VSTi: Edirol HQ Orchestral, Steinberg The Grand 2Long time no see! If you have any questions, feel free to ask but I will only respond to those in English an. Title: La Folia Suzuki Author: plusbeta.sites.post-gazette.com-2021-03-21-08-10-52 Subject: La Folia Suzuki Keywords: la,folia,suzuki Created Date.
Adagio from Sonata No 3 in F Major
Sonata No 3 in F Major, appearing in Suzuki Violin Volume 6, has long been attributed to G.F. Handel, yet understandably, music scholars have expressed doubts about its origins.
Reading the story of its history solved a quandary of mine, as the Adagio in particular just seems to lack the Handel flavour. Where are the clean melodious voice and lucid harmonies? If you’re interested, you can read the convoluted story of pirated sonatas and the nefarious publisher Mr Walsh here.
Even though we don’t know who composed it, No 3 is an attractive sonata, with a very good second movement, Allegro, as we’ve seen in this previous post.
Adagio from Sonata No 3 in F Major
In some ways the Adagio tries to do too much – with too little. The rather plain descending theme returns in measure 18 in an altered state, and in part again in measure 48. The melody travels along pleasantly enough, yet never seems to get anywhere, except of course at the end.
Nonetheless it compensates for any austerity with some imaginative key changes and unexpected detours, without stretching belief or taking us too far from the path, to finally lead us with a clear sense of direction into the next movement, the excellent Allegro.
In the first of the YouTube videos below, violinist composer Gary Kuo makes an excellent job of transforming it into real music with his fine playing and compelling interpretation.
La Folia Pdf Suzuki Online
Study Points
Connecting the Notes
Suzuki violin students learn Arcangelo Corelli’s La Folia in Book 6. La Folia was a popular chord progression which many Renaissance and Baroque composers used as the foundation for variations and improvisation. It originated in the dance music of Portugal. Corelli’s ability to develop new music from this existing harmony might remind you of the way jazz musicians freely borrow today. It’s easy to see why composers found La Folia an endless source of musical inspiration. Listen to the drama of these eight chords as they move from minor to major (flat iii chord) and back.
Here is Henryk Szeryng performing La Folia by Corelli (1653-1713):
La Folia Pdf Suzuki Con
For another excellent performance, listen to this recording by Nathan Milstein.
Now, let’s compare what we just heard to this exhilarating and virtuosic version with authentic Baroque instruments. As you listen, consider the unique mood of each variation. Listen to the musical conversation between voices and the intricate way the parts fit together. Notice that the instruments are tuned slightly lower than what we’re used to in modern performances. Corelli expanded the technical possibilities of the violin and his music often revels in flashiness akin to a daredevil circus act. Audiences must have been awestruck by the first performances of this music:
If you’re interested in hearing how other composers approached La Folia, listen to these excerpts by Vivaldi, Scarlatti and Handel. Also enjoy Oscar Shumsky’s golden toned recording of Fritz Kreisler’s La Folia (part 1 and part 2). In contrast to the other versions, Kreisler’s harmonies are unabashedly Romantic. Sergei Rachmaninov wrote his own Variations on a Theme of Corellifor piano. Finally, check out this rock video by the Dueling Fiddlers.
La Folia Corelli Suzuki Pdf
La Folia is an example of an ostinato, or repeated bass line. To learn more about this type of music, visit my previous posts, The Art of the Ostinatoand The Chaconne Across 300 Years. Share your thoughts in the thread below. Tell us what you heard in the music. Do you have a personal favorite among all the versions we heard?