Aurelio Virgiliano

Jordi Savall - La Folia, 1490-1701 (1998) {Alia Vox AV9805}
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© 1998 Alia Vox | AV 9805
Classical / Renaissance / Baroque / Chamber Music

After years of playing the various Folias by Diego Ortiz, Antonio de Cabezón, Antonio Martín y Coll, Arcangelo Corelli and Marin Marais, it became clear to us that there were certain links between the origin and evolution of the important art of musical improvisation and variation and the viola da gamba, or bass viol, itself. In fact, it is no mere coincidence that, throughout the 16th century, and in places as different as France (Adrian Le Roy, 1551), Italy (Vicenzo Ruffo, 1564) and Germany (Matthäus Waissel, 1573), we find references in the various manuscripts and printed documents to the term “gamba”, used as a synonym for “Folia”.

An important part of European music at the time of the Renaissance was the art of varfattsn. One need only recall the virtoostic art of ornamentatioo practised in Italy, or Spanish composers such as Cahezon, Milan, Mudarra or Ortia, with their diferencias, recercaden and glosas. The sources were very often folksongs and folk dances, from whose originally improvised accompaniments instrumental forms developed, such as diferencias over well-known folk tones, or variations based on dance forms, like the pavan, passamezzo or the follia, among others.

An important part of European music at the time of the Renaissance was the art of varfattsn. One need only recall the virtoostic art of ornamentatioo practised in Italy, or Spanish composers such as Cahezon, Milan, Mudarra or Ortia, with their diferencias, recercaden and glosas. The sources were very often folksongs and folk dances, from whose originally improvised accompaniments instrumental forms developed, such as diferencias over well-known folk tones, or variations based on dance forms, like the pavan, passamezzo or the follia, among others.