“La Folia,” literally meaning madness, folly, or empty headedness, was a chord progression popular with many Renaissance and Baroque composers. It originated in the dance music of Portugal and was used as the foundation for variations and improvisation in the same way jazz musicians freely borrow today. Variation 9, starting at letter I, Allegro, is an illustration of what the improvisational possibilities could be.
My arrangement of twelve of the variations found in Arcangelo Corelli’s Sonata No 12 (La Folia) from the twelve violin sonatas first published in 1700, attempts to capture the unique mood and some of the freshness, daring and drama of Corelli’s original violin sonatas.
I am sure Corelli would have loved and been inspired by the sheer energy, brilliance and virtuosity of Septura’s modern day brass performances. Listen to the musical conversation between voices and the intricate way the parts fit together. Septura has expanded the tonal and technical possibilities of the modern-day brass ensemble just as Corelli expanded the technical possibilities of the violin.
- Trumpet in E-flat
- Trumpet 1 in B-flat
- Trumpet 2 in B-flat
- Trombone 1
- Trombone 2
- Trombone 3 (Bass)