Volume V, "Flores de Música", "Ramillete oloroso:
suabes flores de música" (1709),Biblioteca Nacional de
España, M. 2.267, p. 1357-1360.
The Diferencias sobre La Folia survive in a manuscript
of the Spanish composer Antonio Martín 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.
Martín y Coll grew up in a monastery and eventually
became a Franciscan friar. The last...(+)
Volume V, "Flores de Música", "Ramillete oloroso:
suabes flores de música" (1709),Biblioteca Nacional de
España, M. 2.267, p. 1357-1360.
The Diferencias sobre La Folia survive in a manuscript
of the Spanish composer Antonio Martín 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.
Martín 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, Martín y
Coll also wrote a pair of treatises (1714 and 1734).
However, his modern fame rests on four volumes of the
Flores de Música (Musical flowers), a collection of
hundreds of pieces. The works in the fifth volume of
the Flores de Música, called Ramillete oloroso: suabes
flores de música are generally assumed to be Martín y
Coll's own compositions.
Two of these works are variations (diferencias) on La
Folia - a long Diferencias sobre las Folías and a
shorter Folías. 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.
• Higini, Anglés (1975): Scripta musicologica.
• Hesperion XX: Savall, Jordi (viola da gamba) Smith,
Hopkinson (guitar) 'El Barroco Español, 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 Martín y Coll.
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