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La Folia - Corelli - youre thoughts


paganiniboy
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quote:

Originally posted by HuangKaiVun:

What does the word "La Folia" mean to you, Paganiniboy?

Umm, i'm not about to go look at what it is in a translator, but if I used my emotions to describe what it means to me, it means a very brilliant piece that always catches my attention. I love all the variations, and I have two in particular which I find 'awesome'. The Suzuki, and another one that I cant remember the editor - a very good one with a two page cadenza.

But, the point is, I asked you, HKV, and all the other people of maestronet to answer what it meant to THEM. smile.gif

laugh.giflaugh.giflaugh.giflaugh.gif

P

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quote:

originally posted by Stringhappy:

I suppose it's a good idea for students to learn this piece, but honestly I was never particularly fond of it.

Yeah, that's what I think too. Or maybe it's because I heard someone play it really terribly (I haven't tried playing it yet, though).

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Sort of a chaconne, sort of a set of variations on a sarabande-like theme (La Folia and the Sarabande came from Spain), often used in the Baroque and also in Liszt's Spanish Rhapsody. Corelli's is the most enduring example, I think. I'm interested in the works of Corelli (and Tartini) since nearly everyone's violinistic ancestry can be traced back to Corelli. I think it was Tartini, maybe Pugnani, who made students study Corelli Op. 5 as a basis before doing much else. (The famous La Folia was #12; Suzuki's is a hodgepodge of various Corelli's, Kreisler's is a mix plus some of his own.)

The La Folia in Suzuki Book 6 was fun. I liked it. It would be kind of neat in a sick sort of way to play those fast runs at the very end in thirds or something--just a "grown-up idea for a kid piece." Isn't it fun to make life unnecessarily difficult? It's almost 4:30 a.m., and I want to wake up around 10 a.m. Gotta fly...

-Aman

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La Folia is one of my alltime favorite pieces. I can clearly remember La Folia as being the first piece I ever felt a "musical high" while playing. The combination of the powerful theme followed by the euphorically moving variations has always had an effect one me. I think I will always enjoy playing this piece. I don't believe that I've ever heard a recording of the piece (though I believe Perlman has recorded it fairly recently with more variations than Suzuki offers), it's on my "to buy" list. I imagine that it will always be more fun to play than to listen to, but I'd like to hear the professional take on the piece.

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La Folia is one of those pieces that just strikes me as 'right' ... that there is something elementally resonant about it. Which always engages the engineer in me. What is 'right' about it? Why does it ring for me? Does it affect everyone that way? If not, why not? Is there a 'mechanical' basis or explanation for taste? And, then the questions get bigger ... and I don't hear the rest of the piece!! LOLO!

Incidentally, there's a webpage where a fellow catalogs all the versions of La Folia he can and provides a lot of transcription examples. I had a lot of fun trying out all the variations!

Having fun,

Doug

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La Folia: Flower. Hauntingly beautiful.

I really enjoyed the Suzuki version, though I wouldn't necessarily do the fingerings or bowings.

When I play this piece, I try to imagine myself dancing "politely" to this piece.

Each section I bring a different taste to, depending on the written tempo marking.

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quote:

Originally posted by DougH:

La Folia is one of those pieces that just strikes me as 'right' ... that there is something elementally resonant about it. Which always engages the engineer in me. What is 'right' about it?

Doug

Its so true tho, I feel some of the same characteristics you feel when you hear and play this piece. I cant remember who said it, I think it was one or two above you're last post Doug, that I always felt this high when playing this piece as it was also my first piece I got that high off of.. well, I feel the same way. I think becuse partly it was the hardest piece I played when I started to 'transition' from my learning age of violin, to the violinist I am now. So, when completing the piece that one... time? (I cant pin point the actual TIME I completed learning the/a piece, nobody CAN ever pin point the time they completed perfectly a musical piece other than the composer) I felt that 'high'.

I've never heard a recording of the La Folia other than one I downloaded on the internet. Its very different than the one I have, and I dont particulaily like it.

That reminds me, I still have to find the La Folia with that huge cadenza for ya'll. (the editor or what othe name there may be on the front page).

I'm supposed to be doing school work as I am IN CLASS, but I cant drift too long from my passon.

laugh.giflaugh.giflaugh.giflaugh.gif

P

[This message has been edited by paganiniboy (edited 05-23-2001).]

[This message has been edited by paganiniboy (edited 05-23-2001).]

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I love this piece. Corelli is one of my favorite composers. I am even more fond of the orchestral arrangement of La Folia by one of Corelli's students, Geminiani. I suggest buying a recording of Geminiani's Concerto Grosso's done by the Academy of Acient Music.The CD features Geminiani's orchestration of La Follia...great recording.

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Yeah, maybe it’s a kid piece but it still makes me smile to hear it occasionally. The fun of it is learning some variations and then trying to come up with some variations of your own. There’s no end to the variations and it is a simple theme improvise on. The only limits are your imagination and technique. You aren’t going to come up with better variations than Fritz Kreisler but you don’t have to be a violin genius to improvise on this theme.

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