J. S. Bach, Biber, Marini, Corelli: four leading figures of Baroque music that no one would associate with the harp. However, they worked in environments where there is ample evidence that harpists were active, and where a solo harp repertory certainly existed, even if it was never written down. This ambitious project starts out from that premise, and is the result of in-depth research into original sources. It suggests that the repertory for violin, an instrument that shares many idiomatic features with the harp, was long a source of inspiration for harpists. Hence, here some of the best-known and most virtuosic pieces for the violin have been arranged for harp, giving these compositions a new lease on life and shedding light on new and unexpected nuances and reflections. Flora Papadopoulos, after significant collaborations with ensembles such as Cappella Mediterranea/L. Garcia Alarcon, Concerto Italiano/R. Alessandrini, Matheus/J-C Spinosi and Laboratorio '600/F. Pavan, now makes her first solo album. Exploring personal, highly experimental and empirical paths, she revives a fascinating musical practice that has been long lost.
2 II. Variatio - Aria Allegro - Variatio - Adagio - Finale
3 Romanesca Per Violino Solo E Basso Se Piace
4 Sonata Quarta Per Il Violino Per Sonar Con Due Corde
5 I. Preludio. Adagio
6 II. Allemanda. Allegro
7 III. Sarabanda. Largo
8 IV. Gavotta. Allegro - with Variations for the Harp
9 V. Giga. Allegro
10 I. Adagio
11 II. Fuga
12 III. Siciliana
13 IV. Presto
J. S. Bach, Biber, Marini, Corelli: four leading figures of Baroque music that no one would associate with the harp. However, they worked in environments where there is ample evidence that harpists were active, and where a solo harp repertory certainly existed, even if it was never written down. This ambitious project starts out from that premise, and is the result of in-depth research into original sources. It suggests that the repertory for violin, an instrument that shares many idiomatic features with the harp, was long a source of inspiration for harpists. Hence, here some of the best-known and most virtuosic pieces for the violin have been arranged for harp, giving these compositions a new lease on life and shedding light on new and unexpected nuances and reflections. Flora Papadopoulos, after significant collaborations with ensembles such as Cappella Mediterranea/L. Garcia Alarcon, Concerto Italiano/R. Alessandrini, Matheus/J-C Spinosi and Laboratorio '600/F. Pavan, now makes her first solo album. Exploring personal, highly experimental and empirical paths, she revives a fascinating musical practice that has been long lost.
