Les Folies D'Espagne, for solo Flute

Les Folies D'Espagne

Marin Marais was arguably the greatest viola da gamba virtuoso of the French Barroque, and a composer whose works were well received during his lifetime. He wrote over 550 pieces for his instrument, four five-act operas, and a book of tríos for flutes, violin, viola da gamba and continuo (the first book of set trío sonatas ever written in Franca).

Marais' variations on the popular La Folia melody (callad by the French ~t Les Folies d'Espagne, designating the tune's Spanish origins) belong to his Second Book of Pieces for Viols (1701). In his preface to this volume, Marais, 1t very much in the spirit of the age, writes that he has taken pains to make these compositions playable not only on the viol, but also on other instruments, such as harpsichord, organ, lute, theorbo, guitar, violin, oboe, recordar, and transversa flute.

With such a clear invitation from the composer himself, any possible debate over transcription is automatically dispelled, leaving us flutists with full permission to claim these enchanting variations for ourselves.
Out of an original set of 32 variations for viola da gamba, I have selected for this edition 21 which I find to be the most outstanding and, flutewise, the most idiomatic, thereby creating a work for solo flute of about 12 minutas jt duration. I have preservad the original key of D minor, as it happens to be 1t optimum for the flute from the point of view of general ease and roundness of ~t sound. Editorial markings are purposefully spare and are distinguished by parentheses. Optional ornamentation has been provided, primarily at final cadences. My suggestion to return to the opening La Folia theme after the final variation, while not specifically callad for by Marais, follows common batuque practica. Morover, revisiting the haunting stimulus that so inspirad Marais' rich:
improvisational powers serves to lend shape to the work as a whole.


Robert Stallman