The Diferencias sobre La Folia survive in a manuscript of the Spanish composer

Antonio Martn y Coll (c.1660-c.1740). They are a typical example of the

development of instrumental variation over traditional basses, melodies and dances in
the late 17th century.
Martn y Coll grew up in a monastery and eventually became a Franciscan friar. The
last years of his life were spent in the monastery of San Francisco el Grande in
Masdrid. Though primarily an organist, Martn y Coll also wrote a pair of treatises
(1714 and 1734). However, his modern fame rests on four volumes of the Flores de
Msica (Musical flowers), a collection of hundreds of pieces. The works in the fifth
volume of the Flores de Msica, called Ramillete oloroso: suabes flores de msica
are generally assumed to be Martn y Coll's own compositions.
Two of these works are variations (diferencias) on La Folia - a long Diferencias sobre
las Folas and a shorter Folas. Further more, it is sure that the secular works - such as
La Folia - would have been just appropriately played on gamba , with harpsichord
(or organ, or lute) as sustaining instrument.
x
x

Higini, Angls (1975): Scripta musicologica.

Hesperion XX: Savall, Jordi (viola da gamba) Smith, Hopkinson (guitar) 'El
Barroco Espaol, Tonos humanos & Instrumental music c.1640-1700'
John H. Baron wrote as part of the introduction for the LP Folge 7 with three
compositions of Martn y Coll.

LA FOLIA
from the fifth volume of the "Flores de Msica",
"Ramillete oloroso: suabes flores de msica" (1709)
National Library, Madrid, M. 2.267, p. 1357-1360
arr. for Cello and Harpsichord (ossia Piano, ossia Organ)

Antonio Martn y Coll (c.1660-c.1740)

arr. Serban Nichifor
(SABAM - IPI Name No. 46376567)
17 August 2013

Pioso
Theme

D = 76

D? ?C



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Theme

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Variation I

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Variation II
Variation II

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Variation III

Variation III

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Variation IV

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@

Variation IV CC
C
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D D
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Variation V

DD
M
I
D D

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M

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Variation V

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Variation VI Pizz.


Variation VI

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Harps.

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Variation VII

C
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Harps.

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C
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Variation VII

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Harps.

  D D@
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DD

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D

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C

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M

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D? @ D?

Variation VIII

U D D D D D
@ @ @ @ @
?C @

DD
M

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? ?
D? D @ D

U D D@ D D@ D
@ @
@

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D@ D@

Variation VIII

DD D
D

I
D D@
?

@ @
@
U D D@ D D@ D

I
D D@
D? D?
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I
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.

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D?

D? D D D D
?

D

D
D D D

Harps.

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C? @

D D D

D D

D D

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Variation IX

C? @

I
 U D C

D? @

Variation IX

D D D

C?

D@
?D ?
D D

D D D
D

C?

D?

D D

D D D D D D
T

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D D
M

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DDD
D D

T

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C? @

DDDDDD
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D D D D@ C
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C? @

D
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DDDDD

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?
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D D D D@ D@ D@ D D D D@ D D@ D D D D D C @
@
?

I
D D
D D
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. U D C
U D D D U D D D U DD D

Variation X

#(%
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Harps.

D? D?

D D D

D D D

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D D D D D D

DDDDDD

T D D
D D

T D D
D D

Variation X

Harps.

D
?

?D

C?

DD
M

?@
 CCC @@

?
CCC @@@

D D D D D D

?C

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D D D D D D

@
D D D@  D D D

@
D D D@ D D D

D.

T DD DD

T DD

D
D

T DD DD

T DD  DD

T D D
D D

D DD D

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CC @@

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CCC @@@

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CCC @@

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CCC @@

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CCC @@@

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D
D
 D D D D D D
DD C

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D
D
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?
D
D D
D

D
D
T D D
T D D
T
T D D

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D
D
D

D D

Harps.

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?C @

C? @
Variation XI

?C @

I
 U D C

Variation XI

C? @

D D D

I
DD

D @

D C

D D D@ D@ D D

D D D@ D@ D
D

D D D@ D@ D D

 D D D@ D@ D D

DD DD
T

D DD
D
T

D DD
D
T

D D
T D D

D  D D@ D@ D D

D
DD D

Harps.

#*$
Cello

 D@

DD.
M

 D D D@ D@ D D

D
D

C@
CC? @@

D
D

CCC @@@
?

C@
CC? @@
D D D@ D@ D D
T

DD

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DDDDDD
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?CC @@
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D
D

Harps.

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D = 72

 D D D D D D
@ @
 T

Harps.

D DD

@
CCC? @@
DDD
rall.

D = 60

DDD
@ @

?D ?
D
DDD-

D? @

?
?D D
M

?D  ?D D? D?

D?

DD

=
D D D? D D ?C @
D ?D D?

D@
D@

?C @
C@

DD

D = 50
? ? D = 40?

=
?C @
C@

@
CCC? @@

D D D D D
@ D@

DDDDDD
@ @

D DD

?C @
C@

CC @@
?
morendo
=
?
?=
=
D
D? C - C
?

=
C@

=
DS

=
C@
C@

=
C@
C@

=
C@
C@

D=
DS

=
C@

=
C@

=
S

morendo

rall.

?
 CC @@

C@
CC? @@

@
CCC? @@

I
 ?D D
?

DDDDD
????

D? D? D

=
C? @

=
C@

DD

LA FOLIA
from the fifth volume of the "Flores de Msica",
Antonio Martn y Coll (c.1660-c.1740)
"Ramillete oloroso: suabes flores de msica" (1709)
arr. Serban Nichifor
National Library, Madrid, M. 2.267, p. 1357-1360
(SABAM - IPI Name No. 46376567)
arr. for Cello and Harpsichord (ossia Piano, ossia Organ)
17 August 2013
CELLO PART

Pioso

D = 76

Theme

D? C?

 
*


D? D? @

?D C?

#'
 D
D D D D
$#
DD

D? C?

D? C?

D? C?

I
?D D? D? @

I
D D@
?D ? ?

I
D?

D D D D D D

C? @

DDDD DD

D
D
D D
D D

D D@ D@ D@
D D@ D@ D@ D D
@ @
@
D D D@ D D D@ D D D@ D@ D@ D@ D D D@ D

D D

D? C?

I
I
D? D? @ ?D D?

D D D D D D D D

D D D D D D

DDDD

D? C?

D? D? @

Variation I

$)

D D
%%


D? C?

D D D D@ D D D D@ D@ D@
@ @

D? @

I
?D ?D
D D D D

D D D D@ D@ D@

D D D D D@ D@ D@ D@ D@ D D D D@ C? @
@ D@ @ D D D@ D@ D@ D@
@ @
@ @ @ @
@
D
D D D
D
D D D@ D D D@ D D D D D D

DDDDDD
D@ D@

Variation II

&"


@
D@  D D@ D@ D@ D@

&)
 D

D D D D D D

D D D@ D@

'$
 C
?
'(
 C
?
($
 D @ DID
? ??

?C @

Variation III

C?

?D

?D

D D D D D D

D D D D D D

C?

D? @

D D D @ DI C @
?

?D

C?

?D

C?

?D
I
?D D? @

?D

DDDDDD

C?

?D

C?

?D
I
D@
?D ?

D D D@  D@ D

?D

I
D@
?D ?

@
 D D D D D@ D@

?D

?D
D?

I
I
D
@
?D D? ?D ?

Variation IV

 D D D D D D@
@

D D D D D D@ D D D D D D@ D D D D D@ D@
@
@

(+
DDDDDD DDDDDD DD D D
@ @ @ @
@ @ @ @
@ @ D@ @ D
)(
D D D D D
DDDDDD@ @ @ @ @ @
*%
 D@
+"

+)


I
D D

?C

D?

C?

D D D@ D@ D?

?D

C?

<@ D@ D@ <D@ D@ @
<@ D@ D@
I
D
D M U U D D
@

/
D@ C

D D D D D C @
?

/
C

D@

/
C

D@

D D D D D D D D D D D D

#$(
 D@ D D D D - D
@ @ ?
#%# ? ?
 D D@

?
D? C
M

#%)


I
D D @
?

?D D @

/
D@

I
D D

D@
I
D D D @ D C

D D D@ D@ D?

T-

?D @ ?D ?D @

D D@

?
C @

I
D D@
?

/
D@ C

D @ D D@ D@ D?

DDDDDDDDDDDD
Variation VIII

I
D? D?

. D DDD
D @ @ ?

D D D D D D D D D D D D

?D

D? D? @ D? ?D @

Arco

/
D@ C

/
D@ C

I
D C @

DDDDDDDDDDDD

D D

I
D? D?

D?

C?

@
<
< <
<@ D@ D@ D@ D@ @ <@ D@ D@ D@ D@ D@ <D@ D@ D
D
D D
MUT

Variation VII

D D D@ D@ D?

I
DD

C@

I
D D

D@

D@ D D@ D@ D@ D D@ D D@
@ @
@

@
@ <
@
<@ D@ <@ D@ <D@ @ <@ D@ <@ D@ <D@ @ <D@ D@ <D@ D <D@ D@ <D@ D@ <D@ D D@ D@ <D@ D@ <D@ D <D@ D@
D
D D D
D D

<@  D@ <@ D@ <D@ @

D
D D

Variation VI Pizz.

##)
 D
@
#$$


D @ D D
M
I
D D

D@

?D

#"% <@ @ <@ D@ <@ @

 DDD DD
##"


 D D D D ?D

?D

C?

D@ D D D@ D D@ D D D
D@ D D D@ D
@ @ @
@ @ @
@ @
?
?C @
Variation V
?D D
D
.
D @

? ?
D? D @ D

DDDDDD

D?
M

D? @

?C

? ?
?D D @ D

?D @

D? @

I
?D

?C

D?

D? @ ?D

D? D D D D
?

#&&


Variation IX

C? @

#'"
 D@
#'(
C
?
#(%


DDD

D? @

D D D

DDDDDD

D? D? @

C?

D? D

C?

?C

D D D D D D

#*$


Variation XI

C? @

 D D D@ D@ D D

#**
 D D D D D D
@ @

D D D D@ D@ D@ D D D D@ D D@ D D D D D C @
@
?

D?

@ @
D D D D D D

?D

D D D@ D@ D D

DDD
rall.

D = 60

DDD
@ @

D? @

D  D D@ D D
?D D
@ @

D.

D D D@

I
D
D  D D@ D@ D D

D D D D D
@ D@
morendo
=
?D =
?
=
=
C@
D? C - C
?

DDDDDD
@ @

D? .
DDDDDD
@ @

=
D D ?D D D ?C @

DDDDDD

 D D D@ D@ D D

?C

D = 50
? ? D = 40?

D D D D@
@

D D D D D D

D D D D@  D@ D@

D D D@ D@ D D

?
?D D
M

@
D D D@ D D D

D D D@ D@ D
D

D D D@ D@ D D

D = 72

D?

Variation X

@
D D D@  D D D

#(+
D D@ D@ D@ C
 D D D D D D

D
D
D
D
@ @ @ D D D D@ @ @
?
#)(


D D D D@ C
@
?

D D D D D D

D?

C?

D D D

=
DS