the beginning of the 16th century in vocal repertory found in both Italian ("Canzoniere di Montecassino", "Canzoniere di Perugia" and in the frottola repertoire) and Spanish sources (mainly in the "Cancionero Musical de Palacio" and, some years later, in the ensaladas repertoire). Structure The framework of the "Later Folia", in the key of G minor, the key that is most often used for the "later Folia"; one chord per bar except for the cadential penultimate bar. The basic 16-bar chord progression: Historical significance Over the course of three centuries, more than 150 composers have used it in their works. The first publications of this theme date from the middle of the 16th century, but it is probably much older. Plays of the renaissance theatre in Portugal, including works by Gil Vicente, mention the folia as a dance performed by shepherds or peasants. The possible Portuguese origin was attributed by the 1577 treatise De musica libri septem by Francisco de Salinas. Jean-Baptiste Lully, along with Philidor in 1672, Arcangelo Corelli in 1700, Marin Marais in 1701, Alessandro Scarlatti in 1710, Antonio Vivaldi in his Opus 1 No. 12 of 1705, Francesco Geminiani in his Concerto Grosso No. 12 (which was, in fact, part of a collection of direct transcriptions of Corelli's violin sonatas), George Frideric Handel in the Sarabande of his Keyboard Suite in D minor HWV 437 of 1727, and Johann Sebastian Bach in his Peasants' Cantata of 1742 are considered to highlight this "later" folia repeating theme in a brilliant way. C. P. E. Bach composed a set of 12 variations for keyboard on the tune (H.263). Antonio Salieri's 26 Variations on La Folia, for orchestra, written towards the end of his career, is one of his finest works. Henry Purcell, in: The Fairy-Queen, first played in 1692, included a tune with resemblances to the Francesco Geminiani/Arcangelo Corelli: Concerto Grosso n 12; the 12 Corelli concerts were published in 1714, although a 1681 reference exists from Georg Muffat about having heard the compositions of this "Italian Violin Orpheus" "with extreme pleasure and full of admiration". In the 19th century, the Act I ballet of Les Abencérages (1813) by Luigi Cherubini is based on the Folia, Franz Liszt included a version of the Folia in his Rhapsodie Espagnole, and Ludwig van Beethoven quoted it briefly in the second movement of his Fifth Symphony. Alfredo Casella used the theme as the