Falconieri: La Folia (Folías de España); Voices of Music (La Follia)

In this video

Andrea Falconieri’s setting of the “La Folia” dance, performed on original instruments by the Early Music ensemble Voices of Music. HD video from the “Art of the Recorder” concert, February, 2014.
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Q. Where can we hear you play in concert?
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Q. What is Early Music performance, or historical performance?
A. We play on instruments from the time of the composers, and we use the

original music and playing techniques: it’s a special sound.
Q. Why are there no conductors?
A. Conductors weren’t invented until the 19th century; since we seek to

recreate a historical performance, the music is led from the keyboard or

violin, or the music is played as chamber music~or both 🙂

Q. What are period instruments or original instruments; how are they

different from modern instruments?
A. As instruments became modernized in the 19th century, builders and

players tended to focus on the volume of sound and the stability of tuning.

Modern steel strings replaced the older materials, and instruments were

often machine made. Historical instruments, built individually by hand and

with overall lighter construction, have extremely complex overtones—which

we find delightful. Modern instruments are of course perfectly suited to

more modern music.
Q. Why is the pitch lower, or higher?
A. Early Music performance uses many different pitches, and these pitches create different tone colors on the instruments. See https://goo.gl/pVBNAC
The original title reads “Folias Echa Para Mi Señora Doña Tarolilla De Carallenos” (Primo libro di canzone, Naples, Paolini & Ricci, 1650). The composition uses the technique of “wandering variation,” pioneered by Monteverdi and others, in which the composer creates musical episodes in the form of brief excursions from the standard variation pattern. Falconieri also adds a brief adagio to provide a moment of harmonic and rhythmic contrast before the final variations.
The continuo group is here represented by the viola da gamba, organ, archlute and triple harp: in the 17th century it was not unusual to have a rich and varied continuo group; each player improvises a part that creates a unique “voice” in the texture as well as blends together to form a complete accompaniment.
Featuring Hanneke van Proosdij, recorder
Carla Moore, baroque violin
Elisabeth Reed, viola da gamba
Rodney Gehrke, baroque organ
Peter Maund, percussion
Cheryl Ann Fulton, triple harp
David Tayler, baroque guitar

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