Fior novello libro primo (Bologna 1627), copy in

Bologna, Civico Museo Bibliografico Musicale. He presents on p. 18-19 four folias, each with the III chord (and hence Scheme V complete) included in the opening half. Then on p. 32-33 he gives four versions of the moresca, both halves of each consisting of the complete progression of Scheme V. He also has four pieces entitled Pavana gagliarda di Spagna (p. 60-61), each with three statements




seem to alternate throughout history, are shown in Ex. 1. The melodic frameworks of the two folias are depicted in Ex. 8. Finally, the melodies of specific examples are given for the earlier folia (Exx. 2, 3, 5, and 6a) and for the later one (Exx. 6b and 7). It is important, I believe, that the chordal scheme and the two folias be clearly distinguished as three separate musical entities. Only then can we understand the

relationships that exist between the two forms, both called the folia, that spanned almost exactly the two halves of the Baroque period in music history.

of Scheme V without its initial i chord. Also in the book are four additional moresche based on Scheme III, showing that pieces bearing this title were not confined to a single scheme; see my article in: AMI 42 (1970), p. 169, where I refer to the moresca based on Scheme III. Although the Scheme V pieces of Costanzo employ almost the same chord progression, each form displays a rhythmic structure different from the others. As far as I know, only one form, the alta regina, is identical structurally as well as harmonically to one possible variant of the folia (when the initial I is missing and the other I chords are major triads). Of the three examples of this form cited in footnote 17, Bologna Q 34 most clearly shows the similarity; see the excerpt in: Rivista musicale italiana 4 (1897), p. 616.

The Bibliography of Music in Conrad Gesner's Pandectae (1548)

LAWRENCE F. BERNSTEIN (PHILADELPHIA/PENNSYLVANIA)

Of all the members of the great circle of Swiss humanists in the first half of the 16th century, few may be attributed with works of enduring value in as many fields of inquiry as Conrad Gesner. Possessed by an unquenchable thirst for knowledge and enriched by a classical humanist education, Gesner seems to have converted every passing interest into a field for systematic scholarship. The number of such fields in which he published the first or most significant study of his day is truly remarkable.

Conrad Gesner was born in Zurich on 16 March 1516, the son of Urs Gesner, a furrier, and the former Agathe Frick. His parents were poor, and it was only with the help of his maternal uncle Joannes Frick that Conrad began his schooling in 1521. Three years later he entered the Latin school at Grossmiinster, where he soon became a frequent guest of his teacher Oswald Mykonius, along with Theodor Bibliander and Thomas Platter. In 1529, he went on in the Grogmiinster- schule to study Greek and Latin, accepting board in the home of another of his teachers, Joannes Jacob Ammann.

Gesner's father served in the armed forces during the civil war of 1531 and was killed in the line of battle in Gubel on October 24th, leaving his family destitute. At this point, too, Ammann could no longer maintain his young charge, and Mykonius was about to move to Basel. Fortunately, however, Mykonius had recognized Gesner's intellectual prowess, and he recommended him to Wolfgang Fabricius Capito of Strasbourg for studies in Hebrew.

The recommendation was a strong one:



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The Folia Melodies

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