FoliesEspagne's video: Liszt Rhapsody Espagnole Folia James Bonn Erard piano

Composer Franz Liszt (1811-1886) Title: Rapsodie Espagnole S. 254 Andante Moderato, Folies d'Espagne et Jota aragonesa (1867): 7 variations Released 1982 Klavier Records Vinyl KS-571 Recording date: not indicated in the documentation This recording is a milestone in the history of the Folía. The first thematic recording with only four "later" Folías in the typology of Richard Hudson: C.P.E. Bach, Liszt, Pasquini and Rachmaninoff. Maurice Hinson wrote for the Viny recording: Liszt was both the first and the greatest virtuoso pianist to tour (in 1844-­45) the Spanish peninsula. One work for piano that came from this period was the Grosse Konzertfantasie uber Spanische Weisen of 1845. Couriously enough, this work was never printed during Liszt's lifetime. This work and the Rhapsodie espagnole (Spanish Rhapsody) shared common thematic material but the Spanish Rhapsody was not composed until 1863 in Rome and then published in 1867. Certainly the Iberian tour made impressions on Liszt although he stated in an undated letter to Felix von Lichnowsky written about September 1, 1845 that he never once heard the folies d'Espagne during the whole time he was there. See Bayreuther Blatter deutsche Zeitschrift im Geiste Richard Wagner, XXX/1-3 (1907), 35: "As you know, (folies d'Espagne) is the title of a song perfectly familiar abroad, but one that I never heard while in Spain." Nevertheless, the Spanish experience must have had some influence on the Spanish Rhapsody that consists of a set of free variations on two Spanish themes - - La Folia and the Jota Aragonesa. Opening with one of Liszt's finest cadenzas, the first part is a kind of slow passacaglia on La Folia. The second part features the Jota Aragonesa - - a brilliant contrast. The Jota is a waltz?like tune that was brought to Aragon in the 12th century by a Moor from Valencia. Accompanied by guitars, castanets, and triangles, it has remained one of the most popular dances of Northern Spain. The lyrical central section of the Jota is transformed to extraordinary effect in the final section. The separation of the stately Folies d'Espagne from the capering Jota makes the form of the Spanish Rhapsody very comprehensible even at first hearing.