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 Higini, Angls (1975): Scripta musicologica.

x 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",
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
Pioso
Theme
D = 76

Cello
D? ?C D? C? D? C? D? C? D? C? D? C? D? C?

D D DD D D D
TD D
Theme
  T D TD TD TD TD TD
Harps.
?C @
  C? @ C? @
?C @
C? @ C? @
?C @

*
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Cello
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 TD TD TD TD TD C C D

Harps.

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

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D D D D D
Cello
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Variation I
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Harps.
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1
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@ @
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 CC @@ C@ CC @@
?

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@ C? @

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D C
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@ @ @ @
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 D D D D
Cello

Variation II
Variation II
?C ?D ?C ?D ?C ?D
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? ? C? D? C? C? ?
Harps.

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D D D D D D D D
D D D D D
@
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Cello


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? ?
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? M ?
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D D@ D@ D@ D D D D D D

2
 &)
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Variation III
Cello C? ?D C? D? C? D?
I I Variation III
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($
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? ?? ? @ @ @ @
Variation IV CC DD CC DD CC DD
 D D DD I U DI - C D CC
C
DD
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Harps.
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 D D@ M D C D C C D C
D

3
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@
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?
D ?C @
)( D D D D D  D D D D ?D ?D Variation V
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Cello
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Harps.
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4
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Variation VI Pizz.

Cello
 D D D D D D D D D

Variation VI
  CCC @@@ C@ CCC DD CC @@ CCC @@@ CC @@
? CC? @@ ? D? C? @ ? C? @
Harps.

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<@ D@ D@ <D@ D@ @ < < < @ Arco

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Harps.

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##" Variation VII / / / /


Cello
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I Variation VII ?C D?D

 CCC D
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 CC?
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Harps.
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##) / / /
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Harps.
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5
 #$$
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6
 #&& Variation IX
 D? @ D@ C? D? D D D D D D
Cello
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I Variation IX
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Harps.
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 D@ M C? @ C? @

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C D D D D@ D@ D@ D D D D@ D D@ D D D D D C @ - DDDDDD
Cello
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Variation X
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U D D D U D D D U DD D . U D C T D D T D D
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D D D D D D D
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 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.
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 CCC @@ CC @@ CCC @@ CCC @@@ CCC @@ CCC @@@

7
 #(+ @ @ @
 D D D D D D  D D D DD C D  D D@ D D I
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 - D
?C @
Cello

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I Variation XI DD DD D DD
D D DD
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 D@ M CCC @@@ C@
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 T D D T C@ T T T DD
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Harps.
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 C@ @ - C@ CC @@ C@
CC? @@ CCC? @@ D? ?

#** D = 72 D = 60 ? ? ? D = 40?
D = 50 = morendo
= = ?=?
 D D D D D D DDD ?D D D D D? D D ?C @ D
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=
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=
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Cello
@ @ DDD D? @ M
rall. @ @ ?
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rall. morendo
Harps.
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 CC @@ D@  ?D D DDDDD D? D? D S
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8
 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
Pioso CELLO PART
Theme
D = 76
 
D? C? D? C? D? C? D? C? D? C? D? C? D? C?

*
 I I I I I I
D? D? @ D D@ D? D? @ D? D? @ ?D D? D? @
?D C? ?D D? D? @ ?D ? ?
D? ?D ?D

#' Variation I
 D D D D D
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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@ 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 II
@
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 D@  D@ D @
 D D D D D@ D@


&)
 D D D D@ D@ ?C @ .
Variation III
C? ?D C? C? ?D
?D

'$
 C C?
? ?D ?D C? ?D C? ?D

'( I I I I I
 C D@ D? @ D
? ?D
D? @ ?D ?D D? @ ?D
D@
?D ? ?D ?D ? ?D D? ?D ?

($
 D @ DID
Variation IV
D D D @ DI 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@
? ?? ? @ @ @

1
 (+
DDDDDD DDDDDD 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 D ?D ?D D ?C @ Variation V
DDDDDD- D . I
@ @ @ @ @ @ D @ DD C? D?

*% I I
 D@ C? D @ D D I
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C? D? D@ D D C@ D@ D D

+"
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?D
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Variation VI Pizz.
 D D D D D D D D D

<@ D@ D@ <D@ D@ @ < < < @ Arco

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@ D @ @ ?

##" Variation VII / / / /


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

##) / / /
 D I
@ C D@ C D@ D@ D C @ D D D D D D D D D D D D

#$$
 DDDDDDDDDDDD D @ D D@ D@ D?
D D D D D D D D D D D D DDDDDDDDDDDD
D ?
#$( C @ Variation VIII
D D ?D D? @ D?
 D@ D D D D - D D D . ?C D? @ ?D
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D D @ D D@ D? D? DDDDDD D? D D D D
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2
#&& Variation IX
 D? @ D? D? @ C? D? D D D D D D
C? @ D D D C? D D D

#'"
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@ ? @

#'( Variation X 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 @ - DDDDDD
? @ ?

#(% ?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 C D.

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 D D D D D D  D D D@ D@ D@ C D  D D@ D D I
D D
@ @ @ D D D D@ @ @
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#)( Variation XI
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? @

#*$

 D D D@ D@ D D D D D@ D@ D D ?C D? .
DDDDDD D D D D D DDDDDD
@ @ @ D@ @ @

#** D = 72 D = 60 ? ? ? D = 40?
D = 50 = morendo
= = ?D =
?
 D D D D D D DDD ?D D D D ?D D D ?C @ D? C - C
=
C@
=
DS
@ @ DDD D? @ M
rall. @ @ ?