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Andrea Falconieri's setting of the “La Folia“ dance, performed on original instruments by the Early Music ensemble Voices of Music. HD video from the “Art of the Recorder“ concert, February, 2014. Voices of Music FAQ Q. How can I support Voices of Music? A. Donate here: and we will make more videos like this one :) Q. Where can I learn more about this music? A. You can visit our website, Also, subscribe to our video channel! Just click on the logo on our videos. Q. Where can we hear you play in concert? A. We perform in the San Francisco Bay Area. For a concert schedule, visit our website or join our mailing list Q. Where can I buy CDs? Our CDs are available on iTunes, Google, Amazon, CD Baby and just about everywhere; you can also buy a CD in a jewel case from Kunaki: Q. What is Early Music performance, or historical performance? A. We play on instruments from the time of the composers, and we use the original music and playing techniques: it’s a special sound. Q. Why are there no conductors? A. Conductors weren’t invented until the 19th century; since we seek to recreate a historical performance, the music is led from the keyboard or violin, or the music is played as chamber music~or both :) Q. What are period instruments or original instruments; how are they different from modern instruments? A. As instruments became modernized in the 19th century, builders and players tended to focus on the volume of sound and the stability of tuning. Modern steel strings replaced the older materials, and instruments were often machine made. Historical instruments, built individually by hand and with overall lighter construction, have extremely complex overtones—which we find delightful. Modern instruments are of course perfectly suited to more modern music. Q. Why is the pitch lower, or higher? A. Early Music performance uses many different pitches, and these pitches create different tone colors on the instruments. See The original title reads “Folias Echa Para Mi Señora Doña Tarolilla De Carallenos“ (Primo libro di canzone, Naples, Paolini & Ricci, 1650). The composition uses the technique of “wandering variation,“ pioneered by Monteverdi and others, in which the composer creates musical episodes in the form of brief excursions from the standard variation pattern. Falconieri also adds a brief adagio to provide a moment of harmonic and rhythmic contrast before the final variations. The continuo group is here represented by the viola da gamba, organ, archlute and triple harp: in the 17th century it was not unusual to have a rich and varied continuo group; each player improvises a part that creates a unique “voice“ in the texture as well as blends together to form a complete accompaniment. Featuring Hanneke van Proosdij, recorder Carla Moore, baroque violin Elisabeth Reed, viola da gamba Rodney Gehrke, baroque organ Peter Maund, percussion Cheryl Ann Fulton, triple harp David Tayler, baroque guitar
