Scan 23
Violin master works and their interpretation, 1925
14 lines. Read by computer on 3 September 2026. No printed page number was found. See the scan on archive.org.
1the original edition with a very adequate piano accompaniment. Since then it often has been included in the recital programmes of the greatest virtuosos as well as used in the studios of most teachers, by whom it is regarded as essential study material for the aspiring violinist.
3The numerous variations of the Corelli "Follia" are in some sort a compilation of the technical problems of bowing and at the same time supply highly instructive left-hand studies. In my own edition* I have not touched the piano accompaniment, but only have indicated changes in the solo violin part where such changes seemed necessary.
5The first and main essential in making this composition enjoyable to the musician as well as to the layman, is the exact observation of the changes of tempo in the different variations. We already have to contend with the monotony due to the fact that the "Follia" is written in one key, the key of D minor, from beginning to end, without a change. If to this we add monotony of movement and, perhaps, do not vary our tone, then the composition is bound to make a tiring impression, even though it may be played technically in an impeccable manner.
7Its theme unquestionably gives this serious work its character of high meaning and importance. As Corelli uses it the phrase "Folies d'Espagne" is equivalent to "Scenes of Madness."† It calls for warm expressive interpretation, both when first played, forte, and when repeated pianissimo.
9At letter B play tempestuously:
11* Archangelo Corelli, "Les Folies d'Espagne." Revised and edited by Leopold Auer. Carl Fischer, Inc., New York.
13† Originally the "Folia" was an old fourteenth century Spanish dance, danced to the accompaniment of flutes and castagnettes, and its title, seeing that it is a very lively and vivacious dance, suggests the "madness" of pleasure rather than insanity. The more sinister meaning may have developed out of an historical association. Don Pedro I, King of Portugal, was passionately fond of the "Folia" when a young prince. He would spend whole nights dancing it with his beautiful mistress Inez de Castro (d. 1355) by candlelight in the palace of Coimbra. But the Castro family was hated by the Portuguese nobles, and Inez was stabbed to death in the presence of Pedro's father. When Pedro came to the throne he had Inez's assassins put to death amid terrible tortures and exhuming her body, forced the assembled nobles of Portugal to swear homage to the corpse as their queen, kissing her withered hand. Since that time the "Madness" (Folias) of the dance has been madness in the sinister sense Corelli's music represents.
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